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yuèdòugāo luó pèi Robert Hans Van Gulikzài小说之家dezuòpǐn!!! |
yī、 shēng píng jiǎn lì
1. gāo luó pèi de qīng nián shí qī hé xué shēng shí dài
gāo luó pèi， zì zhī tái， shì luó bó tè · hàn sī · gǔ lì kè de
zài zhōng xué shí dài， gāo luó pèi yǐ jīng kāi shǐ liǎo tā de wén xué hé xué shù shēng yá。 zài jí mǔ nà sè mǔ xué shēng zì bàn de qī kān shàng， tā fā biǎo liǎo guān yú rè dài shēng huó de huí yì wén zhāng； tóng shí， tā xié zhù zhù míng de yǔ yán xué jiā C·C· wū lán bèi kè jìn xíng hēi zú yìn dì 'ān rén (BlackfootIndians) yǔ yán de cí huì yán jiū。 wū lán bèi kè de yán jiū chéng guǒ hòu lái yóu hé lán huáng jiā kē xué yuàn chū bǎn， tā fēi cháng shǎng shí gāo luó pèi de gōng zuò， yīn 'ér bǎ tā liè wéi hé zuò zhě， bìng jì 'ér tuī jiàn gāo luó pèi yán jiū fàn yǔ hé bǐ jiào yǔ yán xué。
1930 nián， gāo luó pèi jìn rù lāi dùn dà xué， xuǎn zé hàn xué zuò wéi zhuān yè， nà shí hàn xué yán jiū zài lāi dùn dà xué yǐ yòu xiāng dāng cháng de lì shǐ chuán tǒng。 1932 nián， gāo luó pèi huò dé
2. wài jiāo guān shēng yá
1935 nián bì yè hòu， gāo luó pèi dào hé lán wài jiāo jiè gòngzhí， zuò wéi zhù lǐ yì yuán bèi pài wǎng dōng jīng。 zài cháng dá 30 duō nián de wài jiāo guān shēng yá lǐ， tā xiān hòu gòngzhí yú hé lán zhù dōng jīng、 chóngqìng、 nán jīng、 huá shèng dùn、 xīn dé lǐ、 bèi lǔ tè、 jí lóng pō de lǐng shì jī gòu。
gāo luó pèi zài běn zhí gōng zuò zhī yú cān jiā gè zhǒng xué shù tuán tǐ， bìng yǔ zài dōng jīng de xǔ duō zhōng rì zhī míng xué zhě jiàn lì liǎo lián xì， tā hái jīng cháng qù běi jīng， jié jiāo liǎo bù shǎo dāng dì xué zhě。 tā bìng bù bǎ zì jǐ jú xiàn yú zhōng guó wén huà de xué shù yán jiū， hái jī jí cānyù cháng shì shì dà fū men suǒ shàn cháng de yì shù， rú shū fǎ、 zhuàn kè、 huì huà、 gǔ qín děng。
1942 nián， tài píng yáng zhàn zhēng bào fā， gāo luó pèi bù dé bù lí kāi rì běn， tā hé qí tā tóng méng guó wài jiāo guān yǔ rì běn zhù wài shǐ jié xiāng jiāo huàn。 zài dōng fēi hé 'āi jí， tā bèi wù zuò jiàndié 'ér lì jìn jiān xiǎn， jǐ gè yuè hòu tā bèi qiǎn sòng dào xīn dé lǐ。 1943 nián， tā lái dào zhōng huá mín guó de zhàn shí shǒu dū héng héng chóngqìng， zài nà lǐ yǔ hé lán gōng shǐ guǎn rén yuán huì hé， dān rèn hé lán liú wáng zhèng fǔ zhù chóngqìng shǐ guǎn yī mì。 dāng shí de chóngqìng shì kàng rì zhàn zhēng de dà hòu fāng， chóngqìng de shēng huó wéi gāo luó pèi tí gōng liǎo xǔ duō xué shù yán jiū de kě néng， yīn wéi dāng shí zhōng guó zuì yōu xiù de wén huà rén yóu yú duǒ bì zhàn huǒ 'ér yún jí yú cǐ， shǐ tā yòu chōng fēn de jī huì jiē chù zhè xiē míng liú， wèitā quán miàn liǎo jiě zhōng guó shè huì hé wén huà dǎ xià liǎo liáng hǎo de jī chǔ。
zhàn zhēng jié shù hòu， gāo luó pèi bèi zhào huí hé lán bìng pài wǎng hǎi yá。 1947 nián， wài jiāo bù yòu pài tā qián wǎng huá shèng dùn。 1948 nián， tā bèi zài cì pài wǎng dōng jīng， wéi qī sān nián。 zài cǐ qī jiān， tā jié yì liǎo yī bù zhōng guó qīng dài (1644 héng 1911) wú míng shì de xiǎo shuō， zhè bù dìng míng wéi《 dí gōng 'àn héng héng dí gōng pò jiě de sān zhuāng móu shā 'àn》 ( dōng jīng， 1949) de xiǎo shuō miáo xiě liǎo táng cháo fǎ guān dí rén jié (630 héng 700) de gù shì。 zhè bù shū wèitā zì jǐ de dí gōng xiǎo shuō tí gōng liǎo lán běn， tóng nián tā jiù xiě chū liǎo qí zhōng liǎng bù。
