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Comment by Host Workshop on April 1, 2024 at 5:23pm

This Creative Hub invites artists, coinciding with either festivals or holidays, to activate the back alley (now a publicly accessible space) with temporary installations and commissioned wall paintings and events. These pop-up events are led by the hub’s art direction team, and supported by video documentation. One of their key strategies to increase visibility of their events is to invite key online influencers (KOL) to photograph themselves in the space and share these photos on social media.

Key Takeaways:

• Audience

• It is important to understand your audience. Ask yourselves these questions: Where will they be and what will they be looking for? Would a simpler and easily accessible design be more suited rather than a polished, minimal design language?

• Audience Development Develop a recognizable online and offline presence. This can be done with a cohesive brand story (written and graphic de sign), engagement on social media and collaborating with relevant organisations and people.

• Understand your network, your niche 35@Jetty is interested in participating in the narrative of the UNESCO world heritage site, and connecting with local arts practitioners. As a Creative Hub, this is an example of how we can connect directly with the physical community around a certain location.

7.3 Cultivating Networks

Network infers to a set of relationships and connections, internally or with other communities. Networks allow knowledge to be shared while finding support in social relationships and solidarity.

Many Creative Hubs have cultivated regional networks, and/or part of coalitions/advocacy groups.

New Naratif— transnational solidarity New Naratif situate themselves as a regional media advocate that is interested in uncovering Southeast Asian voices. They advocate freedom of expression, freedom of information and democratic practises. Shifting away from the state-owned news outlet, they are an independent media organisation and seek to bring awareness to marginalised stories.

New Naratif has also managed to find alliances with other organisations who are doing work within the same regional space on marginalised voices.

Recently they co-organised a conference,  Transnationally Asian Digital Conference. This conference connected regional publishing collectives such as Lausan Collective (Hong Kong) and New Bloom Magazine (Taiwan). The conference maintained that they “were able to capture the anti-nationalist and internationalist perspective, across Asia and in the Asian diaspora”.

New Naratif offers a social impact through connecting transnationally between diasporic conversations. Through their online collaborations with other organisations, standing up for freedom and justice promotes transnational solidarity and awareness.

SeaShorts Film Festival—

Southeast Asian cinema  SeaShorts Film Festival is organised by Next New Wave, an initiative founded in 2015 to nurture emerging filmmakers. It is a not-for-profit cultural organisation bringing independent films to the forefront. The 2020 SeaShorts program was supported by several regional networks of film organisations such as the Asia Centre Japan Foundation, National Youth Council of Singapore, Taipei Economic and Cultural office in Malaysia, FINAS and more.

The festival is made up of many screenings from competition submissions to S-Express, an annual presentation of short films across Southeast Asia. The programmes are selected and curated from a country programmer, usually a writer, director, or festival organiser. In its 3rd iteration, the audience for the festival grew from 500 to 2,000 a month.

Comment by Host Workshop on February 25, 2024 at 6:47am

Rekan Library— Muar design community

Rekan Library is a community library space that promotes collaboration and actively engages the community with reading, design and learning.

Working with the Chinese community of Muar, Johor, their network includes a collective publication Muar River Times; creating a co-working subscription model with an event venue Ngam Hall; collaborating with children’s toy designers; and many more. The design and art community in Muar works on cultivating a small town spirit, creating publica tions, podcasts, hosting musical performances and creating community spaces collectively.

Key Takeaways:

Understand your network, your niche 

To think beyond the national boundaries and to find ties internationally as a way to grow one’s practice.

Creative Hubs can find networks based on medium, types of practice, or type of spaces.

SeaShorts Film Festival connects with other filmmakers, international arts and cultural organisations and encourages exchange programmes.

Participating in or housing such programmes can enable Hubs to grow a network specifically tied to the arts.

8·Conclusion

For this report, tracing artist-collectives in the past to the present was an incredibly enriching exercise and at the same time, demanding. Creative Hubs emerged not only as models for adoption, but also are a constant source of curiosity for us to deepen our imagination and experimentation.

