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双语推荐：椋熷搧--shi pin--鍖栧

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阮籍《咏怀诗》旨意幽微,南朝时即有颜延年和沈约为之作注。稍后钟嵘在《诗品》中就对颜延年注解进行了评价和揣测,但对沈约注却只字不提。颜、沈二注目前仅少数几条保存在李善注《文选》内。笔者以此为据,发现钟嵘批评颜延年是因后者只谈名物训诂不谈美刺教化,严重背离了《毛诗》的注释传统,而这又体现了钟嵘诗学观中对传统继承的一面;不提沈约注,是因为沈注流传极少,他并没有见到。
The Poems of Heart by Ruan Ji are not easy to know .In the Southern Dynasties ,Yan Yannian and Shen Yue made notes on them .Then Yan Yannian’s comments were criticized by Zhong Rong in his Shi Pin .However ,Shen Yue’s were not mentioned at all .The notes of them are only several items in Li Shan’s notes on Wenxuan .On the base of them ,I find out that Zhong Rong’ criticize is out of that Yan Yannian’s notes went against the traditional way of Mao’s notes on Shijing which not only explain the rare words but also pointed out the educative meaning .And that reflects Zhong Rong’s inheriting of traditional .While Zhong Rong did not mention Shen Yue’s notes ,because he didn’t get it as Shen Yue’s notes were rare-ly spread .

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钟嵘《诗品》以"滋味"论诗,使中国诗学有了新的审美范畴。审视钟嵘《诗品》品评的五言诗及其反映的生活,会发现"滋味"不是抽象概念,而是充满审美张力的审美范型。"怨"与"清",既是五言诗内容的客观存在,又是五言诗的独特"滋味",也是钟嵘评诗的审美标准和审美范型。"怨"与"清"是魏晋时代社会心理和审美心理的反映,"怨"是诗歌创作的外在感召,"清"是诗歌创作的审美追求。"水"意象往往是内心之"怨"的象征,是对"清"境界的审美追求,并成为魏晋诗人纾解时代"哀怨"的手段和途径。
Flavor criterion, which expressed in Zhong rong’ s Shi pin , Open up the Chinese poetics a new aesthetic category , Taste is not an abstract concept,but each one is full of aesthetic paradigm of aesthetic tension .Yuan and Qing,is not only the ob-jective existence of Wuyanshi content, it is also Wuyanshi unique taste, and Zhong rong’ s review of the poetry of aesthetic stand-ards and aesthetic paradigm, Yuan and Qing, which meaning A Slow and Lofty, is a reflection of social psychology and aesthetic psychology in Wei-jin era, Yuan is the external inspire in poetry writing, Qing is the aesthetic pursuit of poetry writing, Water is often the symbol of the heart hatred, in a solitary way, the aesthetic pursuit of the Qing state become the methods and ways of Wei -jin dynasty poets to relive time piteous .

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法国现藏2部匿名本草彩绘图谱手稿:一部为藏于法国国家自然历史博物馆图书馆的彩绘图谱《中国动植物》手稿2册;另一部为藏于巴黎法兰西学院下属亚洲学会图书馆的彩绘图谱《中国植物》手稿1册.2部彩图手稿尺寸、纸张、绘画风格基本相似,内容有些差异.这2部匿名本草彩绘图谱与收藏于巴黎法兰西科学院和法国国家图书馆另外2部《本草品汇精要》手稿图谱的作者均为18世纪以汤执中为代表的法国来华传教士,所绘图谱均以《本草纲目》为蓝本,可以称为“易名的《本草纲目》”.
Two manuscripts with colored illustrations in French libraries were investigated.The research showed that:the first manuscript with colored pictures include 2 volumes,titled Animaux et Plantes de Chine collected in Library of Museum National dHistorie Naturelle (MNHN) ;the other manuscript with colored pictures has only 1 volume,titled Botanique Chinoise collected in Library of Societe Asiatique,College de France,which were identified as illustrations of Ben cao gang mu (Compendium ofMateria Medica)(1640 edition) by Li Shi-zhen.These pictures were copied by P.d'' Incarville,and are similar to Plantes fleurs et arbres de Chine in Bibliotheque de lInstitut de Franceand,Collection de Plantes Veneneuses de la Chine Gravees et lmprimees en Couleurs par les Missionnaries Jesuites in Bibliotheque Nationale de France,respectively.The latter two manuscripts were identified as illustrations of Ben cao pin hui jing yao (Essential Collections of Materia Medica) (1700 edition).

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