zài xīn dé lǐ de duǎn qī gōng zuò zhī hòu， gāo luó pèi chóngfǎn hé lán。 cǐ shí， tā yǐ jīng jìn shēng dào wài jiāo guān yuán de zuì gāo zhí xián。 1956 nián zhì 1959 nián， tā dān rèn hé lán zhù lí bā nèn quán quán dài biǎo， 1959 nián zhì 1962 nián， tā yǐ hé lán zhù mǎ lái xī yà dà shǐ de shēn fèn zài jí lóng pō jū liú。 1962 nián zhì 1965 nián， tā zài cì huí dào hé lán， cǐ jiān tā zài xíng zhèng zhí wù zhī wài yòu yǔ wū dé lè zhī dà xué qiān yuē jiǎng shòu“ yìn dù yǐ wài qí tā fó jiào dì qū de wén huà shǐ”。 1965 nián， tā yǐ zhù rì dà shǐ de shēn fèn dì sān cì pài zhù dōng jīng， dàn shì zhè cì tā méi néng wán chéng rèn qī。 1967 nián， tā bèi zhěn duàn wéi fèi 'ái， yú 1968 nián 9 yuè 24 rì zài hǎi yá cí shì， xiǎng nián 57 suì。 tā dāng shí de shēn fèn shì“ hé lán zhù rì běn dà shǐ”。
3. qǔ zhōng guó nǚ zǐ wéi qī
yóu yú duì zhōng guó wén huà de qiáng liè rèn tóng hé chén mí， gāo luó pèi yī xīn xiǎng zhǎo yī gè yòu jiào yǎng de zhōng guó nǚ zǐ zhōng shēn wéi bàn。 zài chóngqìng rèn hé lán shǐ guǎn yī mì shí， tā 'ài shàng dāng shí zài dà shǐ guǎn rèn mì shū de jiāng sū míng yuán shuǐ shì fāng nǚ shì。 shuǐ shì fāng wéi qīng dài míng chén zhāng zhī dòng de wài sūn nǚ， qí fù qīn shuǐ jūn sháo céng zài zhōng guó zhù liè níng gé lè zǒng lǐng shì guǎn gōng zuò， hòu lái rèn tiān jīn shì cháng。 shuǐ shì fāng bù jǐn shì míng mén zhī hòu， ér qiě shì qí lǔ dà xué bì yè shēng。 1943 nián， gāo luó pèi yǔ dāng shí 22 suì de shuǐ shì fāng jié hūn， yǐ hòu gòng yòu 4 gè zǐ nǚ。
èr、 hàn xué yán jiū
gāo luó pèi zài tā chéng guǒ zhuó zhù de màn cháng xué shù shēng yá zhōng yī zhí dōuzài fā biǎo hàn xué yán jiū zhù zuò。 wán chéng xué wèi lùn wén zhī hòu， tā jiù kāi shǐ zhuóshǒu yì jiè zhōng guó gǔ dài zhé xué jiā guǐ gǔ zǐ de lùn zhù。 zài nà gè yǔ yán xué yán jiū tǒng zhì 'ōu zhōu hàn xué jiè de nián dài， zhè shì yī xiàng pō yòu jiàn dì de gōng zuò， kě xī zhè bù shū gǎo zài 'èr zhàn zhōng huǐ yú zhàn huǒ。 tā yī guàn qīng xiàng yú xuǎn zé yǔ tā gè rén piān hǎo xiāng jìn de kè tí， ér bù shì jǐn gēn xué shù shí shàng， yīn cǐ tā xiě chū liǎo dà liàng jí fù dú chuàng xìng de yán jiū zhuān zhù， ér qiě zài sì wǔ shí nián zhī hòu， qí zhōng de dà duō shù réng zài yìn xíng。
1. zhōng guó qín yì yǔ shū fǎ
1943 nián chū dào chóngqìng shí， gāo luó pèi jiù bèi shén qí měi miào de zhōng guó wén huà suǒ xī yǐn。 ān dùn xià lái zhī hòu， tā kāi shǐ xì xīn yán jiū zhōng guó wén huà de jīng suǐ。 shǒu xiān， tā duì zhōng guó qín yì fā shēng liǎo nóng hòu de xīng qù。 bù jiǔ， tā pìn qǐng zhōng guó qín shī zhǐ dǎo zì jǐ tánzòu《 gāo shān liú shuǐ》 děng yuèqǔ， měi dāng tánqín shí， tā shén qíng zhuān zhù， yáo tóu huàng nǎo， yī fù chén zuì qí zhōng de múyàng。 tóng nián tā yǔ yú yòu rèn、 féng yù xiáng děng shè huì míng liú zǔ zhì“ tiān fēng qín shè”， zhuān mén cóng shì zhōng guó qín yì yán jiū。
gāo luó pèi rèn zhēn tóu rù zhōng guó qín wén huà yán jiū， tā huā fèi dà liàng xīn xuè xiě chéng yīng wén zhuān zhù《 qín dào》 yī shū， yóu rì běn shàng zhì dà xué chū bǎn， cǐ shū bàng zhēng bó yǐn， jiāng gǔ qín yuèpǔ、 gè zhǒng qín xué zhù shù， yǐ jí wén xué měi shù zhōng shè jí gǔ qín de zī liào jīng xīn yì chéng yīng wén， bìng jiā zhù shì， 1940 nián yǐ yīng wén shū míng“ TheLoreoftheChineseLute： AnEssayinCh'inIdeology” chū bǎn， bèi rèn wéi shì gǔ dài qín xué yán jiū lǐng yù de quán wēi zhī zuò。 tā hái tā fān yì liǎo 3 shì jì jī kāng (223 héng 262) guān yú gǔ qín de cháng fù， tóng nián yǐ《 jī kāng jí qí qín fù》 ( dōng jīng， 1941) wéi tí fā biǎo。
