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December 31, 2006
大窑龙泉窑遗址考古
去年， 我们曾在十二月到大窑考察。今年我们师生二人应邀参观发掘现场，不能成行，真可惜
大窑龙泉窑遗址考古发掘最新情况：出土部分瓷片标本
2006-09-29
近日，由浙江省文物考古研究所、北大考古文博学院、龙泉市博物馆联合组成的考古队对大窑龙泉窑遗址进行考古发掘，发掘面积1000余平方米，目前已出土了一些瓷片标本、窑具等遗迹、遗物。
大窑龙泉窑遗址于1988年被国务院列为全国重点文物保护单位，位于龙泉市南约50公里的琉华山下。遗址主要分布在小梅、查田二镇六个行政村，经考古调查表明有五代--明代龙泉窑遗址126处，每处遗址上碎瓷品堆积十分丰富，保存较为完整。2002年以来，浙江省文物考古研究所就向国家文物局申请对国家级文物保护单位--大窑龙泉窑遗址进行考古发掘。
这次大窑龙泉窑遗址考古发掘是继1960年文物考古部门对大窑龙泉窑遗址进行发掘以后的又一次主动性考古发掘，通过对出土遗迹、遗物的研究，将进一步探明龙泉窑的发展变迁、烧成技术及其渊源、处理方式、产品种类，为大窑龙泉窑的考古发掘提供更多新的实物依据和科学资料。大窑龙泉窑遗址一期考古发掘将在2006年12月份结束。
Posted by limz at 05:41 PM | Comments (0)
December 19, 2006
晚明的时尚
这个帖子将慢慢的汇集晚明的时尚，
1。 明代平民服饰的流行风尚与士大夫的反应（巫仁恕）
2。 蜀中妇女的裙子，都是在白罗上用红丝碧线绣成风流的香艳诗句，然后飘若惊魂地在市井间盈盈经过，路上行人都注视着绣裙上的文字。
3。 蜀中女子流行穿一种高底、厚约三四寸的绣鞋，鞋跟是用檀木雕琢而成，里面藏着香檀雕的雏花，并放进香末，高底鞋跟下开个小孔，每走一步足底下就会漏出一朵雏花状的香末。
4。来看看这双鞋：窄尖头、细高跟，鞋面、鞋带、鞋跟缀满水晶、人造宝石、羽毛甚至绣花和丝缎。据说在40步外，人们就可以准确无误地凭优美的弧线认出Manolo Blahnik。而在这家店里，很难找到鞋跟低于2英寸的鞋子，因此，它的商标就是一 只拥有高得不能再高的鞋跟和尖得不能再尖的鞋头的皮鞋。
这些起始价格为500美金的细高跟鞋，有个别名叫“礼车鞋”（Limousine Shoes）。因为穿上这种鞋，美则美矣，最多只能走半条街，非有礼车跟在左右。但，Manolo Blahnik的高跟鞋，强就强在跟虽高，重心却平稳，据说穿了跳舞脚也不痛，难怪它成为女星们参加地毯秀的首选。在历届奥斯卡颁奖礼上，如果说阿玛尼是“制服”，那么Manolo Blahnik就如同大会“指定用鞋”。据说，天后歌星Kylie Minogue（凯莉·米洛）与好友合写的自传出版权以100万英镑的订金成交，是因为出版商赠送了凯莉一双Manolo鞋才搞定这场自传版权争夺战的。万人迷Brad Pitt（布拉德·皮特）与Jennifer Anis-ton（安妮斯顿）的世纪婚礼上，美丽的新娘脚上搭配的便是Manolo Blahnik设计的象牙色鹿皮高跟凉鞋。猫王之女Lisa Marie拥有着50多双Manolo Blahnik鞋，而Sarah Jessica Parker她根本搞不清楚自己有多少双Manolo鞋。她总是在买，总是在无法控制地买。性感天后麦当娜索性说：“Manolo皮鞋感觉一流，比性更持久。”喂，这么直露的广告语岂不让别的鞋商抓狂？所有的女人都喜欢买Manolo Blahnik鞋——成打儿地囤积，为它们量身订制壁橱和大旅行箱，甚至，为了第一个拥有某种样式特别的新款，她们不惜贿赂店员小姐。 想想吧，任何一个女人，只要她的脚曾滑进一双蜥蜴皮的吊带鞋，或是在晚宴前扣上那根缀满水晶的带子，都会立刻体味到它们激起的纯粹甚至略带邪恶的快感。Manolo的做工如此体贴，可以恰到好处地显示出你腿部最性感优雅的弧线；你能看到最炫目的色彩和不可思议的材质，完全无法抗拒！正如Sarah Jessica Parker所说——“每一双Manolo鞋都应该放入凡尔赛宫陈列。”
