荷蘭漢學家高羅羅佩（Robert van Gulik）於1941年9月撰寫的這篇文章，最近在萊頓大學圖書館的龐大檔案中出土。
本文探討了東皋（1639-1695，又稱心越，日文為 Shin’etsu）的生平事蹟，他是一位中國僧人，在滿族推翻明朝之後前往日本。作為出版其文集的努力之一，高羅佩在撰寫這篇文章時已研究東皋有時，原定於 1941 年在日本發表，不巧太平洋戰爭就爆發了。。這篇文章但尚未等到範古里克發表，
進一步了解Van Gulik 的這篇文章，以及他為東皋禪師所做的大量準備工作（這些準備工作也可在我們的新特藏博客中找到）：Robert van Gulik 待出版的作品：東皋禪師文集。
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您是否想在您的研究計畫中研究 Van Gulik 檔案？透過➡️ https://www.library.universiteitleiden.nl/....../rober......查看我們的新 Robert van Gulik 研究獎學金
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This article written by Dutch Sinologist Robert van Gulik in September 1941 was recently unearthed in his vast archives at Leiden University Libraries. The paper explores the life and times of Donggao 東皋 (1639-1695, aka Xinyue 心越, Shin’etsu in Japanese), a Chinese monk who left for Japan after the Manchu conqueror overthrew the Ming dynasty. Van Gulik had been studying Donggao for a while when he wrote the article, as part of an effort to publish his Collected Works. The article was due to be published in 1941 in Japan, but before Van Gulik could publish it, the Pacific War broke out. Learn more about this fascinating article by Van Gulik, and the myriad preparations for Donggao that were also found in the archives in our new Special Collections Blog: Unpublished works of Robert van Gulik: The Collected works of Ch’an Master Tung-kao. Do you want to study the Van Gulik archives in residence for your research project? View our new Robert van Gulik research fellowship via 
https://www.library.universiteitleiden.nl/....../rober......Asian Library #Chinesecollections #china #robertvangulik #vangulik #chinesestudies #history #historyofchina #donggao #japan #collectedworks #discovery #archives #fellowship #specialcollectionsblog #special #collections #specialcollections #universiteitleiden #leidenuniversity #leidenuniversitylibraries
This article written by Dutch Sinologist Robert van Gulik in September 1941 was recently unearthed in his vast archives at Leiden University Libraries.
The paper explores the life and times of Donggao 東皋 (1639-1695, aka Xinyue 心越, Shin’etsu in Japanese), a Chinese monk who left for Japan after the Manchu conqueror overthrew the Ming dynasty. Van Gulik had been studying Donggao for a while when he wrote the article, as part of an effort to publish his Collected Works. The article was due to be published in 1941 in Japan, but before Van Gulik could publish it, the Pacific War broke out.
Learn more about this fascinating article by Van Gulik, and the myriad preparations for Donggao that were also found in the archives in our new Special Collections Blog: Unpublished works of Robert van Gulik: The Collected works of Ch’an Master Tung-kao.
Do you want to study the Van Gulik archives in residence for your research project? View our new Robert van Gulik research fellowship via https://www.library.universiteitleiden.nl/....../rober......
https://www.library.universiteitleiden.nl/....../rober......Asian Library #Chinesecollections #china #robertvangulik #vangulik #chinesestudies #history #historyofchina #donggao #japan #collectedworks #discovery #archives #fellowship #specialcollectionsblog #special #collections #specialcollections #universiteitleiden #leidenuniversity #leidenuniversitylibraries
作者簡介
高羅佩，荷蘭職業外交官，通曉15種語言，主要任職於遠東各國。他曾評價自己一身三任：外交官是他的職業，漢學是他的終身事業，寫小說是他的業餘愛好。作 為一個西方人，高羅佩對中國古代琴棋書畫十分著迷。他20歲開始練習中國書法，且終生不輟學；他研究中國古琴，師從古琴大師葉詩夢，並與於右任、馮玉祥等組織天風琴社；他能寫中國舊體詩詞，與郭沫若、徐悲鴻等大師都有唱和；齊白石、沈尹默等人的畫上也有他的上款。
《大唐狄公案》的插圖皆為他自己所畫。 1943年，高羅佩任荷蘭駐重慶使館一秘，與同在使館工作的中國洋務大臣張之洞之外孫女水世芳結為伉麗。
他一生研究當學著作頗豐，學琴，著有《中國琴道》，考證中國文獻中的猿，親自飼養猿，著有《長臂猿考》，出版《書畫鑑賞彙編》，教西方人辨識中國文物；編《東皋禪師集刊》，翻譯陸時化的《書畫說鈴》。
他一生研究的另一個重要領域是中國古代性文化，寫下《秘戲圖考》、《中國古代房內考》。而大型推理探案小說集《大唐狄公案》則是一部在東西方讀者中影響最大的書。
大唐狄公案(套裝上、下卷)(全譯註釋本) 作者:(荷蘭)(Robert H.Van Gulik)高羅佩 譯者:陳來元 胡明 等
全書以中國唐代宰相狄仁傑為主人公，描述狄公在州、縣及京都為官斷案，與民除害的傳奇經歷。全書故事紛紜，案情兇險，情節扣人心弦，謎底逼人追索。
作者筆下的狄公迥異於中國傳統公案小說“青天大老爺”，他有獨到的辦案風格：重效率而輕縟節，講操守而又善變通，重調查推理，而不主觀妄斷。狄仁傑斷案如神，被西方讀者稱為古代中國的福爾摩斯。
| R.H. van Gulik and the Qin 1 | Van Gulik in Chongqing ca.1945. From Janwillem van de Wetering, Robert van Gulik, His Life, His Work; New York, Soho, 1987. |