bù jǐn rú cǐ， gāo luó pèi zài zhuī xún zhōng guó qín xué dōng chuán rì běn de zōng jì shí， fā xiàn míng mò qīng chū yòu yī wèi lǚ rì sēng rén， fǎ hào dōng gāo， zài rì běn qín shǐ shàng hěn yòu yǐng xiǎng， yě xǔ shì bǎ zhōng guó qín xué chuán rù rì běn de dì yī rén， ér qí míng zì què jué shǎo chū xiàn zài zhōng guó shǐ jí zhōng。 suí hòu tā yòng liǎo zhěng zhěng 7 nián shí jiān biàn fǎng míng chà gǔ sì、 bó wù guǎn yuàn， gòng huò dé chán shī yí zhù yí wù 300 yú jiàn， ji chéng《 dōng gāo xīn yuè chán shī quán jí》， yuán nǐ yú 1941 nián fù zǐ， dàn yīn tài píng yáng zhàn zhēng bào fā wèi chéng。 1944 nián， tā zài chóngqìng chū bǎn liǎo《 dōng gāo chán shī jí kān》， chéng wéi zhōng guó fó xué shǐ bǔ quē zhī zuò。
gāo luó pèi cóng 20 suì kāi shǐ liàn shū fǎ， zhōng shēng bù chuò， dào chóngqìng hòu， tā gèng shì jiāng zhè zhǒng 'àihào fā huī dào liǎo jí zhì。 tā de“ gāo tǐ” zì bǐ lì xióng jiàn， gōng dǐ shēn hòu， bìng piān 'ài xíng shū yǔ cǎo shū， tā duì yú zhōng guó shū fǎ de xīng qù cù chéng tā fān yì mǐ fèi《 yàn shǐ》 yì běn ( běi jīng， 1938)。
gāo luó pèi duì zhōng guó wén huà de rèn tóng lìng zhōng guó rén gǎn dòng， tā zài jīng xīn huì zhì de yī fú zhōng guó huà shàng yòng hàn zì tí kuǎn：“ hé lán guó xiào wàng gāo luó pèi shí yú zhī tái zhī zhōng hé qín shì。” zhè lǐ miàn de“ xiào wàng” shì tā zì qǔ de zì， àn yù“ xiào wàng bǎi lǜ” zhī yì；“ zhī tái” shì hào；“ zhōng hé qín shì” shì shū zhāi míng。 tā yǔ shuǐ shì fāng nǚ shì jié hūn zhī hòu， bǎ shū zhāi gǎi míng wéi“ yín yuè 'ān”。
2. dōng fāng wén wù de shōu cáng jiā hé jiàn shǎng jiā
gāo luó pèi shì yī wèi dōng fāng wén wù de shōu cáng jiā hé jiàn shǎng jiā， zhū rú gǔ qín、 shū huà、 cí qì、 huà pǔ、 qín pǔ、 fó xiàng děngdōu shì tā shōu cáng de duì xiàng。 běi píng liú lí chǎng、 dōng jīng shén tián qū、 lún dūn jiù shū diàn， dōushì tā liú lián wàng fǎn zhī chù。 gāo luó pèi duì shōu cáng gǔ wù yòu zì jǐ de zhù zhāng， tā bù mǎi xī shì zhī zhēn， piān 'ài cán quē gǔ wù。 tā duì shū huà jìn xíng jiàn shǎng hé yán jiū， jī shí jǐ nián kǔ gōng biān chéng《 zhōng guó huì huà jiàn shǎng héng héng zhōng guó jí rì běn yǐ juàn zhóu zhuāng biǎo wéi jī chǔ de chuán tǒng huì huà shǒu fǎ》 (ChinesePictorialArtasViewedbytheConnoisseur， luó mǎ， 1958)， quán shū jìn 600 yè， chā tú 160 fú， shū mò fù yòu 42 zhǒng zhōng、 rì zhǐ zhāng yàng pǐn。 hái yòu《 shū huà shuō líng》 yì běn ( bèi lǔ tè， 1958)。
gāo luó pèi hái shì yī wèi cáng shū jiā， tā shōu cáng de zhòng diǎn shì zhōng guó gǔ jí。 zài tā shì shì hòu， tā de quán bù cáng shū jí yí gǎo yóu jiā shǔ juān sòng chū lái， zhēn cáng yú hé lán lāi dùn guó lì dà xué hàn xué yán jiū yuàn zhuān mén shè lì de“ gāo luó pèi cáng shū zhuān shì”， zhè gè cáng shū shì yè yǐ chéng wéi yán jiū zhōng guó wén huà de yī kuài bǎo dì。
3. zhōng guó jìn tǐ shī shī rén
gāo luó pèi hái shì yī wèi liáo ruò chén xīng de yǔ yán dà shī hé jié chū de zhōng guó jìn tǐ shī shī rén。 tā xué xí yǔ yán wén zì yòu zhe fēi fán de tiān fù hé jīng rén de yì lì， chú běn guó yǔ yán hé lán wén wài， tā hái jīng tōng yīng wén、
sān、 chuàng zuò zhēn tàn xiǎo shuō yī jǔ chéng míng
