止善第二十二期一般論文 2017 年 06 月 115-136 頁朝陽科技大學通識教育中心 A Study on Decorative Art of Jinshi Bei in Le Dynasty A Comparison Between Vietnam and China Phan, Thanh-Hoang( 潘青皇 ) Ph.D Student, Department of History, National Chung Cheng University Abstract Jinshi Bei has been regarded as an important symbol of Vietnamese traditional Confucianism. Besides, Vietnam Confucianism is an integration of the China Confucianism and the native Vietnamese culture. The decorative art of Jinshi Bei in Le dynasty (from early Le dynasty to Le Trung Hung) has much changed from simple to complicated and finally to fixed norms. This paper studies the tradition and transformation of the decorative patterns of Vietnamese Le dynasty Jinshi Bei, thereby makes a comparison of the decoration of Jinshi Bei between Vietnam and China, and discusses its contribution to the development of social culture in Vietnam. Keywords: Jinshi Bei, Vietnam, Le dynasty, Decoration * 本文於 2017.05.16 收稿,2017.06.14 外審審查通過,2017.06.22 修訂後刊登 115
止善第二十二期 2017.06 Vietnamese Jinshi Bei are mainly preserved in various Temples of Literature ( 文廟 ). Two of such temples are of the national level Ha Noi(82 stelae, be the Le dynasty of Jinshi Bei), Hue(33 stelae, be the Nguyen dynasty of Jinshi Bei); and two are of the provincial level: Bac Ninh (11 stelae), Hung Yen(9 stelae).temples of Literature of the local level found in towns and villages also erected Jinshi Bei(about 60 stelae). 1 A survey of the Jinshi Bei finds that those of the Le dynasty are the earliest and most distinctive in style, and also the most numerous. 1.Introduction of the Jinshi Bei s system of the Le dynasty The Le Dynasty Jingshi Bei were first erected during the fifteenth year of Le Thanh Tong Hong Duc( 黎聖宗洪德 )(1484), a relatively late development, considering that the Le Dynasty already adopted the civil service examination long before this date. Yet, all later rulers erected Jinshi Bei following the completion of examinations. There are 82 stelae that still can be found at the Temple of Literature in Ha Noi. The style of decoration found on the Le dynasty Jinshi Bei can be divided into three phases: early Le dynasty( 黎初 )(1428-1527), Mac dynasty ( 莫朝 )(1527-1595) and Le Trung Hung( 黎中興 )(1533-1788). The early Le dynastyopened 30 examinations and carved 21 stelae, with now 7 stelae lost and 14 stelae remaining. In the Mac dynasty, there opened 22 examinations, but just the stelae of 3rd year Minh Duc( 明德 )(1529) were preserved, attributed to the style of the Le dynasty. 2 The phase of Le Trung 1 鄭克孟, 進士題名碑及越南中代儒學科舉制度之教育政策, 陳文新 余耒明編, 科舉文獻整理與研究 : 第八屆科舉制度與科舉學國際學術研討會論文集,( 湖北 : 武漢大學出版社 2013 年 4 月 ) (Trinh Khac Manh, Jin Shi Ti Ming Bei Ji Yue Nan Zhong Dai Ru Xue Ke Ju Zhi Du Zhi Jiao Yu Zheng Ce,in Chen Wen Xin,Yu Lei Ming:Ke Ju Wen Xian Zheng Li Yu Yan Jiu: Di Ba Jie Ke Ju Zhi Du Yu Ke Ju Xue Guo Ji Xue Shu Yan Tao Hui Lun Wen Ji, Hu Bei, Wuhan University Publishing House, 2013),pp 451. 2 黎貴惇, 黎朝通史 (Le Quy Don, History of Dai Viet,Vietnam Institute of Archaeology, No.VS-I5), pp 107a. 116
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY Hung also opened 78 examinations with 68 stelae, 1 stele lost; there is a question on whether there was the carving of Jinshi Bei for 4 examinations. 3 Time Early Le dynasty (1428-1527) Mac dynasty (1527-1595) Le Trung Hung (1533-1788) Number of exams Remain Lost No-build Note 26 13 8 5 22 1 0 22 Lost before the 18 th century Mac have only one stele. So belong to Le Jinshi Bei. 73 68 1 4 Lost before 1924 Total 121 82 9 30 Ngô Đ c Th Văn i i n ăn i u- u i m hăng Long N i Nh u t n N i (Ngo Duc Tho, Jinshi Bei In Thang Long Temples of Literature Guozijian, Hanoi, Hanoi Publishing House)pp 69. 