8.1 Knowledge Gaps

As per any report, there will be limitations in either the process, method, or time range of data collection. Although the ‘Hubs For Good’ research project identified over 100 hubs, there is a lack of representation of different language groups. The workshops of the programme are organised in English. Groups using other languages may not feel inclined to participate. There is also a tendency for the professional and entrepreneurial programmes to be expressed in English and situated in urban areas. As the teams worked in English for this project, many other hubs were not identified and located due to language barriers.

Other groups may also be situated in suburban or rural communities, and due to the restricted movement due to the COVID-19 pandemic the research team were unable to travel to discover the outlying art and cultural collective work con ducted in smaller communities. Grassroots and community associations that may not be recognised as being artistic or cultural also often carry out art and cultural work. These associations often engage with local neighbour hoods and are aligned with cultural festivals such as Mid-Autumn or Thaipusam to name a few. Such groups are entrepreneurial by nature, trading cultural and traditional craft, products, and artwork during the cultural events. Modes of production often run alongside their community building work. Would these be also considered Creative Hubs? This is a question perhaps to be considered in future research.

Comment by Host Workshop on February 20, 2024 at 8:35am

(pg. 39) Another gap is the underground movement within the art and cultural ecology of Malaysia. There are collectives engaging in work situated in the legal/grey areas of the law. To name them openly in a report may have a negative impact on such collectives. Lastly, some collectives may also be involved in experimental work that is activated and disappears quickly. Such work may also be considered failures by the conventional parameters of sustainability, but their transient nature should not stop them from being considered as a Creative Hub.

8.2 Malaysian Art and Cultural Ecology—What Next?

This report aims to build awareness of the history of art and cultural collectives, to consider the policies that affect the art and cultural ecology, and to draw out certain patterns and characteris tics of current Creative Hubs in Malaysia. So, what should we be doing next? The work of Creative Hubs is often social, organising creative work for, or with, a specific community.

The work can be conducted through the many examples in 5.2 Alternative Arts Education, fulfilling a gap and need beyond informal education systems. Support and awareness are needed to ensure possible education routes can be encouraged. All hubs will have cultural impact by the creative processes of art and cultural work.

The art forms emerging from hubs add to the cultural landscape of Malaysia, through the different categories of Creative Hubs described in section 2.3. These categories can infer how hubs can have multiple categories of cultural impact, often intertwining more than one medium of art and cultural work.

Another cultural impact is the notion of networking and archiving the work. Creative hubs should offer open access to knowledge. To learn about our own art and cultural history is imperative to ensure the growth and continuation of our art and cultural ecology. To work on digitally archiving and creating repositories either in the form of reports, or catalogues can help newcomers under stand Creative Hubs, and by extension the art and cultural ecology better.

One of the biggest cultural impacts is connecting to online and offline networks. Hubs are a resource for gathering. These gatherings can be centred around openings, festivals, events, or even just reflective moments of sharing. To embrace the growth and continual nourishment of networks is imperative to ensure a sustained cultural impact. Hubs should continue to have a bottom-up network of sharing—from knowledge to space to resources.

Creative Hubs create communities for those participating in art and cultural work. They grow camaraderie through open dialogue, conversation, and discussions. The action of creating safe spaces enables solidarity amongst art and cultural workers while allowing them to investigate their own art and cultural work. Economic impact is less immediate. Creative Hubs often coordinate sharing resources to support the ecology, creating an open-ended input and output cycle. The support can range from sharing subscription accounts for streaming and online conferences to creating community-led spaces for all to contribute to.

Comment by Host Workshop on February 19, 2024 at 6:25pm

(Con't from above) Economic impact can also be found in the use of branding exercises. It is the methodology of inviting potential patrons, participants, and artists to connect to a hub’s work. Creative Hubs that do design exercises to write, document and archive their work online and offline provide clarity for the public to understand their initiatives. To give thought to how art and cultural work is advertised, audiences can easily access, understand, and par ticipate in the art and cultural work through clear and careful design on social media campaigns.

