走进明清圣旨博物馆

来源:用户上传      作者: 吴增祥

　　圣旨,是中国古代封建帝王布告臣民、委任官吏、册封宗室、表彰功德、告谕外邦等一种专用的文书形式,亦是帝王权力的载体和象征。中国圣旨起源于商周时期,规制于秦汉,发展于唐宋,完善于明清,其内容和制式体现了封建历史王朝至高无上的权力与意志。
　　
　　由山东文物收藏家吕乃涛先生申请创办的“聊城明清圣旨博物馆”对外开放一年间,吸引了众多国内外旅游者纷至沓来,争睹难得一见的明、清两朝“圣旨”真迹,令参观者大开眼界。
　　该博物馆是中国首个以“圣旨”为专题的民间收藏博物馆。它坐落在有“江北水城”之称的山东省聊城市东昌府区驻地,与著名旅游景点“光岳楼”相距仅50米,相互依邻辉映。
　　博物馆馆长刘新华先生介绍,这处“圣旨”博物馆为二层仿古建筑,展出面积1000多平方米,馆藏明代、清代的诏书、国书、诰封、敕封(通称为圣旨) 达132道之多,开馆展出的“圣旨”55道,以及“伪满洲国圣旨”和日本、越南、韩国等国家的“圣旨”,并配以明清时期的科举试题、殿试卷、官场文书、字画匾牌及用墨鱼汁做墨汁密写在衣衫内的“夹带小抄”等科举文物2000多件,反映了当时的政治、经济、军事、外交及中国宫廷文化等多种形态。
　　
　　刘新华先生说:“这些弥足珍贵的‘圣旨’是吕先生20多年间从民间收集的,所展出的‘圣旨’实物都是经过文物专家鉴定过的真迹。”
　　据资料记载,“圣旨”见于汉代,距今已有1830年历史。之前,最初始的“圣旨”并无固定形式,夏、商、周时期,可称圣旨的有:训、诰、誓、命等,如周武王的《讨纣檄文》可称是中国历史上最早的圣旨之一。至春秋战国时期,圣旨多为:命、令、政。直到秦朝,改“命”为“制”,改“令”为“诏”,圣旨才有了标准称谓,制、诏、诰、敕等4种形式便成为皇帝布告臣民的专用文书。
　　明清时期的圣旨可谓具有大成色彩。封建帝王为加强中央集权,在制、诏、诰、敕的基础上又增加了“册、书、符、令、檄”等文书形式,直到1911年辛亥革命告成,清朝灭亡,2000多年的皇权统治宣告终结,“圣旨”退出了历史舞台。
　　
　　在使用灯光感应技术的博物馆一楼展厅,墙壁上悬挂着明、清两朝28位皇帝的大幅画像及其简历。近百个3面通透的长条玻璃展台里,陈列着如此多的明、清两朝皇帝颁发过且后来流落民间的“圣旨”,如今又汇集于一室,令人无不感到惊讶与兴奋。这些有着神秘色彩的“圣旨”,有的是纸制的,有的是丝制的,有的是多种颜色的,有的虽有残缺,但其字迹、印章、色彩与花纹都清晰如初,尤如走进一坐神秘的中国古代宫廷文化博览园。
　　博物馆业务主管、对圣旨颇有研究的李鹤小姐说:“馆内展出的明清两朝圣旨,均出自28位帝王中17位(其中明朝7位,清朝10位)皇帝之手,年代最久远的一道圣旨是明洪武二十五年十二月二十一日开国皇帝朱元璋颁发的,距今已有600多年。”
　　走进圣旨博物馆,特别吸引游客眼球的是清朝光绪二十七年,德宗皇帝敕谕头品顶戴户部那桐为专使,出使日本国道歉的一道圣旨,并加盖满汉文合璧的玉玺――敕命之宝。
　　“这道圣旨的特殊价值在于:它就是1901年签订的《辛丑条约》附件里第三款的真实内容,也是1900年八国联军侵华的借口之一,‘圣旨’真实地记录了清朝末期的一段屈辱史,”李鹤小姐道出了一个历史事实,她说:“这道圣旨是我们博物馆的‘镇馆之宝’,在圣旨中属于敕书中的“敕命”,用于谕告外藩及外任官员的一道敕谕。这是一件存世孤本,也是一件进行爱国主义教育的国宝级文物史料。”
　　据介绍,明清两朝圣旨质地等级极为严格。清朝圣旨基本上都沿用了明朝的各种体制及文书形式。一般国书、诏书多为纸制,而加官封爵的圣旨均为丝制而多彩,以“诰命”封赠五品以上官员或世袭罔替之爵位者,其主要特点是有颜色、底纹之别,颜色分为三色、五色、七色,官员品级越高,“诰命”的颜色越多,最高级别的为七色,“诰命”封赠二至五品官员用祥云底纹,一品高官则用仙鹤作底纹;敕封外藩,覃恩封赠六品以下官员及世袭罔替之爵位的敕书称敕命。因此,封赠品级低的官员只有单一颜色,则不享受多彩和底纹待遇;“诰命”与“敕命”的等级区别,除了圣旨前端用提花工艺绣制的金粉篆字不同外,还在于圣旨两端轴头材质有别,如:一品官用玉轴,二品用黑犀牛角轴,三品用贴金轴,四、五品官为黑牛角轴,六至九品官则用木质轴头等,颁布诰命一般为“诰命”或“奉天诰命”,钤盖“诰命之宝”或“制诰之宝”,而敕命则为“奉天敕命”,钤盖“敕命之宝”。
　　
　　明清两朝圣旨中,满汉文对照书写是清朝圣旨与明朝圣旨最本质的区别。明朝至清朝前期的圣旨都是用墨汁书写的,乾隆皇帝以后,为防止官员伪造圣旨,便改用朱砂赤、胆石绿、孔雀兰、松墨黑和褚石褐等五种颜色搭配书写圣旨。同时,圣旨必须由两个人书写,写满文的不写汉文,写汉文的不得写满文,起到互相监督作用。
　　日常生活中,人们印象中的“圣旨”形象是:一尺黄绫,后面书有“圣旨”两字。实际上,明清两朝圣旨实物的宽度都在30-34厘米之间,长度随圣旨具体内容而定,馆内最长的一道圣旨有5米多长。清朝圣旨因用满汉两种文字书写,相对来讲就更长了,所以清朝规定:宣读圣旨时,只展汉字部分,满文不展开。
　　李鹤小姐介绍:“圣旨由内阁或翰林院撰写初稿,交大学士呈皇帝阅定,由专为皇帝书写圣旨的中书科缮写,最后钦准,钤盖御玺,圣旨即刻颁发。圣旨从拟稿到缮写,均由朝内顶尖文化高手来完成的,其行文精悍洗练,几乎达到增一字嫌其累赘,减一字词不达意的程度,因而‘圣旨’具有史料价值的同时,也具有文化艺术价值。”
　　由此可见,圣旨的产生与颁发,不是一发一接的简单传递,而是经过一个自上而下,机密程度极高而具有礼仪性、权威性的复杂程序。
　　
　　The Museum of Imperial Edicts of the Ming and Qing Dynasties
　　
　　Issuing an imperial edict was the method used by emperors in ancient China to give orders to their ministers or promote officials. These orders were customarily written on a piece of yellow silk and passed on to the relevant person. The recipient would receive the silk in the formal manner on bended knee, taking the edict in both hands from the envoy. In China, the imperial edict originated from the Shang and Zhou dynasties, was legalized during the Qin and Han dynasties, was developed during the Tang and Song dynasties and was perfected during the Ming and Qing dynasties. Both the contents and the forms of the imperial edicts show the supreme power of the feudal dynasties.