2.The decoration art of Chinese Jinshi Bei The Chinese system of civil service examinations had more than one thousand years of history. The artistic decoration of the Chinese Jinshi Bei differs among the Jinshi Bei and Gongyuan Bei( 貢院碑 ). 4 The earliest Jinshi Bei preserved is the Yanta Timingbei ( 雁塔題名碑 )of Tang dynasty, now housed at Ci An Temple( 慈安寺 )in i an At present the majority of known Jinshi Bei are in the Guozijian of the Temple of Confucius in Beijing. There are about 198 stelae inscribed with the names and origins of 52,634 Chinese Jinshi, including 3 stelae of the Yuan( 元 ) dynasty, 77 stelae of the Ming( 明 ) dynasty and 118 stelae of the Qing( 清 ) dynasty. Among these, 112 stelae were Jinshi of the regular civil service examination, while 2 were 3 潘青皇, 傳承與新變-- 黎朝進士題名碑研究,( 碩士論文, 嘉義 : 國立中正大學中國文學系暨研究所,2015 年 ) (Pan, Qing Huang, Inheritance and innovation: The study of Lichao Jinshi Timing Bei, Department of Chinese Literture National Chung Cheng University,master's dissertation,2015) 4 金其楨, 中國碑文化,( 重慶, 重慶出版社,2002 年 01 月 ) (Jin Qi Zhen, ZhongGuo Bei Wen Hua, Chong Qing, Chongqing Publishing House, 2002),pp 917. 117
止善第二十二期 2017.06 of the Manchurian Jinshi examinations, and 4 were of the translation Jinshi examinations. 5 The Chinese Jinshi Bei is stylistically divided into three sections: brow, body, and bottom. The brow is carved with the date of examination, the name and hometown of the Jinshi are carved at the body. Due to erosion and damage, the stelae of the Yuan Dynasty are now difficult to read, and hence the paper does not discuss the Yuan Dynasty Jinshi Bei. The front and back sides of the Ming s dynasty Jinshi Bei are inscribed. The top section is carved with the time of examinations and the hometown of the Jinshi, while its back inscribed their names. Among 77 Jinshi Bei, 20 Jinshi Bei (account for 26%) were inscribed with the names of the examiners from the 13 th year of Yong Le( 永樂 ) to the 14 th year of Cheng Hua ( 成化 ). In addition, there is one stele of the 11 th year of Jia Jing ( 嘉靖 ) inscribed on the back of the stone. 6 The Ming dynasty s stelae have various sizes with average 35 cm in height, 120 cm in width, and 40 cm in thick 7. The shapes of the stelae are relatively simple, with a round brow and a square base. All stelae are only decorated in the brow, mainly with meanders lines, expressing a simple and delicate charm There are apparent similarities between the Ming dynasty s stelae and those of the Yuan dynasty. 5 朱保炯 謝沛霖編, 明清進士題名碑錄索引,( 上海 : 上海古籍出版社 1984 年出版 )(Zhu Bao Jiong, Xie Pei Lin, Ming Qing Jinshi Tingming Bei Lu Suo Yin, Shanghai, Shanghai Guji Publishing House, 1984) ( 清 ) 李周望, 明清歷科進士題名碑錄,( 臺北 : 華文書局,1969)( Li Zhou Wang, Ming Qing Li Ke Jinshi Tingming Bei Lu, Taibei, ZhongHua, 1969) 6 邢鵬, 明代進士題名刻石調查與研究, 首都博物館論叢 (Xing Peng, An investigation and study of Tablets with list of palace examination graduate of Ming Dynasty, Shoudu Bo Wu Guan Lun Cong),pp 64 7 郭蓋, 斑駁的石頭清晰的史- 進士碑上讀春秋, 北京記事 第 8 期,2009 (Guo Gai, Ban Bo De Shi Tou Qing Xi De Shi--Jinshi Bei Shang Du Chun Qiu, Beijing Ji Shi, 2009), pp 76-79 118
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY 宣德二年進士題名記 ( 耿慧玲師拍攝,2015) Photo by Keng, Hui-ling,2015 The stelae of the Qing Dynasty have themes and patterns with outstanding characteristics. The size of the stelae in the Qing dynasty are very large and have full parts as its brow, body, and bottom. The stones used have clear standards such as: using green-white stone, its body is 8.2 meters high, 3 meters wide, 7.5 meters thick; its bottom is 2 meters high, 4 meters wide, 1.5 meters thick. 8 Besides, according to statistics of Jiang Qing Bai, the Qing dynasty s stelae have various sizes Records on the stelae of the Qing dynasty are simple and follow to fixed methods as follows: 8 江慶柏, 清進士題名碑考述, 古籍整理研究學刊 第六期,2009 年 11 月 (Jiang Qing Bai, Qing Jinshi Tingming Bei Kao Shu, Gu Ji Zheng Li Yan Jiu Xue Kan, 2009.11),pp 8 119