Creative Hubs such as Cult Creative are founded on the belief that such effort and work is important to ensure the longevity of a creative practice. The report suggests alternative methods of interpreting impact—through the work in com munities and collectivism and building networks and audiences. These two impact areas integrate social, cultural, and economic aspects by creating spaces of care, experimentation, continual learning and sharing. This we believe comes from a shared network that continues to develop the community via an entangled art and cultural ecology. The stories explore ideas of sustainable impact, where the changes will permeate long after the project is complete.


8.3 Creative Hubs—A Proposition for Collectivism

Creative Hubs create sustainable forms of impact by encouraging collectivism and community wellbeing. Collectivism is qualitative, explored through short accounts in Part III of the report. Research can document how many participants were part of a programme, or how many working hours each workshop ran for, but what is fascinating about art and cultural work are the specific details of creating programmes, design, and collaboration. Creative Hubs put energy into creating programming for communities to gather, to share and experience art forms collectively.

Such experiences are immeasurable, often advocating for social development of healthy and liveable communities. 46 46 HAUS KCH 47 Urbanscapes Other than categorising and organising the Creative Hubs into categories, this report also adds complexity by acknowledging Creative Hubs using stories of Communities and Collectivism (online and physical), Building Networks, and striving for Alternative Arts Education. This consideration of collectivism can shift away from the neoliberal agenda to a more communal ideology—a sharing economy. In a time where mutual aid and care is important, Creative Hubs and collectives in Malaysia have activated the role of organising around community issues, informal arts education, giving voice to communities.

An interdisciplinary lens of the arts and human ities, sociology or ethnographic lens should be adopted when researching further about Creative Hubs in the context of Malaysia. Different methods of collaboration can also be explored in extended research of Creative Hubs. This report is only the beginning, to draw attention to the art and cultural work of a lively ecology. All Creative Hubs are inherently cultural, advo cating various forms of art and cultural work to the public. It is my hope this report gives a snapshot during a difficult time of our history, the COVID-19 pandemic. (pg 73)

(British Council, 2017, UNDERSTANDING CREATIVE HUBS IN MALAYSIA -- Collectives, Entanglements & Ecologies;  AUTHOR: Clarissa Lim Kye Lee, Roslina Ismail ,  Poon Chiew Hwa , Florence Lambert, EDITOR: June Tan; RESEARCH PROJECT LEADER: Roslina Ismail, Florence Lambert)

Comment by Host Workshop on February 6, 2023 at 11:26am

煙雨江南〈雅各布森（Roman Jakobson）文學性•語言六功能〉

雅各布森是莫斯科語言學小組創始人，俄國形式主義核心人物，布拉格學派發起人，結構主義奠基人。

文藝學的研究對象是文學性。

1. 文學性就是文學的性質趣味，它存在於文學語言的聯系和構造，即文學作品的形式之中。

2. 文學形式不只是存在於單一部文學作品中，而是同類作品普遍使用的構造原則和表現手段。

3. 文學內容是可變的，但形式（構造方式、節奏韻律等）固定不變的，只有從事形式分析，才能將文藝學變成一門科學。

文學性源於語言的詩性功能。

1. 語言六要素——說話者、受話者、語境、信息、接觸、代碼。

2. 語言六功能——說話者的情感功能、受話者的意動功能、語境的指稱功能、信息（語言）本身的詩性功能（審美功能）、接觸的交際功能、代碼的元語言功能、。

3. 語言的詩性功能越強，越偏離實用目的，而指向自身的形式因素，如音韻、詞語和句法。比如抒情詩將意義隱藏在字裏行間，詩性功能就比英雄史詩要強。

4. 從語言學上分析，詩性功能就是要把對等原則由選擇軸引到組合軸，形成詩句的對偶。

[作者：煙雨江南_5e04 ; 鏈接：https://www.jianshu.com/p/51e4a21ce93c 來源：簡書]

