zhūzǐxué 诸子学 Study of A Hundred Schools of Thought 指诸子的学说以及研究诸子学说的学问。春秋末期至西汉初年，当时的学者针对社会秩序与价值观念的崩坏，展开了自由而深刻的思考，提出了多元的理论主张。这些学说被统称为“诸子学”。诸子学对后世产生了深远的影响，各派学说经由后人的研究与阐发，获得了不同程度的发展。诸子学说的进一步发展，也属于“诸子学”的范畴。 This term refers both to the theories of the diverse groups of scholars from the late Spring and Autumn Period to the early Western Han Dynasty, as well as the study of these theories. During those years, scholars engaged in free and in-depth reflection on […]

zhūzǐ-bǎijiā 诸子百家 A Hundred Schools of Thought 指春秋末期至汉初的各派学者及其著作。春秋时期，周代旧有的社会秩序与价值观念日益崩坏。当时的学者面对现实的社会危机，展开了自由而深刻的思考，在社会秩序与价值观念的建构方面提出了多元的理论主张。这样一种活跃的理论创建与学术讨论持续至西汉初年。后人将这一时期涌现的诸多学者及其著作称为“诸子”，又将其归纳为儒家、墨家、道家、名家、法家、阴阳家、农家、纵横家、杂家及小说家等十个流派，其中前九个流派更具学术价值，因此称为“九流十家”。因其人物与学说众多，又泛称“诸子百家”。 This refers to the various schools of thought and their proponents during the period from the late Spring and Autumn Period through the early Han Dynasty. The Spring and Autumn Period witnessed an increasing disintegration of the old social order as well as of the values of

zhǐchǐ yǒu wànlǐ zhī shì 咫尺有万里之势 Power of Landscape Within Inches 著名的山水画大师在咫尺见方的画幅上可以描画出辽远广阔的景致。这种艺术描绘方式，并不是事无巨细地全部照搬，而是融合了创作者的艺术素养，展现出创作者的心灵与胸襟，对于素材则删繁就简，由约而博，由近而远。“咫尺有万里之势”后也用于诗歌批评。这个术语中，最重要的是“势”，体现在诗歌、绘画等创作方面，即注重炼意构思，使作品具备艺术张力和强大的表现力，整体气势动人，不拘泥于一字一笔。要达到这种艺术境界，不能只依靠临摹和模仿，而要亲身阅历，开拓眼界，感知造化神奇，超越尘俗。 Masters of landscape painting are able to depict natural scenery which has vast breadth and distance on an inches-wide scroll. The artist does not just copy a scenery, but rather creates a work of art which integrates his artistic accomplishments and displays his

zhàocè 诏策 Imperial Edicts 古代文体名称，是帝王向臣下宣示旨意的文书。“诏”即诏书，是皇帝颁发的训诫或命令；“策”即策书，是帝王对臣下进行封赏、任免官爵的文书。南朝刘勰（465？—520）在《文心雕龙·诏策》中论述了帝王对臣下、上级对下级所使用的各类文体。他认为这类公文具有最大的权威性、影响力和垂范作用，封赏嘉奖类文书应当如星月生辉、雨露滋润般亲民，训诫责罚类文书则应当如霹雳之威、秋霜之烈。其基本写作要求是态度明确，交代周到，合乎制度、情理、事实及文字规范，措辞上追求典雅、庄重、适度。 Imperial edicts consist of zhao (诏) and ce (策). Zhao were orders made by an emperor while ce were issued by the emperor to confer commendation on officials and appoint and dismiss them. Liu Xie (465?-520) of the Southern Dynasties discussed in his literary critique The Literary Mind and the Carving of

zhāngjù 章句 Textual Components / Zhang Ju (Annotation Work) 主要含义有二：其一，汉语诗文中字词、句、段、篇的统称。南朝刘勰（465？—520）《文心雕龙》重点从写作角度探讨围绕文章主题遣词造句、安排段落、形成篇章的一般原则与方法。刘勰在强调立意高的前提下要求章句精雕细琢，启示后人在写作中自觉揣摩文法，总结经验，展开文学批评和理论探讨。其二，为古代一种注释体著作名称，意思是分章析句，主要对儒家经典文本划分段落，解释其中的字词并串讲大意。如东汉王逸的《楚辞章句》、南宋朱熹（1130—1200）的《大学章句》《中庸章句》等。 This term has two meanings. First, it means words, sentences, paragraphs, or an entire text. In his literary critique, The Literary Mind and the Carving of Dragons, Liu Xie (465?-520) of the Southern Dynasties discussed the general principles and rules governing the wording, syntax, paragraphs arrangement