gāo luó pèi zhù zuò děng shēn， dàn liú chuán zuì guǎng de shì tā bié chū xīn cái de zhōng guó gǔ dài zhēn tàn xiǎo shuō。
1. dí gōng xiǎo shuō
zài chóngqìng shí， gāo luó pèi dú dào yī běn qīng chū gōng 'àn xiǎo shuō《 wǔ zé tiān sì dà qí 'àn》， tā duì qīng rén gōng 'àn xiǎo shuō《 wǔ zé tiān sì dà qí 'àn》 zhōng zhù rén gōng dí rén jié lǚ pò qí 'àn dà wéi zhé fú， gāo luó pèi duì xī fāng zhēn tàn xiǎo shuō hé zhōng guó gōng 'àn chuán qí zuò liǎo shēn rù de yán jiū hé bǐ jiào hòu， rèn shí dào shū zhōng suǒ miáo xiě de zhōng guó gǔ dài fǎ guān de xíng shì zhēn xùn běn lǐng， wú lùn zài yùn yòng luó ji tuī lǐ de fāng fǎ、 zhēn pò qí 'àn de néng lì fāng miàn， hái shì zài fàn zuì xīn lǐ xué de sù yǎng fāng miàn， bǐ qǐ fú 'ěr mó sī、 gé léi jǐng cháng děng xiàn dài xī yáng dà zhēn tàn lái， jūn yòu guò zhī 'ér wú bù jí。 tā hái fā xiàn zhōng guó gōng 'àn xiǎo shuō zài xī fāng zhēn tàn xiǎo shuō wèn shì qián， jiù yǐ zài dōng fāng shèng xíng liǎo hǎo jǐ bǎi nián， ér yǐ tàn 'àn wéi tí cái de duǎn piān gù shì shèn zhì zài 1000 duō nián qián jiù zài zhōng guó guǎng wéi liú chuán， qí zhōng yīng xióng rén wù de xíng xiàng yě zǎo chū xiàn zài ruò gān gè shì jì yǐ qián gǔ dài zhōng guó de wǔ tái shàng， huò bèi dāng shí de shuō shū rén miáo shù dé xǔ xǔ rú shēng。
tā yě jīng qí dì fā xiàn zhōng guó dú zhě xǐ huān dú xī fāng de zhēn tàn xiǎo shuō， zhè xiē xiǎo shuō zài xī fāng shuǐ píng hěn dī， ér qiě dāng shí fān yì chéng
《 wǔ zé tiān sì dà qí 'àn》 shì qīng dài (1644 héng 1911) de yī bù wú míng shì xiǎo shuō， kě néng xiě yú 1800 nián qián hòu， dàn shì mù qián suǒ zhī de zuì zǎo bǎn běn què biāo zhù liǎo yī gè xiāng dāng wǎn jìn de rì qī， cǐ shū yǐ fù yú huàn xiǎng hé wán quán wéi bèi shǐ shí de xù shì zhǎn xiàn liǎo dí rén jié de bù fán shēng yá。 zhè wèi yì míng zuò zhě shì tú kè huà yī wèi wán měi de guān lì， tā zài guān xīn bǎi xìng jí kǔ、 zhōng yú cháo tíng zhī wài， hái shàn yú gēn jù huán jìng de xū yào suí jī yìng biàn。 gāo luó pèi duàn yán zhè bù shū de hòu bàn bù fēn shì wěi zào de， yīn 'ér tā yǐ《 dí gōng 'àn》 wéi tí fān yì zhè bù xiǎo shuō shí jǐn xiàn yú qí zhōng de qián sān shí huí。
20 shì jì 40 nián dài mò， gāo luó pèi xiān shì jiāng《 wǔ zé tiān sì dà qí 'àn》 yì wéi yīng wén， yòu yǐ dí rén jié wéi zhùjué yòng yīng yǔ chuàng zuò liǎo《 tóng zhōng 'àn》。 tā yuán běn zhǔn bèi zài zhōng guó chū bǎn《 tóng zhōng 'àn》 de
yīng wén běn de《 tóng zhōng 'àn》 chū bǎn hòu dà huò chéng gōng， yī fā bù kě shōu shí。 jīng chū bǎn shāng de zài sān cuī cù， gāo luó pèi yī gǔ zuò qì zài 20 shì jì 50 héng 60 nián dài yòu lù xù chuàng zuò liǎo《 mí gōng 'àn》、《 huáng jīn 'àn》、《 tiě dīng 'àn》、《 sì qī píng》、《 hú zhōng 'àn》 děng shí jǐ bù zhōng duǎn piān xiǎo shuō。 zhè xiē zuò pǐn zuì zhōng gòu chéng liǎo gāo luó pèi de“ dí rén jié xì liè dà quán” héng héng《 dí gōng duàn 'àn dà guān》（ CelebratedCasesofJudgeDee）， jí《 dí gōng 'àn》， bāo kuò 15 gè zhōng cháng piān hé 8 gè duǎn piān， quán shū yuē 130 wàn zì。 zhè xiē gè zì dú lì de xiǎo shuō 'àn biān nián shùn xù pái liè， dàn bù yǐ jù chéng shū rì qī， ér shì gēn jù dí gōng yī shēng zhōng zhòng yào shì jiàn de fā shēng shí jiān。
zhè bù chóngxīn biān pái de
