海昏侯墓“孔子衣镜”的弟子选配旨趣及相关问题蠡测  

Choice and Collocation of Confucius’ Disciples from the Confucius Mirror in Haihun Marquis mausolean

作　　者：王刚[1] Wang Gang(History Culture and Tourism School,Jiangxi Normal University,Nanchang Jiangxi, 330022)

机构地区：[1]江西师范大学历史文化与旅游学院

出　　处：《地方文化研究》2019年第5期29-43,共15页Local Culture Research

基　　金：2016年度江西省高校人文社科重点研究基地项目“世界文化遗产视野下的海昏历史文化价值研究”(项目编号：JD16096)阶段性研究成果

摘　　要：海昏侯墓孔子衣镜中的孔门弟子选配,采取的是五加二的模式。笔者揣测,这可能是一种有意的安排。这种安排,一方面因孔子毕竟不是天子,故而用“世家”规格,以贴近事实;另一方面,总数为七,又不用七人直接相配,既是对其“王者”的认可,同时又是对于“素王”之“素”的一种体认。在早期儒家的弟子排序中,子张、曾子、澹台灭明作为直追“十哲”者,比之其他弟子,应该有着不一样的分量。这三位弟子的进入与编排,有着内在的寓意。这些安排,很可能都与刘贺过去的遭遇有着内在的关联,传达了撰作者的“《春秋》笔法”,与刘贺的际遇和心境相结合,能窥见某些内在的“微言大义”。As a Intentional arrangement, there was model of “Five plus two” on choice and collocation of Confucius' Disciples from the Confucius Mirror in Haihun Marquis mausolean. On the one hand, there was rank of “feudal lord”(世家)through five disciples collocation;On the other hand, there was the implication of “Su Wang”(“素王”) through seven disciples collocation. Because Zizhang(子张),Zengzi(曾子)and Tantai Mieming(澹台灭明)had more influence than Other disciples, they were organized into the Confucius Mirror, which had internal relevance with Liu He's past experiences, and conveyed Liu He's “Sublime words with deep meaning”(微言大义).

关 键 词：孔子衣镜 孔门弟子 选配 《春秋》笔法 

分 类 号：G122[文化科学]