Comment by Host Workshop on February 5, 2023 at 9:49pm

黄錦樹隱喻與轉喻的兩極〈會意：隱喻與轉喻的兩極〉

（一）詩歌功能

一九五八年春，俄國形式主義代表人物之一的猶太裔語言學家雅克慎(Roman Jakobson)在美國發表了一場著名的演說〈語言學與詩學〉(“Linguistics and Poetics”)。這位俄國十月革命前機警逃往布拉格，又在一九三九年納粹德國入侵捷克時經柏林、丹麥、挪威、瑞典輾轉流亡美國的天才學者，曾經把索緒爾(Ferdinand de Saussure)的結構語言學傳授給李維史陀，催生了結構人類學，及隨後幾乎遍及所有人文領域的法國結構主義思潮。〈語言學與詩學〉依人際溝通的六大元素提出了著名的六種語言功能說──發信人，情感功能；受訊人，意動功能（驅使受話人）；語境，指示功能；接觸，呼應功能；語篇，詩歌功能；代碼，後設語言功能──不同表達會以不同的功能為主導，其他功能同時存在，但為輔。

在這樣的架構裏，語言表達是一個多層次的系統。而文學作品，無非是詩歌功能位居主導，但其他語言功能被邊緣化，但不同類型的詩，也會強化不同的語言功能，譬如抒情詩就強化了情感功能 (Jakobson 1987a: 66-73)。