gāo luó pèi duì zhōng guó wén huà、 yì shù、 fǎ lǜ jí shè huì lì shǐ děng fāng miàn de yuān bó zhī shí zài《 dí gōng 'àn》 zhōng dé dào liǎo chōng fēn de tǐ xiàn， fā huī dé lín lí jìn zhì。 shū zhōng zài xù shù dí rén jié yú bù tóng shí qī、 bù tóng dì qū rèn zhí zhēn pò yí nán dà 'àn de tóng shí， hái guǎng fàn zhǎn kāi duì zhōng guó gǔ dài shè huì shēng huó、 mín qíng fēng xí de shēn rù miáo huì。 shū zhōng gē sòng liǎo dí rén jié de wèimín zuò zhù hé zhěn mì sī wéi， xuān gào liǎo xié 'è shì lì de zuì zhōng kuì miè bìng shòu dào fǎ lǜ zhì cái。 zuò pǐn zài xù shù gù shì、 zhǎn kāi qíng jié de tóng shí， bǎ zhōng guó gǔ dài shè huì de diǎn zhāng、 míng wù、 fēng sú xí guàn、 rén qíng dì mào tóng xī fāng xiàn dài xīn lǐ xué、 zhēn pò xué zhī shí qiǎo miào dì jié hé qǐ lái， bǎ dōng fāng xiǎo shuō zhōng dà gù shì lǐ tào xiǎo gù shì de jié gòu fāng shì tóng xī fāng xiàn dài wén xué de tū zhuǎn、 yú bō róng wéi yī tǐ。 zài xù shù fāng shì hé xiě zuò jì qiǎo shàng， tā jì bù tóng yú zhōng guó de gōng 'àn xiǎo shuō， yě yòu bié yú xī fāng fú 'ěr mó sī、 yà sēn luó píng、 bō luò de tàn 'àn gù shì， zuò dào liǎo dōng xī fāng wén xué de hù bǔ yǔ jiāo róng。
2. dí gōng xiǎo shuō zài xī fāng
gāo luó pèi de suǒ yòu zuò pǐn dū yòng yīng wén xiě chéng。 tā zǒng zài shū zhōng tí gōng yī fèn fù zhù yǐ jiě shì xiāng guān de zhōng guó chuán tǒng wén huà， tā hái wéi zì jǐ zuò pǐn de hé lán wén yì běn zuò guò zhǔn bèi gōng zuò， shèn zhì yòng
gāo luó pèi de dí gōng xiǎo shuō yǐ quán bù bèi yì wéi
3. dí gōng xiǎo shuō de gòng xiàn
gāo luó pèi de gòng xiàn bù jǐn zài yú tā bǎ zhōng guó wén huà jiè shào dào xī fāng， ér qiě zài yú tā yǐ zì shēn de chuàng zuò shí jiàn， wán chéng liǎo cóng gōng 'àn xiǎo shuō dào zhēn tàn xiǎo shuō de biàn gé。
xī fāng zhēn tàn xiǎo shuō dàn shēng zhī qián， gǔ lǎo de zhōng guó jiù cún zài zhe yī zhǒng tóng xī fāng zhēn tàn xiǎo shuō xiāng sì 'ér yòu yòu suǒ bù tóng de tōng sú wén xué pǐn zhǒng héng héng gōng 'àn xiǎo shuō。 tā shì cóng huà běn gù shì yǎn biàn 'ér lái de， dà duō xiě fēng jiàn shè huì qīng guān lián shǐ duàn 'àn de gù shì。 gōng 'àn xiǎo shuō tóng zhēn tàn xiǎo shuō xiāng lèi sì， dàn zài pò 'àn de guò chéng jí fāng fǎ de miáo huì fāng miàn， gōng 'àn xiǎo shuō zé yǔ zhēn tàn xiǎo shuō yòu hěn dà de bù tóng， tā bì jìng shì zhōng guó gǔ dài qīng guān yì shì hé mín jiān chuán shuō de zhì yì bǐ jì， quē fá jīng xiǎn de xuán niàn hé yán mì de tuī lǐ， suǒ yǐ wèi néng xíng chéng xī fāng zhēn tàn xiǎo shuō nà yàng de gé jú。
gāo luó pèi gēn jù fēng fù de zhōng guó gǔ dài shǐ liào， duì zhōng guó gōng 'àn xiǎo shuō jìn xíng liǎo gǎi zào hé gé xīn， tā de《 dí gōng 'àn》 bǎ zhōng guó gōng 'àn xiǎo shuō gǎi zào wéi xī fāng zhēn tàn xiǎo shuō， gòu chéng liǎo kòu rén xīn xián de xuán niàn、 sī sī rù kòu de tuī lǐ hé huǎng rán dà wù de jié jú。
sì、 gāo chǎn hé duō cái de zhōng guó wén huà yán jiū zhě
gāo luó pèi de duō cái duō yì zài chū bǎn《 dí gōng 'àn》 shí dé dào quán miàn tǐ xiàn， wèile wán shàn shū de nèi róng hé xíng shì， quán bù《 dí gōng 'àn》 yǐ jí qí tā guān yú zhōng guó gǔ dài wén huà zhù zuò de chā tú， dū yóu tā qīn zì jīng xīn shè jì， qīn shǒu huì zhì 'ér chéng。 chā tú gǔ sè gǔ xiāng， yùn wèi shí zú。 tā zài měi fú chā tú shàng dū shǔ yòu H.R.H de qiān míng， zhè 3 gè zì mǔ shì“ hé lán · luó bó tè · hàn sī” de suō xiě。
zài xún zhǎo fàn běn yǐ biàn qīn zì huì zhì xiǎo shuō chā tú de guò chéng zhōng， tā jiē chù dào liǎo míng cháo (1368 héng 1644) mò nián xíng xíng sè sè de chūn gōng tú。 tā zhè cái míng bái wǎn míng de yì shù fēng qì，
