漢宋調和的矛盾———丁晏《左傳杜解集正》的方法與意義

A Contradiction in the Reconciliation of the Han Learning and Song Learning: The Methodology and Significance of Ding Yan’s Collective Commentaries on Du Yu’s Exegesis on the Zuo Tradition

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

漢宋調和論是介於乾嘉漢學與晚清今文學兩大思潮的中介，支持者多以兼采漢宋學所長爲説。然而落實在經典詮釋中，仍往往執此御彼，各有所偏。丁晏雖標榜“以漢學通宋學”的學術方法，但其《左傳杜解集正》的詮釋方針，實質上卻是“以宋學正漢學”，形成“主觀考據”的學術模式。雖然背離了百年以來的漢學傳統，卻給晚清今文經學在方法論上的啓示。

The theory of reconciling Han Learning and Song Learning debuted as a mediator of the Philologist School of the Qianlong-Jiaqing (1735-1820) era and the School of New Text of the late Qing (1840-1912) eras. Most of its proponents allegedly adopted the advantages of each school. However, notably in their exegeses of the Confucian classics, these scholars tended to be in favor of only one school. Although Ding Yan (1794-1875) declared “understanding Song Learning based on Han Learning,” in his Collective Commentaries on Du Yu’s Exegesis on the Zuo Tradition (Zuozhuan Dujie jizheng), for example, he actually realized an academic mode of “subjectively textual” by “correcting the Han Learning based on Song Learning.” He went against the century-old tradition of Han Learning, but inspired the dimension of discourse on method for the later New Text Confucianism in Late Qing times.