從一戰後俄國形式主義者追索文學性（日常語言經歷怎樣的加工會變成文學語言）的漫長歷程來看，〈語言學與詩學〉可說走到一個極致。六種語言功能說之中，最複雜的無非是詩歌功能和後設語言功能。關於詩歌功能，雅克慎下造了個格言式的句子：詩歌功能是把對應原則從選擇軸心投射到組合軸心(“the projection of the principle of equivalence from the axis of selection to the axis of combination”) (1987a: 81)。箇中機制在〈語言學與詩學〉裏並沒有解釋得很清楚，完整的解釋在雅克慎的另一篇文章，〈語言的兩個層面與兩種失語症〉(“Two Aspects of Language and Two Types of Aphasic Disturbances”) (1987b)當中。詩語言問題被聯結上人類天賦的、先天的語言稟賦──縱向的選擇軸的功能是符碼的選擇與替換，依循的是相似性原則(similarity)；橫向的組合軸的功能是組合，也即是語法功能，相鄰性原則(contiguity)──及語言的病理。雅克慎描述了兩種失語症，一種是選擇軸出狀況，它原有的功能癱瘓，失去詞語替換的能力，無法理解同義詞反義詞，失去隱喻的能力──那樣的病患「能理解字面意義，但無法理解隱喻」。失去雙語能力，失去翻譯的能力──失去後設語言的能力，是為相似失序(similarity disorder)，病患的語言狀態最終會退化為一種個人方言(idiolet)。另一種狀況是組合軸癱瘓，失去把詞語單位整合為句子的能力，表述時語法成份失落，呈現為「電報體」，單詞句、單詞語(one-word sentences, one-word utterances) (1987b: 107)，「欲言某物為何，必言其何所似」(To say what a thing is, is to say what it is like) (1987b: 107)是為相鄰失序(contiguity disorder)。他觀察到，前述兩種失語症病患之所以會那樣的語言表現是因為，當其中一軸的功能癱瘓時，另一軸的功能會加以補救。在隱喻(metaphor)和轉喻(metonymy)這修辭的兩極中，隱喻的運作以相似性為基礎，因此和相鄰失序相關──在相鄰失序的狀況下，相似功能決定了患者的語言表現，是為「對應原則從選擇軸心投射到組合軸心」；而轉喻以相鄰性為基礎，因此和相似失序相關──在相似失序的狀況下，相鄰功能決定了患者的語言表達，且是從組合軸投射到選擇軸上(105)。18雅克慎不只用這洞見來談詩，因為該論述植根於人先天的語言機制（兩軸），因此他很有想像力的把它延伸來解釋佛洛伊德《夢的解釋》中夢的運作機制(Freud 227-243)（相鄰性――移位與凝縮；相似性――認同作用與象徵作用。這給拉岡(Jacques Lacan)的精神分析理解無意識深刻的啟發），19 也用以解釋何以弗雷澤(J.G. Frazer)歸納出的交感巫術是兩種類型（接觸巫術 contagious magic 及順勢巫術 homoeopathic magic），前者循相似律，後者依接觸律；前者「用模擬或仿效的辦法」（或用偶像）讓巫術發揮效用，其內在邏輯為「同類相生」或「果必同因」。後者是部分和整體的關係，腳印、牙齒、穿過的衣服等，都可經由巫術的作用傷及其人；20 更甚者，文學藝術大思潮也能解釋（寫實主義是轉喻型的，修辭方式傾向於橫向舖展；浪漫主義［現代主義］是隱喻型的，著重縱向聚合，壓縮時空）――詩是隱喻的，散文是轉喻的。甚至我們也可以說，不同的文化或許也會有特別傾向於組合軸或聚合軸者。民國以來的「中國沒有史詩」或圍繞詩經楚辭建構「抒情傳統」，中國文學之傾向於抒情詩者，都可以從雅氏之論得到若干啟發。簡言之，雅克慎解釋說，人類的文明之所以會有那種種二元傾向，其實是受深沈的語言機制制約的。如果把這自人類語言機制深處延伸出來的觀察，延伸到觀察中國詩文，嫁接到葉維廉比較詩學對舊詩特性的洞見，可以發現葉維廉指陳的古典漢詩的特性――語法省略，動詞和形容詞的名詞化，電報體，意象的自足呈現等，都相當肳合雅克慎描述的相鄰失序，「對應原則從選擇軸心投射到組合軸心」的狀況，強化縱聚合軸，弱化橫組合軸，也即是偏向隱喻，畫面感，視覺性，如物、景、境之自我呈現，蒙太奇。21 因此指示功能也相應的被弱化。反過來，英譯或白話翻譯，增添語法成份（組合功能）也即是為了強化它的可理解性（指示功能），把隱喻化為轉喻。

在〈中國古典詩中的傳釋活動〉中，葉提問：「為甚麼那麼多人提倡語譯語解，而把原是『若即若離的、定位與不定位、指義與不指義之間』的自由空間改為單、限指、定位的活動呢?」(1988: 70)包括王力的《漢語詩律學》，胡適的〈文學改良芻議〉在內，都源於同樣的時代動力──認為文言表述邏輯性差、含混、多歧義(64)，強調表述的理性、清晰，認為漢字也不如拼音文字「進步」。22

Comment by Host Workshop on February 5, 2023 at 9:48pm

捷克漢學家普實克(Jaroslav Průšek)從世界文學史的宏觀角度來看中國現代文學的抒情傾向，橫的移植的左翼世界觀之下的長篇寫實主義小說所謂史詩時代，是轉喻；借屍還魂的抒情，則是另一種巫術的復返。何以故？如果那真的和腦深層的語言機制有關，就可能和漢字的特性有關。

葉維廉在這整個比較詩學計畫的開端，就已經注意到艾森斯坦(Sergei Eisenstein)的電影蒙太奇論技巧，是受到漢字會意字的啟發(1988: 70)。這一點發人深省。值得重返詩文的開端，文始，詩之起源，遺忘的象。

18 雅克慎關於詩語言的洞見，六、七○年代旅美華裔學人梅祖麟、高友工曾經借用來討論律詩，有不少創獲。一九八九年以《唐詩的魅力》為題結集出版（上海：上海古籍出版社），近年重新以《唐詩三論：詩歌的結構主義批評》為題出版，見梅祖麟、高友工(2013)。

