文化传入

Among them, sandal wood, agalwood, aloe wood, and many others were introduced to China from India through Central Asia by land and from South East Asia by sea around

香於汉唐之际从西域和南洋传入中国，逐渐在原有的佛教用香文化之上，发展出中国文化独特的「香火」观念与象徵。

Art song was introduced to china at the beginning of 1920's and organically combined with Chinese traditional culture, which produce the really Chinese art song.

中文摘要 20世纪20年代初期艺术歌曲传入中国，并与中国传统文化有机结合，产生了真正意义上的中国艺术歌曲。

According to the ancient booklore, the territorial expansion after the reign of Emperor Wudi of the Han Dynasty, had begun to exchange with neighboring countries. Therefore, the Chinese incense culture has opened its pluralism future. Buddhism's usher during the Tang Dynasty and the use of incense among scholars in Song Dynasty both have changed the incense primitive appearance.

透过连串的古籍举证得知，汉武以后的领土扩张，开始了与邻近诸国的交流，开启了中华香文化的多元未来；唐代佛教的传入、宋代文人雅士的用香习惯，也改变了香的原始面貌，香与美已融合为一。

In the introduction to this culture play a major role in the process of the Buddhist monks.

而在这一文化传入过程中起主要作用的是佛教的僧侣们。

Spurs Dynasty Gurkha Khan (9 end of the century in 1211 a) period, with the introduction of Islam in the Western Regions and the gradual expansion of the Islamic culture on the impact of Western culture more and more.

喀刺汗王朝(9世纪末一1211年)时期，随着伊斯兰教传入西域并逐渐扩展，伊斯兰文化对西域文化的影响愈来愈大。

This paper discusses the main reasons why jadeite jade culture was developed in a short time during the middle-late Qing dynasty. It concludes that three main reasons precipitate the rising of jadeite jade culture; the influence of folk customs of the Manchu ethnic group, the power structure of royal estate, and development of aulic culture; the change of social values influenced by Western culture and the commercial development of the Qing dynasty.

文章讨论了导致翡翠玉文化在我国清代中晚期形成的主要原因，认为满族民俗的影响，皇室权力结构改变及宫廷文化的推动；西方文化传入导致的价值观念转变；清代商业经济发展等要素是导致翡翠玉文化能在较短时间内得以与和田玉文化并驾齐驱的主要原因。

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

The research is it introduce Taiwan to teach from elder, by south and north, Fujian Province, flat Pu; Six piles of elders' church has set up, has organized a lot of characteristic Hakkases in the church, they are stating Christ with the language of Sixian Dialect of Hakka,, are praising God with the song of four counties; Then met the tradition, has run into culture, merge and compose the cultural spirit in the ground together in locality and community, set out together, recall Hugh Ritchie pastor, far to is it come pile of lands say six words of people to go abroad from Britain, spread and say God's country, went through Taiwanese's pyreticosis and passed away, was burying and catching dogs, he has reflected God's decree, prefers burnouting to decaying, has witnessed long and taught and taught burning instead of the grain spirit that is destroyed too.

此篇研究从长老教会传入台湾，由南部而北部，由闽南、平埔而客家，於是六堆的长老教会建立了起来，组织了很有特色的客家教会；以四县话述说著基督，用四县的歌声颂扬著上帝；然后碰到了传统，碰上了文化，再融合於当地与社区共谱在地的文化精神，一起出发。回想李庥牧师，远从英国漂洋过海来到六堆的土地上说六堆人的话语，传讲上帝的国度，经历台湾人的热病而去世，葬在打狗，他回应了上帝的旨意，宁愿烧尽而不愿朽坏；见证了长老教会焚而不毁的精神。

This essay firstly summarizes the discoveries of Tibetan rock art and recently studies, which is the groundwork of this paper. Then to define cultural characteristic of the Tibetan rock painting, it analyzes its stereotype, distribution, reserving forms, technique of manufacture and image.

在此基础之上，对涂绘岩画的时代、反映的原始宗教信仰以及区域文化意义等方面进行了初步的探讨，提出涂绘岩画主要是西藏早期金属时代晚期到佛教传入西藏之前的文化遗存，少数可晚至佛教传入西藏之后。

Gotama Buddha is a real historical figure whose words and deeds, which were full of wisdom and mercy, have made a profound impact on not only the history and culture of India, but also on the world.

释迦佛陀确实作为一个历史人物在我们这个地球上诞生过。他的事迹影响过印度的历史、印度的文化。而且佛陀的智慧和慈悲远远地影响了我们整个人类的文化，象我们中国，佛教传入中国已经有两千余年的历史了。

Plunder melds and run with this jewel!

掠夺melds和运行与此宝石！

My dream is to be a crazy growing tree and extend at the edge between the city and the forest.

此刻，也许正是在通往天国的路上，我体验着这白色的晕旋。