zuò wéi hàn xué jiā， gāo luó pèi yǐ shōu jí zhōng guó chūn gōng huà， fáng zhōng shù shū jí， yán jiū xìng xué 'ér xiǎng shèng míng。 gāo luó pèi de xìng xué yán jiū， shí jì yuán zì xiǎo shuō。 1950 nián， gāo luó pèi de xiǎo shuō《 mí gōng 'àn》 zhǔn bèi chū rì wén bǎn shí， chū bǎn shāng yào qiú yǐ luǒ nǚ huà wéi fēng miàn， ér gāo luó pèi rèn wéi zhè zhǒng zuò fǎ jué fēi zhōng guó chuán tǒng， yú shì jù jué liǎo。 gāo luó pèi zhǐ kěn yòng zhōng guó gǔ dài bǎn huà， shuāng fāng jiāng chí bù xià。 wèile zhèng míng zhè yī diǎn， tā fēn bié zhì hán rì běn、 zhōng guó jǐ shí jiā gǔ dǒng shāng， xùn wèn yòu wú míng dài mù kè luǒ tǐ huà xiàng， jiēguǒ shàng hǎi shāng hào shuō tā men de gù kè yòu， kě gōng lín mó， jīng dū de gǔ dǒng diàn què yòu míng dài mù kè cè yè de yuán běn kè bǎn， jí yī tào 'èr shí sì fú de cǎi yìn《 huā yíng jǐn zhèn》， nǎi wàn lì nián jiān kān xíng kè gōng pō wéi jīng xì dídí“ mì xì tú cè”， zhè yǐn qǐ liǎo tā duì zhōng guó chuán tǒng shè huì liǎng xìng shēng huó de xīng qù。 gāo luó pèi kāi shǐ shōu jí hàn chū zhì míng mò de yòu guān gǔ jí， tè bié shì dào jiā de fáng zhōng shù hé lì dài miáo xiě nán nǚ guān xì de shī gē xiǎo shuō， cóng mín jiān dé dào bù shǎo yì shū hé shǒu chāo běn， jīng jiàokān zhěng lǐ， zài jìn gù bǎo shǒu de 50 nián dài， tā zì fèi chóngyìn liǎo 50 tào， bìng guān míng wéi《 mì xì tú kǎo héng héng míng dài chūn gōng tú， fù lùn hàn dài dào qīng dài ( gōng yuán qián 206 héng 1644) zhōng guó de xìng shēng huó》 ( dōng jīng， 1951)。 zhè bù shū jìn nián lái duō cì zài bǎn， jìn guǎn yī xiē xué zhě sī xià huái yí zhè xiē huà zuò de zhēn shí xìng。
zhī hòu， gāo luó pèi chóngxīn zhuóshǒu yán jiū《 mì xì tú kǎo》 zhōng de zhōng guó xìng xíng wéi hé xìng wén xué。 1961 nián， tā yǐ yīng wén xiě liǎo yī bù dà shū“ SexialLifeinAncientChina”，
qù shì qián jǐ nián， gāo luó pèi zài jí lóng pō hé dōng jīng jū liú shí dū céng yǐ cháng bì yuán wéi chǒng wù， zhè yī shì hǎo cù shǐ tā yán jiū zhè zhǒng dòng wù zài zhōng guó wén huà zhōng de juésè， ji chéng tā zuì hòu yī bù zhuān zhù《 zhōng guó cháng bì yuán héng héng zhōng guó dòng wù chuán shuō zhá jì》 ( lāi dùn， 1967)， qí zhōng hái bāo kuò yī zhāng lù yòu yuán 'āi tí de chàngpiān。
wǔ、 xué shù píng jià
àn zhào chuán tǒng guān diǎn， gāo luó pèi de hàn xué shǔ yú“ lìng lèi”。 tā bù mǎn zú yú zài jīng diǎn gǔ wén zhōng xún zhāng zhāi jù， ér shì jiē chù shè huì， zài mín sú zhōng fā jué zhōng huá wén huà， shōu jí zī liào， jìn xíng yán jiū， jiè shào gěi quán shì jiè。 tā jì shù qiě zuò， jiāng zhōng huá wén míng yǔ xī fāng sī xiǎng xiāng jié hé， xiě chū bù shǎo chuán shì zhī zuò， shí wéi hàn xué zhī kuò zhǎn。
Van Gulik was the son of a medical officer in the Dutch army of what was then called the Dutch East Indies (modern-day Indonesia). He was born in the Netherlands but from the age of three till twelve he lived in Batavia (now Jakarta) where he was tutored in Mandarin and other languages. He went to the University of Leyden in 1934 and obtained his Ph.D in 1935. His talents as a linguist suited him for a job in the Dutch Foreign Service which he joined in 1935 and he was then stationed in various countries, mostly in East Asia (Japan and China).