zhāngbiǎo 章表 Memorial of Gratitude or Petition 古代文体名称，是臣下感谢皇帝恩宠或向皇帝有所请求的文书。“章”用于谢恩，“表”用于陈请。两者从文体上说差别不大。南朝刘勰（465？—520）在《文心雕龙》中对写作章表提出的理想标准是：表意明确而不肤浅，陈述与分析既精练又充实，合乎礼仪规范和文字规范。 This is an ancient style of official communication, through which a high-ranking official expressed his gratitude or presented a petition to the emperor. Zhang, or memorial of gratitude, and biao, or memorial of petition, differed little in style. Liu Xie (465?-520) of the Southern Dynasties observed in

zé 则 Rules 法则、规则。“则”既指天地自然运行的规则，也指人伦生活所遵循的法则。这些法则决定了生活世界的基本秩序，违背这些法则会导致混乱与灾祸。有人认为，天地与人事遵循着相通的法则，人事的法则来源于对天地之则的秉承或效法。也有学者认为，天地与人事有着各自不同的法则，互不影响。 It refers to rules and principles. The term denotes not only natural laws governing the movement of things in the universe, but also ethical principles that guide human life. These rules, laws, and principles establish the fundamental order in the world in which we live; and their violations will lead to

yǔn zhí jué zhōng 允执厥中 Hold Fast the Golden Mean 不偏不倚，诚实地执守中正之道。允：诚信。执：坚持，实行。厥：其，那个。中：中正。也称“允执其中”。作为国家的治理者，尤其是居于首位的治理者，面对各种意见、利益或力量的纠葛、博弈时，绝不无原则地偏向任何一方，而要诚心实意地坚守中立、公正的立场，采取应该采取的政策措施，这样才能把国家治理好。犹言坚持原则，公正无私。这一理念具有普世价值。 Governors of the country, especially principal governors, should never be biased in making decisions on conflicting opinions, interests, and forces in an unprincipled way, but rather they must sincerely hold fast to the middle course with appropriate policies and measures, and sincerely adhere to

yǒu wǒ zhī jìnɡ, wú wǒ zhī jìnɡ 有我之境，无我之境 Scene Involving the Self; Scene Not Involving the Self 近代学者王国维（1877—1927）从物我关系的角度所概括和总结的中国古典诗词的两种审美境界。王国维在其著名的文学理论著作《人间词话》中提出了“境界”概念，认为只有营造出境界的诗词才是上乘之作。王国维不仅把它视为诗词的创作原则，也把它当作批评标准，用“境界”论述诗词的演变，评价作者的得失、作品的优劣、词品的高低。围绕“境界”，他又提出了若干命题，“有我之境，无我之境”就是其中最为重要的一对术语。“有我之境”，就是词作者将自己的主观感情融入文学形象之中，使得文学形象带有强烈的感情色彩；“无我之境”并不是没有感情的融入，只是这种感情冲淡平和，也可以说是作者的情感表达与文学形象形成了契合。在王氏看来，“无我之境”无需刻意雕琢，巧然天成，是艺术追求的最高境界。“境界”说既是王国维文艺批评的出发点，又是其文艺思想的总归宿。 This term refers to the dual character of aesthetic appreciation of classic Chinese poetry highlighted by the early modern scholar Wang Guowei (1877-1927), from the perspective of the relationship between the self and the external world.

yóu 游 Unattached 悠游。“游”是一种处世、行事的方式。以“游”的方式面对生活世界中的人和物，即要求人们与其所接触、认识的对象保持一种若即若离的关系。一方面，“游”不能疏离于对象之外，而是要保持与对象的接触，在接触中获得真切的了解；另一方面，“游”又要与对象保持距离，不能沉溺于对象之中而受其牵累。“游”要始终保持主体超越于对象之外的自在，从而获得关于对象的更深刻的认知。 This term refers to a relaxed and unencumbered approach to people and things. To be unattached, one needs to keep at arm’s length when he comes into contact with other people or things. He should not be too detached, thus unable to have contact with people or objects and know them