一如女人们爱着Manolo鞋，Manolo Blahnik先生也如此爱着女人们。“我珍爱那些忠诚的顾客，为了使之不朽，我会以她们的芳名命名心爱的鞋！”这位设计师在他意大利的工厂里接受BAZAAR的采访时说，“China Chow一个月大的时候我就认识她了，她妈妈（设计师兼模特）Tina Chow是我最亲密的朋友；而Sarah Jessica Parker仿佛有一种魔法，她有着不可思议的品位，非常纽约化，非常优雅，根本不同于《性感城市》里那些张狂怪异的女人。”
和许多著名时尚品牌一样，Manolo Blahnik就是设计师本人的名字。1942年，他出生在西属加纳利群岛。尽管生活在一个人烟稀少的岛上，Manolo的母亲却保持着一种相对时髦的生活方式，她订阅大量美国、法国的时尚杂志，定期去巴黎旅行，也跟当地土著学做鞋，Manolo对鞋子的最初热情，就是看着牛皮和布转变成一双鞋的神奇经过开始的。
Manolo Blahnik从伦敦起步，开始设计男鞋。但是几年后他发现男鞋的发挥余地很小，于是转向女鞋领域。他率先制造出优雅的细高跟鞋，顿时一炮打响。他的设计灵感有时来自维斯康蒂和让·考可多的实验电影，有时来自法国十八九世纪的那些沙龙女主人，有时来自委拉斯盖兹的古典油画，还有的来自夏奈尔，特别是他母亲喜欢的“巴黎世家”的时装系列。
尽管不怎么做广告，但是他的名声却越来越大。多年来，他的鞋都坚持手工制作，绘画，他对自己的品位充满了自信，也无意于扩大位于意大利的“小作坊”。他坚持认为：“我一点都不跟随潮流，但是我热爱女性，希望做点事儿能让她们显得更美，仅此而已。” 她们对Manolo Blahnik的鞋“热爱得无以言表”，正如Manolo对她们的热爱一样。
Posted by limz at 08:23 PM | Comments (0)
December 12, 2006
2006年南京青瓷學術研討會
Source: Yuan Jian Singapore
青峰翠色──2006年南京青瓷學術研討會
文／廖桂英
〈青瓷魂瓶座〉，鴻山越國貴族墓出土。 (舒佩琦)
中 國古陶瓷學會2006年南京年會暨青瓷學術研討會於11月4日至9日召開。在歷屆會長多年的努力下，古陶瓷學會的專業形象，使得每屆年會及學術研討會均吸 引了海內外學者踴躍參加，今年有包括英國東方陶瓷學會及日本東方陶瓷學會的專家、新加坡的收藏研究團體、韓國梨花大學教授等與會。此次年會的大事之一為推 選出國際知名陶瓷鑑定專家耿寶昌擔任會長，且為長遠性的會務推展，增選出上海博物館副館長陳克倫、湖南省博物館副館長李建毛及河南文物考古所所長孫新民等 青壯輩人才為副會長，老幹新枝的組合齊心為陶瓷學界貢獻心力。
會程豐碩
此次研討會是學會首次以青瓷為主題，結合了南京博物院、南京市文化局和文物局、杭州市歷史博物館、浙江省博物館及考古所、安徽馬鞍山市博物 館，無錫、上虞、慈溪文管處等單位，於會場討論外，更安排與會者奔馳1,300公里、跨越三省六市參觀博物館青瓷特展陳列及考古發掘現場，160餘位學者 專家直呼大有收穫。
〈青瓷羊〉，安徽省朱然家族墓出土。 (舒佩琦)
研 討會共有24位學者專家發表，綜合出土或傳世青瓷個別陳述觀點和研究所得。江蘇省考古所所長簡介無錫鴻山越國貴族墓地出土青瓷，2004年開始發掘，墓中 發現完整的青瓷禮器與樂器，並首次揭開越國貴族墓地的分布與規律及墓葬等級。三座墓葬出土陶瓷樂器達五百餘件，龐大的古代樂器庫除了彰顯越國高水準的陪葬 品風采，也提供研究古代陶瓷、禮樂制度與吳越文化的資料。
馬鞍山市博物館副館長周雪梅講安徽省馬鞍山市出土三國兩晉青瓷，主要說明了朱然家族墓群墓葬情況。朱然是三國東吳左大司馬、右軍師，與孫 權為兒時玩伴。1984年發掘其墓，墓中出土文物140餘件和銅錢六千餘枚，其中漆木器有80餘件。1996年再次發掘家族墓地，出土浙江製作的青瓷羊和 青瓷明器26件，為重要的三國青瓷考古發現。
〈青瓷穀倉罐〉，朱然家族墓出土。 (舒佩琦)