19 拉岡對雅克慎的論述做了整修與修正，移除「認同作用與象徵作用」，把移置對應於轉喻，凝縮對應於隱喻。他的調整是合理的：詳 Lacan (2001), p. 442。

20 這兩種巫術的詳細描述見弗雷澤，《金枝》第三章〈交感巫術〉，頁 21-69。

21 本文的其中一位審查人借用拉岡的論述，認為其實語音比字形更為關鍵，認為即便在會意字裏，即便是象形字，畫本身已然符號化。語音確實比字形更為根本，也更為神秘，這在形聲字和假借字誕生後更為明顯（現今的漢字多為形聲字）。誠然，聲比形更為神秘也更為幽微，但如果一味強調語音的作用，其實難脫「語音中心論」之嫌。漢字畢竟不是拼音文字，它的能指不只是「音響形象」，字形也不純是透明的軀殼。漢文的表達也不可能單純的透過字音變位來創造新意。即便漢字的歷史是字形逐漸走向抽象化，被語音邊緣化，但對漢字的愛好者而言，初始的文字的詩意不是來自語音，而是它的形象性。遺存的古文字（譬如甲骨文）有很多還無法被辨識，即便被辨識，它的讀音也常要以它們的「來世」（譬如篆書）來反推，那是個富有想像力的工作，古今音變，即便靠著後來演化之形可以辨識出它們的祖先，但老傢伙真正的讀音是甚麼，其實仍是個謎，形象性可可視的，它的可見性沒有被損耗，可以憑直觀汲取詩意。

22 這部份已有大量研究成果，詳細的歷史陳述見費錦昌(1997)。中共建國後的簡化字是
這股近代思潮下妥協的產物。我自己的討論見〈幽靈的文字：新文字方案、方言土語、
白話文〉，詳黃錦樹(2006)，頁 37-78。

反之，漢字的聲音其實是「不可聽之以耳」的，清代古音學窮數代精英之力企圖破解假借字的隱秘身世便是顯例。語音更神秘，因為它在時間裏，經由說話者的實存產生變異，在錄音機發明之前，只能借字形以表音，從現存形聲字的大部分聲符都和該字的讀音無關（裘錫圭[1990]指出：「估計跟聲旁聲韻相同的形聲字，在全部形聲字裏所佔的比重不會超過五分之一。」）的狀況來看，它可說是被背叛了。字形之比語音穩定，字形之自成系統，都讓我們有理由對拉岡氏之論持保留意見。形聲字的「失敗」或許告訴我們，那緘默之聲也許更接近集體無意識，它在場，經由個體的實存，肉身存在，活生生的言語。它的傳承並不是經由文字。它和文字的關係是若即若離的。在我們的南方，它們之間的距離要比北方大些。

本論文的另一個脈絡是葉維廉氏立基於道家美學的純詩之論，但我沒有多引述。「物、景、境之自我呈現，蒙太奇」的詩學強調主體的虛化、境如物的自我虛化；愛中文者如愛漢字，在與形相飽滿的古文字相遇時，也許會油然興感，如對埋藏千年而後出土的造型精巧的古器物、或上頭狂肆的刻紋，那無聲的遠古在場，一種隱喻，即一種巫術。(節錄自：國立暨南國際大學黃錦樹〈會意：隱喻與轉喻的兩極〉;《中山人文學報》no. 45 [July 2018]: 21-45)