In 1941 Dutch diplomat Robert Hans van Gulik (1910 - 1967) published Lore of the Chinese Lute, still (via the revised edition of 1969) the primary published English language source for guqin history and ideology. Here are two discussions of his qin play and his studies with Ye Shimeng.2
- From a book by fellow diplomat Chen Zhimai.3 Music has always been a favourite pastime of the Chinese scholar-official. During his first sojourn in Japan (1935-42), Dr. van Gulik became interested in the guqin, a zither-type stringed instrument dating back to remote antiquity. He dug deep into the literature on the subject and learned to play it under the instruction of a Chinese teacher.4 His first serious book, The Lore of the Chinese Lute, was published by Sophia University in Tokyo in 1940. When I first knew him, he was already a master of the instrument. It was his habit to carry the guqin, a rather clumsy thing, to various social functions in Chungking, and when the dinner was over, to play a few tunes for his friends' entertainment.5 I well recall one occasion, a hot summer evening, when we all attended a dinner party in a house perched precariously on the bank of the Chialing, a tributary of the Yangtse. After we all had had our share, of food and drinks, Dr. van Gulik started to play an ancient tune which, according to the Chinese, "simulated the music of water flowing gently down the slopes of high mountains". It was a romantic occasion, romantic in the traditional Chinese sense, which Dr. van Gulik deeply loved, and which we all thoroughly enjoyed. For how could we help being enthralled by this young man from Europe, whose physical features were anything but Chinese, playing for us this tune which had remained in the Chinese mind for two thousand years. In subsequent years Dr. van Gulik gave many guqin concerts to overflowing audiences in wartime Chungking to raise money for charities. They were his contributions to China's war effort. His music therefore became an aspect of his diplomacy.6
- From Robert Van Gulik and the Guqin Scores of the Sinological Institute, Leiden,
by Dai Xiaolian (translated and adapted by Jonathan P. J. Stock), pp.31-2.7 From 1935 onwards, when van Gulik was posted to Japan, he frequently visited China to carry out study and research. He became a pupil of the famous guqin master Ye Shimeng, a member of the Fujian Minnan school of performance. Ye's teacher was Sun Jinzhai (dates not known [style name of Sun Bao]) and Sun's (teacher was) Zhu Fengjie (d. 1964; see Yuguzhai Qinpu). Van Gulik thus inherited a performance style of extensive tradition. Ye had a high standard of performance and was deeply respected by Van Gulik. (Ye) produced the Shimeng Zhai (Qinpu), a score of nineteen guqin pieces, teaching van Gulik Meihua Sannong first and later a total of ten pieces. Van Gulik was extremely upset when Ye died, dedicating The Lore of the Chinese Lute to his memory three years later (van Gulik, 1940). Van Gulik also carefully worked on a painting in traditional Chinese style entitled Master Ye Playing the Qin, the four edges of which bear the inscriptions of other qin players.8
Van Gulik's widow, Shui Shifang, said that the short time van Gulik spent living in China was the happiest period of his life. His transfer to the Dutch Embassy (1943), then located at the temporary capital Chongqing, enabled him to meet many well known qin players and aficionados, including Zha Fuxi, Xu Yuanbai and Wang Mengshu. Van Gulik joined and helped organise the Chongqing Tianfeng Qin Society, which met frequently for performance and discussion. The Dutch Embassy provided the Society with a meeting place, and van Gulik was able to collect a large number of guqin scores. These scores and treatises include hand-copied manuscripts and volumes and traditional block-printed and thread-bound books. Van Gulik purchased some of these items, copied others by hand himself and was given several by qin-playing associates.