南 京市博物館副研究員主題為南京出土孫吳釉下彩繪瓷器；浙江省博物館副研究員王屹峰提出浙江原始瓷及印紋硬陶窯址群的調查與研究；上海博物館研究員陸明華、 周麗麗分別提出歷代青瓷燒造、南京出土早期青釉褐彩器幾個問題的思考。日本大阪市立東洋陶瓷美術館學藝員小林仁以流利的中文發表西晉青瓷俑考，他說明青瓷 俑的產生是隨著青瓷生產的興盛而發展，特別有密切關聯的是三國東吳至東晉時期、流行於長江中下游地區的青瓷穀倉罐。穀倉罐又稱魂瓶、堆塑罐，象徵五穀豐 登、多子多孫。堆塑的亭台樓閣及胡人形象與升仙意義吻合，且在造型和製作技法與俑有很多共同點。英國柯玫瑰主講在19世紀末和20世紀初西方對中國青瓷的 看法。她以1896、1911、1915年連續出版的三本重要英文作品名稱追蹤1878～1915年（約當清末到民國初年）西方大眾與學界對中國青瓷的認 識、收藏和看法。台灣雲林科技大學助理教授陳瑋靜發表唐代瓷器流通──以安史之亂後的越窯和長沙窯討論為中心，立論精闢獲得一致好評。浙江省博物館副館長 李剛以祕色瓷之祕再探，說明文獻與實物的互證。
〈青瓷燈〉，朱然家族墓出土。 (舒佩琦)
新 加坡飲流齋陶瓷鑑賞會會長林亦秋報告印尼爪哇井里汶沉船的越窯青瓷，十餘萬件的青瓷器皿為10世紀之物，其中九萬多件為碗盤。杭州市歷史博物館副館長唐俊 杰發表修內司官窯──杭州老虎洞官窯，以出土實證說明並解決了近年來老虎洞窯址的紛紜眾說。日本常盤山文庫研究員佐藤薩萊發表日本所藏的米色釉青瓷官窯， 目前由發表文獻看來，日本收藏有五件，四件已確定收藏單位。過去一向認為米黃褐色又有開片的青瓷是氧化燄窯變造成的失敗青瓷，近年來以實物與出土郊壇下官 窯瓷片比對，顯然不能再以失敗青瓷的說法草草以對，應該更積極的視為補充材料去探討官窯的全貌。日本東京國立博物館研究員今井敦發表飛青瓷花瓶小議，說明 帶有褐斑的傳世青瓷，因茶道觀賞與使用，在日本相當受到珍視。飛青宋瓷打破宋瓷所追求的和諧，刻意突出鐵斑褐彩與器足露胎處的紅褐色，與青瓷本身的釉色三 者對比，匠心獨運，別具情趣，是青瓷發展的最新境界。
Posted by limz at 02:35 PM | Comments (0)
December 03, 2006
Inscribed Landscape in 6th century China
---two groups of religious inscriptions in Shandong
Li Min
Stone Classics and the Fairyland of Zheng Daozhao
The first group of inscriptions was attributed to Zheng Daozhao (455-516) of the Northern Wei period. The original stones were located on the stony mountains of the Laizhou region in the Shandong Peninsula of eastern China. These inscriptions were produced during an era of political turbulence and social tension. After the collapse of the Han Empire in the 3rd century, several shorted lived attempt to establish an empire in its model were eventually overrun by tides of foreign invasions. One of these foreign dynasties was the imperial court of Northern Wei, established by the Xianbei tribes from northeast China. These foreign dynasties employed Confucian scholars in the government as the latter mastered the knowledge and the philosophical trappings for operating an empire like Han. As same political knowledge also threatened to deny the rulers legitimacy and authority, tension always existed between the Xianbei rulers and the native Confucian scholars.