He was in Tokyo when Japan declared war on the Netherlands in 1941 but he, and the rest of the Allied diplomatic staff, were evacuated in 1942. He spent most of the rest of World War II as the secretary for the Dutch mission to Chiang Kai-shek's Nationalist government in Chongqing. While in Chongqing he married a Chinese woman (Shui Shifang), the daughter of an Imperial mandarin (under the Manchu Dynasty). Together they had four children.
After the war ended, he returned to the Netherlands then went to the United States as the Councillor of the Dutch embassy in Washington D.C.. He returned to Japan in 1949 and stayed there for the next four years. While in Tokyo he published his first two books, Celebrated Cases of Judge Dee and a privately published book of erotic colored prints from the Ming dynasty. Later postings took him all over the world from New Delhi, Kuala Lumpur, Beirut (during the 1958 Civil War) to The Hague. From 1965 until his early death from cancer in 1967 he was the Dutch ambassador to Japan.
The Judge Dee mysterie
During World War II Robert van Gulik translated the 18th century detective novel Dee Goong An into English under the title Celebrated Cases of Judge Dee (first published in Tokyo in 1949). The main character of this book, Judge Dee, was based on the real statesman and detective Di Renjie who lived in the seventh century during the Tang Dynasty (A. D. 600-900), though in the novel itself elements of Ming Dynasty China (A. D. 1300-1600) were mixed in.
Thanks to his translation of this largely forgotten work, van Gulik became interested in Chinese detective fiction and he decided to attempt one himself. His first attempt, The Chinese Bell Murders, was written from 1948-1950 and "borrowed" Judge Dee and his assistants from Dee Goong An.
His intent in writing this first Judge Dee novel was, as he wrote in remarks on The Chinese Bell Murders, "to show modern Chinese and Japanese writers that their own ancient crime-literature has plenty of source material for detective and mystery-stories"
Van Gulik's Judge Dee mysteries follow the long tradition of Chinese Detective fiction, intentionally preserving a number of key elements of that writing culture. Most notably he had Judge Dee solve three different (and sometimes unrelated) cases, a traditional device in Chinese mysteries.
The whodunit element is also less important in the Judge Dee stories than it is in the traditional Western detective story, though still more so than in traditional Chinese detective stories.
Other work
In van Gulik's opinion, although this is "an ably executed, realistic picture", the emperor's "brushwork is devoid of force", and "there is too much padding in the form of bamboo twigs".
Robert van Gulik studied Indisch Recht (Dutch-Indies law) and Indologie (Indonesian culture) at Leiden University from 1929 until 1934, receiving his doctorate for a dissertation on the horse cult in Northeast Asia. Though he made his career in the Netherlands diplomatic service, he kept up his studies. During his life he wrote twenty-odd essays and monographs on various subjects, mainly but not exclusively on aspects of Chinese culture. Typically, much of his scholarly work was first published outside of the Netherlands.
In his lifetime van Gulik was recognized as a European expert on Imperial Chinese jurisprudence.
Van Gulik was quite interested in Chinese painting. For example, in his book "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", Robert van Gulik says while it is "not a great work of art", it is "ably executed". The life-like images of the apes make one surmise that the emperor painted from the live models that could have been kept in the palace gardens.
Bibliography
Judge Dee
In 1956, the author published a translation of the "T'ang-yin-pi-shih" (Parallel Cases from under the Pear Tree), a 13th century case book for district magistrates. He used many of the cases as plots in his novels. (Confirmed in the Postscripts of his novels.)
The author, having finished the translation of the story Celebrated Cases of Judge Dee around 1948, included an essay on the largely forgotten genre of Chinese detective stories. He suggested in his afterword that it was easy to imagine re-writing some of the old Chinese case histories with an eye towards modern readers. Not long after he published Celebrated Cases of Judge Dee, van Gulik himself tried his hand at creating a detective story based on some older Chinese case histories. This became the book The Chinese Maze Murders (completed around 1950). As van Gulik thought the story would have more interest to Japanese and Chinese readers, he had it translated into Japanese by a friend (finished in 1951) and it was sold in Japan under the title "Meiro-no-satsujin". With the success of the book, van Gulik embarked on translating the book into Chinese. The translation was published by a Singapore book publisher in 1953. The reviews were good and van Gulik wrote two more books (The Chinese Bell Murders and The Chinese Lake Murders) over the next few years, also with an eye towards Japanese and then Chinese editions.
After all this work was done, van Gulik found a publisher for English language versions of these stories and the first English language book was published in 1957. Later books were written and published in English first, the translations came afterwards.