Footnotes (Shorthand references are explained on a separate page)
1 This page only concerns van Gulik (Chinese name 高羅佩 Gao Luopei) and the qin. However, he was a scholar of great breadth. As a writer he gained his greatest popularity as author of the Judge Dee mysteries, which I often recommend to friends as a good introduction to early Chinese culture. The Judge Dee website of Marco Huysmans has much information on this, as well as a Scientific Bibliography of Dr. Robert Hans van Gulik
Here is a selected bibliography of Van Gulik's writings:
- Gulik, R.H. van, The Lore of the Chinese Lute. Tokyo and Rutland, Tuttle, 1969 (2nd ed.)
An essential resource; this edition out of print but reissued in 2008 by Orchid Books (Hong Kong). - Gulik, R.H. van, Hsi K'ang and his Poetical Essay on the Lute. Tokyo and Rutland, Tuttle, 1969. Out of print.
- Janwillem van de Wetering, Robert Van Gulik, His Life, His Work; NY, Soho Press, 1998 (originally D. McMillan Publications, 1987). Out of print.
- The Robert Hans van Gulik Issue, Orientations (Hong Kong), November 1981. Includes a bibliography and James Watt's The Qin and the Chinese Literati.
- 陳之邁﹕ 《荷蘭高羅佩》。 文史新刊之 5 ；台灣﹕傳記文學社， 1969. Chen Chih-Mai, Helan Gao Luopei (Van Gulik of Holland), 1969. An appreciation of Van Gulik by a fellow diplomat. Includes bibliography and comments on VG's qin playing (see above). This book is available in some university libraries in the U.S.
(Return)
2 Ye Shimeng 《葉詩夢 (1863-1937) 》
Dai Xiaolian's article also says Ye studied qin from Sun Jinzhai, who in turn studied from Zhu Fengjie. However, an article on the website of Julian Joseph says one of Ye's teachers was (also?) Sun's student Zhang Ruishan (see Shiyixianguan Qinpu). Zhang Ruishan had a shop in Liulichang (in Beijing).
Zha Fuxi also wrote an article (p.142) discussing some of these people.
3 Chen, op. cit. (see previous footnote), pp.31-2. "Lute" and "Chinese lute" have been changed here to "guqin". The essay was presented to the Asiatic Society of Japan, 24 September 1968. (Return)
4 Since Van Gulik's first qin teacher was 葉詩夢 Ye Shimeng (1863 - 1937; see footnote above), the qin studies must have commenced during one of VG's numerous trips from Japan to China. VG dedicates Lore to Ye as his "first teacher" of the qin, suggesting he later had other teachers.
As for his having also studied qin in Japan, a biography of Van Gulik in Dutch by Carl Barkman says the following (p. 64; thanks for this to Marco Huysmans, who has a Judge Dee website).
5 The Chinese essay, p.12, adds that in Chongqing VG organized a 天風琴社 Heavenly Air Qin Society. On p.50 its says that when he was in Hong Kong in early 1967 he took part in two qin gatherings where he saw such qin friends as 徐文鏡 Xu Wenjing and 饒宗頤 Rao Zongyi. (Return)
6 The essay goes on to discuss VG's research into 蔣興疇 Jiang Xingchou (1639-1695), better known as the Buddhist monk 心越 Shin-etsu. Shin-etsu went to Japan as a missionary in 1677 and taught guqin to many students. (Return)
7 A footnote states, "The information contained in this section is derived from (the Chen Zhimai book) and an interview with van Gulik's widow, Shui Shufang, held on August 1st, 1991." The whole article was originally published as Helan cunjiande guqinpu yu Gao Luopei in Yinyue Yishu, the Journal of the Shanghai Conservatory of Music, no.2, 1992, pp.67-71. (Return)
8 The painting is in the Rijksmuseum voor Volkenkunde (State Museum of Ethnology) in Leiden. Marco Huysmans, who has a Judge Dee website, informs me that "this beautiful picture of the scroll comes from the Catalog of Christie's Amsterdam for the auction of the Van Gulik collection in 1983 (page 14; item 49). The description says, 'Note by Van Gulik: "The picture was drawn by me, except for the face, which was copied by an expert from the photograph attached to the obituary notice"'. It was sold for 5,130 Dutch Guilders (about 2,500 USD)."