止善第二十二期 2017.06 Year Body of stelae(mm) Bottom of stelae(mm) Height Width Thick Height Width Thick Shun( 順 )3 3200 1180 415 730 1460 960 Kang( 康 )3 2070 950 235 470 1310 500 Kang( 康 )24 1330 870 230 600 1280 460 Q i an ( 乾 )1 1800 990 350 760 1360 760 Qian( 乾 )25 1620 840 210 570 1070 570 Guang( 光 )21 1570 800 215 Small Guang( 光 )30 2260 850 270 720 1140 560 江慶柏, 清進士題名碑考述, 古籍整理研究學刊 第六期,2009 年 11 月 (JIANG Qing-Bai, Rese e hes of the upers riptions on the tel e for ing s Jinshi, Institute of Ancient Books, Nanjing, 2009), pp 8. The appearance on the brow of the Qing Dynasty Jinshi Bei is Four Panlong(Four head dragons clustered together). The dragon motif appeared early on bronzeware, with a shape like a snake with scales at the body, and that is a combination of animal head and snake body. After the Yuan Dynasty, the image of the dragon had been normative. In the Ming-Qing Dynasty, the dragon motif became the standardized, and only the emperor could use the five-clawed dragon motif. There is clear continuity with regard to the themes and styles on the stelae of the Qing dynasty, which edge of stelae are decorated by pattern symbolizes prosperity or dragon motif. The method of sculpture has a clear division into light and dark, using many folding lines to create continous and linear patterns. It is not difficult to see that the art of sculpture of the Qing dynasty has reached a high level. The bottom of the stelae also uses dragon shape as the main theme. Occasionally, the Qilin motif or floral designs are used. According to the evolution of the Chinese Jinshi Bei, it can see that the Yuan Ming s stelae are very simple mainly using traditional and simple patterns. This is different from the style that can be observed on the stelae of the Qing dynasty. The style and choice of patterns have significant changed, 120
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY with more emphasis on delicate patterning and increased demand for aesthetic appeal, elevating the Jinshi Bei to a higher level of artistic representation. 乾隆十七年進士題名碑 ( 耿慧玲師拍攝,2015) Photos by Keng, Hui-ling,2015 121
止善第二十二期 2017.06 3.The decoration art of Jinshi Bei in Le dynasty The Jinshi bei of Ha Noi are divided into three sections: the brow is carved with the year of the examination, while the bottom is always used turtle shape to decorate The body itself often has 3 sections the ruler s name, a brief account of the circumstances when each examination was opened, and then the names and origins of the scholars-select. In comparison with its Chinese counterpart, which the Jinshi Bei in Ha Noi even included short descriptions of the scholars-select that were inscribed in standardized fonts of excellent artistic quality. This makes each stelae become a unique masterpiece of calligraphy. Professor Ngo Duc Tho identified that the sculpture material of Jinshi Bei as blue stone( 青石 ), which are much in Thanh Hoa and Hai Duong 9. This kind of stone is mainly used for carving stelae in Vietnam. According to the tradition of Chinese stele design, the name of stelae should be inscribed on its brow. However, all 82 Vietnamese stelae have the names inscribed in the middle of the brow and the body. 9 Ngô Đ c Th,Văn i i n ăn i u- u i m hăng Long N i Nh u t n N i 2010.(Ngo Duc Tho, Jinshi Bei In Thang Long Temples of Literature Guozijian, Hanoi, Hanoi Publishing House)pp 94. 122