The prominent Zheng family of Yingyang (present day Kaifeng, Henan) produced generations of Confucian scholars who advised rulers of the Han Empire and the successive dynasties. At age 24, Zheng Daozhao followed the steps of his father and brother to become a high ranking official in the Northern Wei court. His appointment in the court coincided with period of the social reforms implemented by the Xiaowen Emperor to adopt the Han political, social, and cultural institutions. The emperor was deeply impressed by his talent. To consolidate ties with this prominent family, the Xiaowen Emperor even married Zheng Daozhao’s sister.
After the death of Xiaowen Emperor, Zheng’s political career entered a downward spiral. He was first demoted for a cousin’s involvement in a failed coup plot. Then, the Xuanwu Emperor, who was indulged in his royal patronage of Buddhism, turned a deaf ear to his multiple proposals of reviving the imperial college and promoting the Confucian classics. In addition to providing education to students in the imperial college, he proposed to continue the Han tradition of carving the Confucian classics on stone tablets for public to access. The carving of these Stone Classics was once central to Han imperial politics, whereas the prevailing school got to inscribe their version of classics on the stone thus establishing cultural legitimacy. Against the backdrop of imperial patronage of Buddhism, Zheng’s proposal revealed a strong self-awareness of the political power of historiography and classics.
At the age of 55, the disheartened Zheng Daozhao left the capital to be the governor for the region of Guangzhou (present day Laizhou). In this land endowed with legends of immortals and fairy land, Zheng Daozhao found inspirations in the local religious ideals and turned local stones and landscape as media of his personal expression. With a profound tradition of religious Daoism, the Shandong Peninsula had been a favorable destination for those in the pursuit for immortality long before the First Emperor of Qin made his personal visit. Zheng Daozhao found escape from the harsh political realities through his own self-indulging quest for immortality and spiritual freedom. Accompanied by his deputies and Daoist priests, the governor roamed around the mountainous terrains of Guangzhou, composing poetry, playing music on zither, debating philosophical matters from Lao-tzu and Chuang-tzu, and enjoying the beautiful landscape.
Zheng Daozhao left over forty inscriptions on cliff faces and large boulders within the last five years of his life. Scholars have not reached a consensus on the authorship of the calligraphy. It was generally attributed to Zheng himself, but his deputies could have lent their hands. Two of large cliff inscriptions each served as monuments to commemorate his late father, in which Zheng subtly defied the charges of corruption against his late father by the emperor. The rest of inscriptions were primarily romantic commentaries from his enlightening journey through the mountainous terrain. The choice of their locations were well integrated with the landscape. At the top of Yunfeng (the Cloudy Peak) Mountain is a group of inscriptions carved on natural granite, which list the names of nine immortals. One of them states “the Mountain of Taishi where the Prince of Jin resided riding a phoenix,” “the Mountain of Kunlun where the immortal Xianmenzi resided riding the sun,” and “the Mount Hua where the philosopher Lie-tzu resided riding a phoenix,” and “the Mountain of Yuegui where the immortal Fuqiuzi resided riding a wild swan.”
Zheng Daozhao’s imagination is best represented in the inscription “Up the Heavenly Pillar and down the Cloud Peak,” which combines the spectacular landscape, the dynamic calligraphy, the poetic expression, the rich stone texture, and the masterful carving in a single piece. Here the governor portrayed himself as a fairy riding the cloud, ascending freely among his favorite mountains. In other inscriptions, he named the natural peaks as gates to his imaged mountain home and identified locations of altars where he might take off into the land of the immortals in the mid night. When examined against the backdrop of his failed political career in promoting the tradition imperial order framed on Confucian classics and the increasing imperial patronage of Buddhism, Zheng Daozhao’s declared pursuit of spiritual freedom can be seen as deliberate defiance of the prevailing state ideology.