Comment by Host Workshop on February 2, 2023 at 12:02am

文化·文創·詩性組織

雅各布森借助於失語症的實證研究，確認了隱喻與相似性、轉喻與鄰近性之間的直接聯系，進而從文化人類學的整體立場出發，將作為傳統修辭格的隱喻與轉喻提升為人類一切文化符號運作機制的兩種基本模式。他不僅綜合考察了人類文化中重復出現的隱喻和轉喻模式，更將此模式應用於諸多詩歌文本的語法結構分析中，尤其突出和強調了「隱喻」結構在詩歌中的地位和作用，是「文學性」在文本中直觀而具體的體現。雅各布森的隱喻和轉喻模式是其文化符號學中的成功範式，對英法現代文學和社會文化的研究產生了重要影響. （ 江飛·隱喻與轉喻：雅各布森文化符號學的兩種基本模式 * DOI:10.16238/j.cnki.rla.2016.02.013）

Since the times of Western modernity, knowledge is compartmentalized as different fields. This has however, not mitigated the influence of natural science model of theorizing on social sciences. As a result the discipline of organization theory has grown without the influence of abstract, ephemeral and metaphysical fields such as; religion, history, mystic philosophy, arts and literature. With the rise of organizational cultural studies and the emergence of symbolic-interpretive view of organizing during the last three or four decades, the trend is however gradually shifting. Corporate aesthetics is one such field within organization theory which places value on the aesthetical aspects of managing and organizing. Taking lead from corporate aesthetics, this paper highlights the link between organization theory and literature (poetry, both English and Urdu). The linguistic and conceptual instrument of metaphors is isolated as the underpinning tool of this link. The role of metaphors in organization theory assumes further importance since the emergence of ‘social construction’ and ‘sense making’ view of organizations. The paper reinforces the views of contemporary writers of organization theory that the field draws from multiple and diverse disciplines by highlighting the link between organization theory and poetry through employing metaphoricity. （Organization theory and poetry: A not so elusive link by Naveed Yazdani, School of Professional Advancement, University of Management and Technology, Lahore. Pakistan. Hasan S. Murad, University of Management and Technology, Lahore, Pakistan. and Rana Zamin Abbas, Organization Theory Center, University of Management and Technology, Lahore, Pakistan. / Accepted 15 September, 2011 African Journal of Business Management Vol. 6(1), pp. 7-13,11 January, 2012 / Available online at http://www.academicjournals.org/AJBM）

Comment by Host Workshop on October 17, 2022 at 5:22pm

劉曉·四海賓服：明成祖四次為外國加封鎮山

明成祖永樂年間，政治清明，經濟發展迅速，疆土遼闊，天下大治。

所謂鎮山，指的是一個地區的主山。《尚書‧舜典》上有註解說：「每州之名山殊大者，以為其州之鎮。」而說到鎮山的意義，東漢學者鄭玄解釋為：「鎮，名山安地德也」，也就是鎮守一方土地的名山。

隋唐時期朝廷分封了五大鎮山，分別為東鎮沂山（山東）、西鎮吳山（陜西）、中鎮天柱山（安徽）、南鎮會稽山（浙江）、北鎮醫巫閭山（遼寧）。《周禮》中有祭祀鎮山之製，因此歷代守禮的帝王都會依時親自或遣使前往各山加封祭祀。

明成祖永樂年間，政治清明，經濟發展迅速，疆土遼闊，天下大治。不僅如此，成祖還派鄭和下西洋、陳誠去西域諸國，宣揚其「共享太平之福」的理想和天朝特有的禮製體系，展示燦爛的中華文明，對於周邊的近鄰日本、朝鮮、南亞諸國，同樣采取友好的對外政策，因此四海賓服。

成祖還在四個國家使者到訪時，先後四次為外國加封鎮山，並皆禦製詩文，以炳耀海外。

滿剌加「王好善義思朝宗」

明代被稱為滿剌加的小國，位於今馬來半島的西南端，瀕臨馬六甲海峽，現為馬來西亞馬六甲州首府所在地，可以說是處於重要的交通要道。滿剌加本來隸屬於暹羅，每年要向其繳納金四十兩。

 