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY 正和二十四年癸未科進士題名記 Corpus of ancient Vietnamese inscriptions 10, No.01335 10 Trịnh Khắc Mạnh, Nguyễn Văn Nguyên Philippe Papin, Tổng tập thác bản văn khắc Hán Nôm (Corpus of ancient Vietnamese inscriptions), Hà N i : Nhà xu t b n Văn hóa-thông tin, 2005. The same below.. 123
止善第二十二期 2017.06 Also different from the Chinese tradition are the height and width of the various Ha Noi stelae, which are different in each section. The decorative sculpture themes on each stelae are also different, mainly in their brow and edge, which represent different meanings from simplicity to delicacy and from personalization to normalization. The stelae in each period express special artistic characteristics of sculpture and the historical meaning of that period. Therefore, the work of grouping patterns plays an important role in researching the whole system of stelae. Based on the time of carving, artistic characteristics and through the personal scientific assessment, the author divided 82 Jinshi Bei into three categories as follows: - Type 1: Simple These include 14 carved stelae from 1484 to 1536. These stelae have an average height from 1.50m to 1.65m (in which 27 th Hong Duc( 洪德 ) stelae is 1.7m high) and width from 1.08m to 1.17m. The shape of turtle in the bottom of the stelae are simple, they have forward high head, short muzzle, two fangs, large and bulging eyes and their lines very harmonious. Besides, the sculpture designs of this stage are very simple, mainly decorated by the shape of sun, lotus petal and cloud pattern. The foreheads of the stelae in this phase are usually carved in a shape of a large sun in the middle, that are covered around by the cloud patterns. Besides, they have other significant characteristics, and are a symmetric composition with the clear division from thin to thick and delicate sculpture lines make them look simple but elegant. Especially, they completely do not have a dragon shape or other animal motifs. Furthermore, the edges of the stelae are mainly decorated by a shape of a lotus, that became a common image in the stelae of Vietnam. Lotus is one of the flowers of traditional beauty of Vietnam, with the meaning of nearing the 124
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY mud but not foul its smell. This may be a metaphoric way that wants to enhance the status of an integrity of the Jinshi in this time. 大寶三年壬戌科進士題名記,No.01358 大和六年戊辰科進士題名記,No.01323 光順四年癸未科進士題名記,No.01349 光順七年科進士題名碑記,No.01316 125
止善第二十二期 2017.06 The first type is very common in the Tran Dynasty( 陳朝 ). 11 To explain why the sculpture themes of the stelae in this dynasty are simple, the author makes the following statement: First of all, this is the first time that Vietnam carved Jinshi Bei. In addition, the status and image of the Jinshi had not been established. Thus, in this early stages could only make choices of patterns not too complicated. Second, because the Jinshi Bei had a long historical development in China. Therefore, whether in that time Vietnam wanted to not only able to create its own kind of Jinshi Bei, but also avoid "desecration"? In short, the first type of Jinshi Bei are completely uniform, which all used the lotus with a shape of cloud makes the curves around their entire body. - Type 2: complex They are composed of 25 stelae of 1653. The stelae are average 1.56m to 1.67m high, 1.08m to 1.17m wide, in which the stelae of the 3 rd Than Tong Duong Hoa( 神宗陽和三年 )is 1.35m high and 0.76 meters wide. The shape of turtle in this period had changed to the image of shortened neck, wider mouth, no fangs, closed small and convex eyes and foot in sketchy carving. The stelae s brow of this period have many new decorative patterns the author makes the statistics and classifies into the following categories: 15 stelae with the figure of double dragons reach the sun, 8 stelae with the figure of the sun, 1 stele with the figure of Phoenix and 1 stele with the figure of Qilin. 