The inscriptions, the calligraphy, and the locations reveal a scholar official seeking spiritual escape from the disappointing social realities during the last years of his life. It is a tradition increasingly popular among literati of later historical China. Centuries later, we found similar quests in the poems of Li Bai. By then, however, the Zheng Daozhao inscriptions themselves have fall into oblivion. The inscriptions were first documented by scholar Zhao Mingcheng in the 11th century, whose antiquarian pursuit of ancient bronzes and steles became the prelude to China’s archaeological research.
The Stone Sutra and the Mission of Seng An Daoyi
The second group of inscriptions centers in the southern slope of Mount Tai region, centered at the city of Zouxian, the home of Mencius. In the final decades of the sixth century, local patrons and monks transformed the mountains and hills around Mount Tai into a sacred landscape with religious inscriptions of unprecedented scale.
In the 560s, the concept of mofa, the eminent destruction of the Law and the complete extinction of Buddha’s teachings, became popular in northern China. Two tragic episodes of religious persecutions against Buddhism in 446 and 574, along with the carnage of foreign invasions and domestic unrests, demonstrate the inevitability of the destruction. Inside the state of Northern Zhou, a religious persecution against Buddhism and Taoism was launched as an imperial verdict in 574.
Monasteries were confiscated and monks and nuns forced to return to secular life.
In the neighboring state of Northern Qi, where Buddhism enjoyed the state patronage, religious devotees became seriously concerned over the prophecy and the threat perpetrated by the impinging Northern Zhou state, which eventually conquered the Buddhist country. At the critical time, a highly respected monk Seng An Daoyi undertook a monumental effort of carving passages of Buddhist sutra on granites hills, cliff faces, natural boulders, in numerous places of Shandong and Hebei, some covering an area of 6000 sq. meters. The project was aimed at using the enduring quality of granite and the monumental scale of the inscription to preserve and promote Buddhism teaching against apocalyptic dangers.
We know little about Seng An Daoyi as a historical figure other than the small amount of information mentioned in the inscriptions. However, many patrons enlisted for support were prominent historical figures in the Northern Qi state, their associates, as well as elite women. Influential local clans were also named in the sponsorship, indicating that Seng An Daoyi was actively soliciting support both in the capital and in the local communities. The project went on as the region fell to the Northern Zhou invasion, and terminated soon after the emperor died in 578 and policies of religious persecution were reverted by his successor.
At Tieshan (the Iron Mountain), the relief image of a giant stele was carved on a large granite slope. The stele, which has dragons on the top and turtles at the bottom, features passages from the Great Collection of Sutras (Dajijing), nearly a thousand characters in 16 columns. Each character measures nearly two feet wide, and the whole text covers an area of 1000 sq. meters. Next to the Stone Sutra was the Stone Eulogy (Shisong), a 700 character essay written by a disciple or someone very closely associated with the project documenting the effort. Two pieces displayed here comes from the Stone Eulogy, “silk and bamboo can easily perish; metal and stone are hard to destroy,” highlights the materiality of the religious text, which aims to “preserve (the sutra) on the high mountain and to survive forever” (Stone Eulogy).
The Stone Eulogy also placed the giant Buddhist stele in the historical context of stone inscriptions in early China, claiming that it dwarfs the predecessors by the King of Zhou and the First Emperor of Qin, who were seen as self-promoting rulers in contrast to the religious mission of the religious undertaking. The author further draws attention to the artistic achievement of Seng An Daoyi’s calligraphy: Master An “whose practice of the Way mirrors non-duality and whose virtue shows enlightenment from the single source… whose skill in calligraphy is also of highest order, who was requested, with the sagely brush, to transcribe the sutra passage” (translation from Harrist 2003). The author places Seng An’s brushwork at the highest rank among the canonical masters from the second century onward. The long scroll on display claims that
Its qing (elegance) surpassed Wang Xizhi and Wei Yan.
And miao (refined) goes beyond Zhang Boying and Zhong You,
Like a dragon coiling in the mist,
Like a phoenix leaping over the clouds.
This statement adopted established vocabularies for evaluating artistic talent, which were first used in calligraphy and later used in paintings. Particularly noteworthy among the canonical masters was Wang Xizhi of the fourth century, who was regarded the most talented calligrapher in Chinese history. The Neo-Daoist aristocrat was best known for his Lan-Ting-Xu, a treatise on the leisure of a scholarly gathering and a masterpiece of Chinese calligraphy in history. Wang’s free-flowing style and religious aspirations resonated well with people like Zheng Daozhao, but not in sync with the Buddhist doctrine.