Van Gulik's autograph in Chinese
The Judge Dee Mysteries in the order in which they were written
Celebrated Cases of Judge Dee (originally Dee Goong An) (1941-1948 translated from Chinese by Van Gulik)
The Chinese Maze Murders (originally written 1950, published in Japanese in 1951, published in English in 1957)
The Chinese Bell Murders (originally written between 1953 and 1956, published in English in 1958)
The Chinese Lake Murders (originally written between 1953 and 1956, published in English in 1960)
The Chinese Gold Murders (first published in English in 1959)
The Chinese Nail Murders (1961)
The Haunted Monastery (1961)
The Emperor's Pearl (1963)
The Lacquer Screen (1964)
The Red Pavilion (1964)
The Monkey and the Tiger, short stories (1965)
The Willow Pattern (1965)
Murder in Canton (1966)
The Phantom of the Temple (1966)
Judge Dee at Work, short stories (1967)
Necklace and Calabash (1967)
Poets and Murder (1968)
The Judge Dee Stories in the order in which they were set
Judge Dee at Work contains a "Judge Dee Chronology" telling of Dee's various posts, stories—either books or short stories—set during that posting, and giving information about the stories. Based on this chronology, the works can be arranged in this order:
663 - Judge Dee is a magistrate of Peng-lai, a fictional district on the north-east coast of China.
The Chinese Gold Murder
The Lacquer Screen.
Five Auspicious Clouds, a short story in Judge Dee at Work
The Red Tape Murders, a short story in Judge Dee at Work
He came with the Rain, a short story in Judge Dee at Work
666 - Judge Dee is the magistrate of Han-yuan, a fictional district on a lakeshore near the capital of Chang-An.
The Chinese Lake Murder
The Morning of the Monkey, a short story in The Monkey and the Tiger
The Murder on the Lotus Pond, a short story in Judge Dee at Work
666 - Judge Dee is traveling and forced to take shelter in a monastery.
The Haunted Monastery
668 - Judge Dee is the magistrate of Poo-yang, a fictional wealthy district through which the Grand Canal of China runs (part of modern-day Jiangsu province).
The Chinese Bell Murder
The Two Beggars, a short story in Judge Dee at Work
The Wrong Sword, a short story in Judge Dee at Work
The Red Pavilion
The Emperor's Pearl
Poets and Murder
Necklace and Calabash
670 - Judge Dee is the magistrate of Lan-fang, a fictional district at the western frontier of Tang China.
The Chinese Maze Murder
The Phantom of the Temple
The Coffins of the Emperor, a short story in Judge Dee at Work
Murder on New Year's Eve, a short story in Judge Dee at Work
676 - Judge Dee is the magistrate of Pei-chow, a fictional district in the far north of Tang China.
The Chinese Nail Murder
The Night of the Tiger, a short story in The Monkey and the Tiger
677 - Judge Dee is the Lord Chief Justice in the Imperial capital of Chang-An.
The Willow Pattern
681 - Judge Dee is the Lord Chief Justice for all of China.
Murder in Canton
Two books, Poets and Murder and Necklace and Calabash, were not listed in the chronology (which was published before these two books were written) but they were both from the time when Judge Dee was the magistrate in Poo-yang.
Selected scholarly work
(with Christianus Cornelius Uhlenbeck). A Blackfoot-English vocabulary based on material from the Southern Peigans. Amsterdam, Uitgave van de N. V. Noord-Hollandsche Uitgevers-Maatschappij, 1934. 12.
The Lore of the Chinese lute; an essay in ch'in ideology (1941)
Hsi K'ang and his Poetical Essay on the Lute (1941)
Erotic Colour Prints of the Ming Period Privately printed, Tokyo (1951)
Siddham; An Essay on the History of Sanskrit Studies in China and Japan (1956)
Chinese Pictorial Art, as Viewed by the Connoisseur Istituto Italiano Per Il Medio Ed Estremo Oriente, Roma (1958) (Limited edition in 950 copies)
Sexual Life in Ancient China. A preliminary survey of Chinese sex and society from ca. 1500 B.C. till 1644 A.D. (1961). (In spite of its titillating title, this book deals with the social role of sex, such as the institutions of concubinage and prostitution.)
The gibbon in China. An essay in Chinese animal lore. E.J.Brill, Leiden, Holland. (1967)
Reference
Janwillem van de Wetering; Robert van Gulik: Zijn Leven Zijn Werk; Loeb, Amsterdam, ISBN 90-6213-899-3 (Hardback, First edition 1989)
Janwillem van de Wetering; Robert van Gulik: His Life His Work; Soho Press, Inc.; ISBN 1-56947-124-X
C.D. Barkman, H. de Vries-van der Hoeven; Een man van drie levens (A man of three lives); Forum, Amsterdam, ISBN 90-225-1650-4 (1993)
John Thompson's collected anecdotes on van Gulik's Guqin artistry
Judge Dee website
The Dutch language Rechter Tie website
^ Robert van Gulik, The gibbon in China. An essay in Chinese animal lore. E.J. Brill, Leiden, Holland. (1967). Pages 94-95.
^ Thomas Geissmann, Gibbon paintings in China, Japan, and Korea: Historical distribution, production rate and context". Gibbon Journal, No. 4, May 2008.