11 Nguyễn u hi gh huật r ng r r n i i n Đ i ăn i u i Tạp h h o c s 5-6 (1970), trang 11-3 in trong Nguyễn u hi Trên Đ ng m i Đ p h ng Nh u t n Văn óa n T c N i trang 35-437( Nguyen Du Chi, The decorative art on Jinshi Bei of Le dynasty in Hanoi Temple of Literature, the Archaeological Magazine No.5-6 (1970), pp. 110-143, in Nguyen Du Chi, On the way of finding to the beauty of the forefathers, National Culture Publishing House, Hanoi 2011, pp. 358-437) 126
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY 光興三年庚辰科進士題名記,No.01325 光興十二年己丑科進士題名記,No.01363 光興六年癸未科進士題名記,No.01364 光興二十一年戊戌科進士題名記,No.1339 It can be seen that the stelae of this period have much more various shapes layouts and patterns than the first type s ones Each stele has its own artistic value, bringing the beauty of sophistication, harmony and full of vitality. The stelae are not limited only to lotus patterns, but also to the blossoming of various kinds, such as the figure of apricot, orchid, bamboo, chrysanthemum and the most special thing is the use of decorative bird animal patterns. Besides, in this period, the dragon shape is decorated as an usual theme, that its designs become clearer, its body floats up with thick and full lines, while its claws are transformed into cloud pattern esides the stelae s brow mainly carved with pattern of double dragon reach the sun. The image of the sun is in the middle of the stele that like radiating the rays of the sun and 127
止善第二十二期 2017.06 creating a strong vitality. In addition to, this period also appeared decorative Phoenix and Qilin, that are the animal motifs that symbolized luck. The image of Phoenix and Qilin are quite large and look like they are about to take off. No.01357 順平六年甲寅制科題名記 No.01325 光興三年庚辰科進士題名記 No.01363 光興十二年己丑科進士題名記 No.01302 福泰元年癸未科進士題名記 The first type of stelae had usually decorated with the lotus shape, while the second type of stelae appeared new patterns, such as decorative flowers and animals, especially is on the edge of stelae. The layout of the types put flower shape on its central, leaves and branches as splashes, with extremely lively harmony lines. In addition, during this period there appeared images of martial arts officers held hands respectfully, showing the majesty of the official life. It can be said that in terms of abundance, the stelae of the period is the first that create a new era in the art of Jinshi Bei. The theme and artistic style of the second type of stelae is a clear reflection of the art of the Le dynasty in the late 17 th century. Although the stelae were engraved at the same time, but each stele has specific artistic characteristics. This art of sculpture got out of the royal styles and gradually more accessible to working people. 12 12 Nguyen Du Chi, The decorative art on Jinshi Bei of Le dynasty in Hanoi Temple of Literature, pp 411-413. 128
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY In addition, the style of Jinshi Bei in this period developed along with the development of Confucianism occupied a unique position. The first type of stelae is the beginning ones, while the second type is the sublimation of Jinshi Bei. This development helps us to see the class of Jinshi has become an important part of people's lives. - Type 3: Fixed They are composed of 43 stelae from 1717 to the last. We can easily see that the stelae of this period are higher, wider and thicker than the stelae of the previous period. The stelae are average 1.70m to 2.10m high and 1.15m to 1.30m wide. The bottom of this type has a clear transformation