　　After being open for only one year, the Liaocheng Museum of Imperial Edicts of the Ming and Qing Dynasties, established by cultural relics collector Lu Naitao, has attracted numerous visitors from home and abroad.
　　
　　This museum is the first private museum in China with the themed collection of imperial edicts. Located in the Dongchangfu District, Liaocheng City, Shandong Province, this museum is only 50 meters away from a famous tourist attraction―the Guangyue Pavilion. The two-storey pseudo-classical building has an exhibition area of more than 1,000 square meters, housing a collection of 132 imperial edicts of the Ming and Qing dynasties, of which 55 are on display. Moreover, more than 2,000 pieces of related cultural relics, such as the imperial edicts of the Manchukuo puppet regime, Vietnam and Korea, imperial examination papers, official documents, calligraphic and painting works and government plates of the Ming and Qing Dynasties are also exhibited, which create a display of the political, economic, military, diplomatic and imperial culture of the Ming and Qing Dynasties.
　　The imperial edicts of the Ming and Qing Dynasties were written in diversified styles. On the foundation of the previous styles of “Zhi, Zhao, Gao, and Chi,” the styles of “Ce, Shu, Fu, Ling and Xi” were added. The imperial edict did not quit the historic stage until the Qing Dynasty was overthrown by the Revolution of 1911.
　　
　　In the exhibition on the first floor where light sensing technology is applied, on the wall there hang the portraits and resumes of 28 emperors of the Ming and Qing Dynasties. In nearly 100 glass-fronted exhibition cabinets, there are displayed the imperial edicts issued by these emperors. Some of these somehow mysterious imperial edicts are on paper, and some on silk. Although some are damaged, the character prints, seal, color and patterns remain very clear. Looking at these imperial edicts, one will feel as if entering a mysterious museum of ancient Chinese imperial culture.
　　The distinct difference between the imperial edicts of the Ming Dynasty and the Qing Dynasty is that imperial edicts of the Ming Dynasty were only written in Chinese while the imperial edicts of the Qing Dynasty were written in both Chinese and Manchu. During the Ming Dynasty and the early period of the Qing Dynasty, the imperial edicts were written with black ink. After Emperor Qianlong reigned over the Qing Dynasty, with a view to preventing forgery by governmental officials, ink mixed from five colors was used to write the imperial edicts. At the same time, the imperial edicts had to be written by two persons. The person writing the Chinese version did not write the Manchu and the person writing the Manchu did not write the Chinese, so they could supervise each other.
　　The Cabinet or the Imperial Academy was responsible for drafting the imperial edicts, which was sent to the emperor for review by the Grand Secretary. The Imperial Patent Office was responsible for copying the imperial edicts. After being approved by the emperor, the imperial seal was printed and the imperial edicts could be issued. From drafting to copying, the imperial edicts were written by the top-level cultural officials of the imperial government. Therefore, besides having high historic value, the imperial edicts also have high cultural and artistic value.

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