It is interesting to compare Van Gulik's drawing with Illustration 3 found on p.5 of his Lore of the Chinese Lute.
| Ye Shimeng by R. H. Van Gulik | Illustration from Qin Xue Rumen |
 |  |
http://en.wikipedia.org/wiki/Robert_van_Gulik
高佩羅
高羅佩是荷蘭職業外交官，通曉15種語言，曾派駐泗水、巴達維亞、東京、重慶、華盛頓、新德里、貝魯特、大馬士革、吉隆坡等地，從秘書、參事、公使到大使，仕途一帆風順。但大放異彩的卻是其業餘漢學家生涯並以此流芳後世。
高羅佩讀了法國作家凡爾納（JulesVerne）的小說《迷人的中國之旅》後，對中國文化著 迷，開始穿中國服、睡硬床、要做中國人。 1943年高羅佩任荷蘭駐重慶使館一秘，娶了係出名門的中國夫人水世芳，她父親水鈞韶曾任駐聖彼得堡使節及天津市 長，外祖父張之洞是洋務名臣。高羅佩與沈尹默、齊白石等名流交往，對中國文化的迷戀達到狂熱。品茶、弈棋、撫琴、吟詩、作畫、練字、治印、寫小說……儼然 一位名士。他效法古人，名高羅佩，另有笑忘、芝台等雅號。無論住在哪個國家，高羅佩的中式書齋格局不變，環壁皆書，書桌上擺著文房四寶，還有一張紫檀嵌花 臥榻，號稱「書滿架，落葉滿床」。他隨興之所至，為書齋取名集義齋、尊明閣、猶存齋等。
高羅佩對中國古樂頗有造詣，早年親炙於古琴大師葉詩夢。在重慶時與於右任、馮玉祥等人締結“天風琴社”，切磋琴藝。高羅佩撰有《琴道》一書，旁徵博引，將古琴樂譜、各種琴學著述，以及文學美術中涉及古琴的資料精心譯成英文，並加註釋，1940年以英文書名“The Lore of the Chinese Lute：An Essay in Ch’in Ideology」出版。
高羅佩是一位東方文物收藏家和鑑賞家。諸如古琴、書畫、瓷器、畫譜、琴譜、佛像等都是他收藏的 對象；北平琉璃廠、東京神田區、倫敦舊書店，都是他流連忘返之處。據長公子威廉回憶：曾為買一座觀音像，全家啃了幾個月硬麵包。高羅佩對收藏古物有自己的 主張，他不買稀世之珍，偏愛殘缺古物。他說：一張油漆剝落的古琴，仍可奏出高山流水之曲；名瓷之碎片，也不失為粉定龍泉。他對書畫進行鑑賞與研究，積十幾年苦功編成《書畫鑑賞彙編》，全書近600頁，插圖160幅，書末附有42種中、日紙張樣品，1958年以英文書名「Chinese Pictorial Art as Viewed by the Connoisseur」出版。
高羅佩著作等身，流傳最廣的是他別出心裁的中國古代偵探小說。他對清人公案小說《武則天四大奇案》中主角狄仁傑，屢破奇案大為折服，認為雖無指紋、攝影等現代科技手段，其訪案之細、破案之神，以及對犯罪心理之分析和推理之縝密，不亞於英國柯南道爾著名的偵探小說《福爾摩斯探案》。高羅佩看到西方偵探小說風行，許多人甚至認為除英美德法之外全無這類著作。為了不讓中國歷代公案小說家“含冤於九泉之下 ”，（高羅佩自序中語）慨然命筆，從事《武則天四大奇案》英譯，出版後深受讀者喜愛。他意猶未盡，以狄仁傑為主角以英文撰寫《鐘樓謀殺案》、《迷宮謀殺案》等華人偵探小說，並以單線白描法自繪插圖。出了20多卷《狄公案》系列，譯成十幾種文字，有的還拍成電影。更奇的是，他以「欲知後事如何，且看下回 分解」章回小說體裁將之譯回中文出版，並稱應以此為標準本。高羅佩對唐代律法制度頗有研究，《狄公案》系列中的許多情節均有所據，這與當代某些「戲說」作 者之信口開河大不相同。一位漢學家竟以中國古代偵探小說傳世，展現高羅佩遺世獨立之風格。
第二次世界大戰後，高羅佩再度出使日本。為出《迷宮謀殺案》日文版，出版商堅持要以裸女為封面， 而高羅佩只肯用中國古代版畫，雙方僵持不下。他致函古董商，詢問有無此類圖畫。沒想到京都古董店願意出讓明朝五彩套色木刻二十四幅《花營錦陣》，乃萬歷年 間刊行的「秘戲圖冊」。高羅佩本來就對中國版畫有研究，如今又無意間見到刻工頗為精細的秘戲圖冊，引起了他對中國傳統社會兩性生活的興趣。開始收集漢初至 明末的有關古籍，特別是道家的房中術和歷代描寫男女關係的詩歌小說，從民間得到不少佚書和手抄本。高羅佩認為：「此類圖書今希若星鳳，竊不可聽其埋沒。」經校勘整理，編成《秘戲圖考》，線裝三巨冊合為一函，錦面牙籤、古色古香， 1951年在東京出版。此書問世後，引起不少漢學家的注意，書信往還，資料越積越多。