to turtle with a short neck, small eyes, no fangs, big legs, clear five claws and in its shell decorated by the figure of a hexagon. The turtle shape of this period is much like turtles in real life. The style of art at the time was transformed from complex to fixed, showing the fixation in the stelae of Le dynasty. First, from the writing style, they all are completely used for revelation style ( 正楷 ). The brow and edge of stelae are decorated with flower patterns. The brow of the stelae are fixed to the shape of a "double dragon reach sun", the shapes of the dragon are lively natural. The edges of stelae are carved with wave cloud patterns, which shape of wave are wider, showing the fullness of art. 129
止善第二十二期 2017.06 130 盛德四年丙申科進士題名記,No.01342 永盛十四年戊戌科進士題名記,No.01301 景興七年丙寅科進士題名記,No.1366 己亥盛科進士碑記,No.1312 No.1306 景興三十九年戊戌題名碑 No.1368 景興十八年丁丑科進士題名記 No.01336 正和十八年丁丑科進士題名記
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY The patterns of the stelae s edge of this time have been transformed into simple styles with fixed ways. We again find out themes decorated with flower shapes that have become purely decorative patterns and repeat evenly in general. Why is there the change at this stage? If based on the relationship between the development of the Jinshi carving and Confucianism, it can easily find that Confucianism had consolidated its status, the stelae also followed it. The establishment of stelae is a discipline in the exams, the stelae have gradually reduced the art but instead is the fixed symbolic. 4.Comparative study about decoration of Jinshi Bei in Vietnam and China The Jinshi Bei of the Le dynasty basically imitate the Chinese ones. As mentioned above, the Jinshi Bei are the symbol of a Confucian education, therefore the development of stelae system expressed clearly the development of Confucian. This relationship is proved by in both Vietnam and China the stelae placed at Temple of Literature. From the Ming dynasty to the Qing dynasty, the Chinese stelae had big changed in the art of sculpture from simple to complicated. Coincidentally, the Vietnamese stelae also had transformed from the first type (simple) to the second type (complicated). In other words, the stelae of Vietnam and China had similarly changed at the same period, thereby it can make a question that whether it was really a coincidence. 131
止善第二十二期 2017.06 宣德二年進士題名碑記 ( 耿慧玲師拍攝,2015) Photo by Keng, Hui-ling,2015 乾隆十七年進士題名碑 ( 耿慧玲師拍攝,2015) Photo by Keng, Hui-ling,2015 大和六年戊辰科進士題名碑,No.01323 弘定十四年癸丑科進士題名碑,No.01315 132
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY Although it is influenced by Chinese culture, Vietnam has consistently preserved and developed its own cultural identity in the history of national development. Experienced the thousand years of absorbing and harmonizing Chinese culture, Vietnam has created a culture deeply imbued with national identity. Confucius culture, after its introduction and have long development into Vietnam, was largely localized Vietnamese Confucianism. It can be said that Confucianism is a harmonization of Chinese culture and Vietnamese local culture. The inheritance and development of Jinshi Bei highlighted this important point with the way that not only reflects conscious acquisition with Chinese culture but more importantly, demonstrates the rules of the historical development of Vietnam. Jinshi Bei is regarded as an important symbol of Vietnamese traditional Confucianism. Chinese Confucian culture had influenced the value system of Vietnamese society. Vietnamese Confucianism was the integrated type of Chinese Confucianism and Vietnamese native culture. The development and improvement of Jinshi Bei not only present Vietnamese