It is significant that the undertaker of the project sorted to enhance the religious experience with the art of writing along with the choice of the content, the media, and monumental scale. The emphasis on calligraphy, even over issues concerning the very existence of the universe and laws, reveals the critical awareness of style as an importance source of legitimacy, which is deeply rooted in the culture of literati. While Buddhism changed the sense of scale for Chinese culture, it was being transformed by the latter in its effort of evoking the aesthetics of writing to convey its religious message.
Inscriptions at other locations also took on breathtaking scale and thought-provoking layout. At the Gangshan, giant boulders and cliff faces scattered around the hilltop and steep valley were inscribed with a passage, a word, or a character from the sutra. These apparent scatter of texts only became meaningful once connected in one’s mind. Thus the whole hill, which was a symbolic representation of the sacred mountain in Buddhism, amplifies the beautiful message whereas “hundreds and thousands of wonderful sound, of beautiful fragrance, fill in the grottos and crevices of mountain.”
At Mount Tai, the inscriptions took on an even grander form, where the 3000 characters passage from the Diamond Sutra was carved onto a large sheet of granite of 6000 sq. meters at the streambed of the Sutra Stone Valley. As the mountain creek emerges from the forest and approaches this open field of granite, the water fans out and flows over columns of large characters, a symbolic metaphor for the passage of time against the enduring wisdom. Examples of these large characters are present here at the exhibition. In contrast to the dynamic style of Zheng Daozhao, the calm beauty of Seng An Daoyi’s writing appears far detached from worldly concerns.
From the Stone Classics as an ideal in Zheng Daozhao’s political aspiration, to Zheng’s playful addition of his own inscriptions on stones in their natural landscape, and finally to Seng An Daoyi’s monumental effort to carve sutra over huge granite slopes and stream beds, the established genre of inscribing text on stone has gone through dynamic transformations during the 6th century. Through this transformation, writings on stone have gone beyond simply conveying permanence and public access. In the case of Stone Sutra Valley, whereas the water ran over the text on granite, the materiality of text is manifested in a fascinating interplay of media, space, time, and motion.
Although the circulation of these writing in the form of ink rubbings during the recent centuries could not capture the full spectrum of motions involved, the connoisseurship of these writing in their paper form established a social life of its own right. The rubbings of the Zheng Daozhao inscriptions and the Stone Sutras became the subject of intense study by scholars of late 19th century. After over a millennium in oblivion, their artistic achievements became highly promoted by scholar and political reformer Kang Youwei (1858-1927), for whom the vitality and originality of these works represented the art of writing at the highest rank. Even the deformation on the ink rubbing caused by texture of granite and the weathering of carving were appreciated as part of the aesthetics. For Kang, these mountain inscriptions represent a new and original source of artistic inspiration in contrast to the misrepresentation and corruption of the masterpieces by repeated effort of reproduction after 8th century.
Since the aesthetics based on the corrupted reproduction of Wang Xizhi’s calligraphy was established as canonical for writing the imperial civil servant system, Kang Youwei’s radical rebuttal of the canon and high-profile promotion of these inscriptions was clearly aimed at undermining the status quo and advancing his reform agenda in political as well as cultural arena. These two groups of calligraphy, each a product of the intense political circumstances of its time then silent for a millennium, were finally placed on the center-stage of art and political discourse of a modernizing China in late 19th century.
References:
Harrist, Robert 2003. The virtual stele on Tieshan and the engraved sutras of Shandong province. Oriental Art 49(4): 2-13.
Jiao Desen and Wei Guangping (eds.) 2003. Beichao moya kejing yanjiu xu (research on the cliff inscriptions of Buddhist sutra II). Hong Kong: Tianma Publishing Co.
Shandong shike yishu bowuguan and Zhongguo shufajia xiehui Shandong fenhui (eds.) 1985. Yunfeng zhushan beichao keshi taolunhui lunwen xuanji (collection of papers from the conference on Northern Dynasty inscriptions of the Yunfeng and other mountains). Jinan: Qilu shushe.
Zhongguo shufajia xiehui Shandong fenhui and Shandong shike yishu bowuguan (eds.) 1991. Beichao moya kejing yanjiu (research on the cliff inscriptions of Buddhist sutra). Jinan: Qilu shushe.
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