1961年，他以英文寫了一部大書“Sexual Life in Ancient China”，中文名為《中國古代房內考》，在荷蘭出版。高羅佩研究中國古代性學的動機在《秘戲圖考》序中有所說明：「十八十九世紀訪華西人考察風俗。書籍既不易入手。詢問人又諱莫如深。遂以為中國房內必淫污不堪不可告人。枚舉。高羅佩窮十數年研究性學之結論是：中國古代兩性生活自然而正常，雖有房中術的出現，但正因為中國人兩千年來不斷致力研究兩性均衡，所以始終維持了強烈的生命力，使中國民族能持續而更新。
高羅佩還在家中養長臂猿，並詳作生態記錄，寫成《長臂猿考》一書，書後附有猿啼唱片。即使是專 業動物學家，在家中豢養動物作生態記錄者能有幾個人？可見高羅佩做研究之認真。 1967年此書付梓時，高羅佩從三度出使之東京回國度假，罹患癌症，在海牙逝 世，得年57歲。臨終前仍練字不輟學，在病榻上完成《長臂猿考》的最後一校。
高羅佩藏書及遺稿珍藏於荷蘭萊頓漢學院圖書館，長公子威廉專攻東亞藝術，克紹箕裘，任萊頓人類學博物館館長。
有人認為：現代學科分類日益精細，“隔行如隔山”，像達·芬奇那樣跨越多種學科博大精深之通才，文藝復興以降已屬罕見，現代學者更不可求。證諸高羅佩，此論不確。其實“諸魔皆心魔”，產業之間並無大山阻隔。
依照傳統觀點，高羅佩的漢學屬於「另類」。他不滿足於在經典古文中尋章摘句，而是接觸社會，在民俗中發掘中華文化，收集資料，進行研究，介紹給全世界。他既述且作，將中華文明與西方思想結合，寫出不少傳世之作。所謂「另類」實為漢學之擴展。
夫人水世芳談到高羅佩時說：「他不是外國人！從我們認識起，到他臨終，每天練字不斷。他最愛吃四川菜，實在是個中國人。」對這位「中國人」高羅佩，我感到既驕傲又慚愧。驕傲的是：中華文明博大精深，使他心悅誠服，終身浸淫其中；慚愧的是：我身為 中國人，在研究中國文化、宣揚中華文明方面，做得遠不如他。
高羅佩熱愛中華，卻不忘自己的祖國，他有落款曰：「荷蘭國笑忘高羅佩識於芝台之中和琴室」。性情中人若此，冠以傳奇，誰曰不宜？
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為以前寫的東西更新一下:這篇是2009年所集的。遺缺不少，譬如說，他談《悉曇:中日的梵文研究簡史》
Siddham: An Essay on the History of Sanskrit Studies in China and Japan (1956)
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Robert H.Van Gulik （高羅佩） 比Kenneth Clark早許多年，談藝術品中的動物畫像。 他還專注在一種猿在中、日繪畫中的演變:
Van Gulik was quite interested in Chinese painting. For example, in his book The Gibbon in China (1967), he devotes quite a few pages to the gibbon-themed paintings in China in Japan, from the Northern Song Dynasty on. Analyzing the portrayal of these apes throughout history, he notes how the realism of the pictures deteriorated as the gibbon population in most of China was extirpated. As an art critic, he greatly admired the portrayal of the apes by such renowned painters as Yi Yuanji and Muqi Fachang. Commenting on one of Ming Emperor Xuande's works, "Gibbons at Play", van Gulik says that while it is "not a great work of art", it is "ably executed". The lifelike images of the apes make one surmise that the emperor painted from the live models that could have been kept in the palace gardens.[4][5]
1 則留言:
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