The Bidirectional Adaptation of Ricci’s Image in the Late Ming Dynasty and Its Methodological Significance
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摘要: 利玛窦在晚明中国的形象,不是单方面文化适应的产物,而是中西文化双向调适的结果。利玛窦以西僧形象进入中国,是基于中国官员给出的建议,同时也受到了早期耶稣会士在日本经验的直接启发,是进入中国扬教所采取的权宜之计。利玛窦到韶州以后主动改着儒生衣冠、并尝试以中文著述合儒,由此建构了其“西儒”形象。这同样是接受了中国文人的建议,也获得了耶稣会的批准。利玛窦最终所欲塑造的自我形象其实是“畸人”。借助这一形象,中西双方在“天学”与“超性学”所对应的儒家事天敬天学与基督教神哲学,“人学”与“性学”所对应的中西天文历算之学这两个维度上展开互动与对话。中国正统儒家和佛教徒,将利玛窦视为异人、妖人,是对利玛窦“阳辟佛而阴贬儒”的反拨,以“他者化”的书写反向强化了利玛窦非儒非僧的畸人形象。利玛窦形象,作为表征“利玛窦规矩”的文化符号,在当代中西文化交流互鉴和建立人类命运共同体的时代语境中,仍然具有重要的方法论意义。Abstract: Matteo Ricci's image in late Ming China is not the product of unilateral cultural adaptation, but the result of a bilateral interpretation of Chinese and Western cultures. Matteo Ricci’s entry into China as a Western monk was based on advice from Chinese officials and was directly inspired by the experience of the early Jesuits in Japan, which was actually expedient. Upon his arrival in Shaozhou, Matteo Ricci took the initiative to change the attire of Confucian scholars and at the same time tried to write books in Chinese, thus constructing his image of a “Western Confucian.” This, too, was suggested by the Chinese literati and, of course, approved by the Jesuits. The selfimage that Ricci intended to create was literally that of a monster, a freak or freakish person. This image contains the connotations of Christian theology and astronomical calendar, and in fact, is also the product of a dialogue between Ricci and Catholic Chinese literati. Chinese orthodox Confucians and Buddhists regard Matteo Ricci as a demon, their writing of “otherization” highlighting Matteo’s self-image as non-Confucian and non-Buddhist. The image of Ricci, as a cultural symbol representing the “rites of Matteo Ricci,” still has important methodological significance in the context of contemporary cultural exchanges and mutual learning between China and the West.
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Key words:
- Matteo Ricci /
- image adjustment /
- acculturation
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