attitude towards Confucian culture but more importantly show the rules of the development of Vietnam's history. There were some significant differences between Vietnamese and Chinese Jinshi Bei, as follows: - The base of Vietnamese stelae usually carved in the form of tortoise mounted tablet while in the Ming dynasty only put directly on the ground or on square stone. The tortoise is traditionally considered a symbol in Vietnam culture, which was mostly used in folk songs and proverbs. - The stelae's name in the Ming dynasty and the Qing dynasty were often sculptured on the top, but in Vietnam, it was sculptured in the middle. - Besides, the Vietnam stelae used sunk sculpture type for carving name and information of Jinshi. While the Chinese stelae did not have any regulation. In the Ming dynasty had some information of Jinshi on stelae, but in the Qing dynasty did not. However, the Vietnamese stelae had various 133
止善第二十二期 2017.06 information of Jinshi and they were important sources to do research of Vietnam examination. 5.Conclusion It can not doubt that the art of Jinshi Bei of each period brings cultural features of that period, as well as its development attached with the changes of the Confucian education in Vietnam. Besides, the development of the art of sculpture of Vietnam and China has both similarities and differences. The "no appointment to meet" in the transition of art in each period of both countries is a worthy point to be paid more attention. Through a comprehensive assessment of the system of the Jinshi carving, it can say that the Jinshi Bei of the Le Dynasty are not only the earliest and most special ones, but also are the highest number. The 82 stelae Jinshi Bei of this dynasty are the cultural heritage of Vietnam and a valuable source of research in the study of the Vietnamese education system of the feudal period. Basically, the stelae of the Le dynasty have absorption from the Chinese stelae, but they were localized to suit the development of the national culture. The carving of stelae is from simple to complex and eventually forms its own fixed norms 13. Whether the fixed norms of Jinshi Bei is also the norms of Confucian education and norms of the status of the class of the Le dynasty. 13 耿慧玲 潘青皇, 從不規範到規範 黎朝科舉制度之特色, 廈門大學學報,2016 年第 4 期 (KENG Hui-Ling, PAN Qing-Huang,Aspects of the Imperial Civil Service Examination during the Lê Dynasty: A Formalizing Process, Journal of Xiamen University (Arts & Social Sciences), 2016(04.) 134
A STUDY ON DECORATIVE ART OF JINSHI BEI IN LE DYNASTY Bibliography( 依作者姓氏筆畫多寡 字母順序排列 ) ( 清 ) 李周望輯 明清歷科進士題名碑錄 ( 臺北 : 華文書局,1969 年 ) 邢鵬 明代進士題名刻石調查與研究 首都博物館論叢,2012 年 朱保炯 謝沛霖編 明清進士題名碑錄索引 ( 上海 : 上海古籍出版社 1984 年出版 ) 江慶柏 清進士題名碑考述 古籍整理研究學刊 第六期,2009 年 11 月 金其楨 中國碑文化 ( 重慶, 重慶出版社,2002 年 01 月 ) 耿慧玲 潘青皇 從不規範到規範 黎朝科舉制度之特色, 廈門大學學報,2016 年第 4 期 郭蓋 斑駁的石頭清晰的史 進士碑上讀春秋 北京記事 2009 年第 8 期 鄭克孟 進士題名碑及越南中代儒學科舉制度之教育政策, 陳文新, 余耒明編, 科舉文獻整理與研究 : 第八屆科舉制度與科舉學國際學術研討會論文集,( 湖北 : 武漢大學出版社 2013 年 4 月 ) 黎貴惇 黎朝通史 ( 考古院藏本, 編號 VS-I5) 潘青皇 傳承與新變 黎朝進士題名碑研究 碩士論文, 嘉義 : 國立中正大學中國文學系暨研究所,2015 年 Ngô Đ c Th Văn i i n ăn i u- u i m hăng Long N i Nh u t n N i. Nguyễn u hi gh huật r ng r r n i i n Đ i ăn i u i Tạp h h o c s 5-6 (1970), pp 110-143, in Nguyễn u hi r n Đ ng m i Đ p h ng Nh u t n Văn óa n T c N i. Trịnh Khắc Mạnh, Nguyễn Văn Nguyên Philippe Papin, Tổng tập thác bản văn khắc Hán Nôm, Hà N i : Nhà Xu t B n Văn Hóa-Thông Tin, 2005. 135
止善第二十二期 2017.06 越南黎朝進士題名碑紋飾之研究 越 中紋飾之比較 潘青皇 國立中正大學歷史學系博士生 摘要進士題名碑作為越南國家對傳統儒學重視的重要標誌 中國儒家文化影響了越南社會的價值體系, 因此越南儒學是中國儒學與越南本土文化的綜合型 黎朝進士題名碑紋飾從黎初到黎中興已有明確改變, 從簡單到複雜和最後是固定化 越南黎朝進士題名碑系統的發展與完善不僅呈現越南人對儒家文化的態度, 更重要的是呈現出越南歷史發展的規律 本論文一方面釐清整個越南黎朝進士題名碑紋飾發展脈絡, 同時根據中越進士題名碑的紋飾比較, 進一步說明越南進士題名碑系統的傳承與新變的重要內涵所在 關鍵詞 : 進士題名碑 越南 黎朝 紋飾 136