永樂元年（1403）冬，明成祖派遣中官尹慶出使滿剌加，贈送織金文綺、銷金帳幔等禮物給滿剌加酋長拜里迷蘇剌，並「宣示威德及招徠之意」，拜里迷蘇剌非常高興，馬上遣使隨尹慶入朝，並正式向大明進貢。

永樂三年（1405），滿剌加的使者到達京師，明成祖召見了他，並封拜里迷蘇剌為滿剌加國王，賜誥印、彩幣、襲衣、黃蓋。使者說：「我國國王仰慕上國大義，願沈浮如同中國列郡，歲效職貢，希望請封其山為一國之鎮。」

明成祖同意了，下詔封其國之西山為鎮國山。成祖還下令禦製碑文，賜以銘詩曰：「西山巨海中國通，輸天灌地億載同。沐日浴月光景融，兩崖露日草木濃。金花寶鈿生青紅，有國於茲樂雍谷。王好善義思朝宗，願比內郡依華風。出入導從張蓋重，儀文裼襲禮虔恭。天書貞石表爾忠，爾國西山永鎮封。山君海伯翕扈從，皇考陟降在彼穹。後天監視久益隆，爾眾子孫萬福崇。」

詩中稱頌了滿剌加對中華文化的仰慕和效仿，並祝福其國運昌盛、子孫得福。

永樂三年（1405），滿剌加的使者到達京師，明成祖召見了他。示意圖，圖為清院本《清明上河圖》局部。（國立故宮博物院提供）

其後，兩國交往關係升溫。永樂七年（1409），鄭和第三次下西洋，特地到達滿剌加，奉明成祖之命再次對滿剌加進行正式冊封，宣讀中國皇帝詔敕，賜其國王雙臺銀印、冠帶袍服。

據跟隨鄭和下西洋的鞏珍在《西洋番國誌‧滿剌加國》中記載：「中國下西洋船以此為外府，立擺柵墻垣，設四門更鼓樓。內又立重城，蓋造庫藏完備。大寶船已往占城、爪哇等國，並先於暹羅等國回還船只，俱於此國海濱駐泊，一應錢糧皆入庫內存貯。」也就是說，鄭和將滿剌加作為了中轉站，在這里建立擺柵城垣，建造倉庫，儲存錢糧貨物。鄭和去各地的船只，回航時都在這里聚齊修整。

永樂九年（1411）正月，滿剌加國王拜里迷蘇剌率妻子及陪臣540餘人，隨返國的鄭和一行前來中國訪問。明成祖給予了隆重的接待和特殊的禮遇，不僅親自宴請，還賜予豐厚的禮物給他們，包括金繡龍衣二襲、麒麟衣一襲、金銀器皿等。

在兩國的交往中，璀璨的中華文化對滿剌加也產生了不小的影響。主要影響包括：

一、馬六甲王朝第三任蘇丹斯里馬哈拉加參照明朝的典章朝儀，製定了本國的禮儀製度，他所重視的黃色和其樂隊之中銀質喇叭，上附有馬來人所稱為「龍」的圖形。

二、仿照明朝銅幣，將以往的「斗錫」改為圓形中間無孔的錫幣，直到葡萄牙時代才廢除。

三、因為鄭和下西洋將其作為中轉站，那里不僅有若干遺跡，還有大量隨從移民此地，與當地人通婚，成為特殊的華人群體，如今被稱為「峇峇娘惹」。

明茅元儀《武備誌》載鄭和航海圖局部（公有領域）

Comment by Host Workshop on October 17, 2022 at 5:19pm

日本「衣冠禮樂昭華風」

永樂四年（1406），因日本國王源道義（足利義滿）捕海寇有功，明成祖賜白金千兩、織金彩色幣二百、綺繡衣六十件、銀茶壺三件、銀盆四件及綺繡紗帳衾褥枕席諸物，還有海船二艘，封其國鎮山為「壽安鎮國之山」（富士山）。明成祖親自製碑文，並賜以詩曰：

「日本有國鉅海東，舟航密邇華夏通。衣冠禮樂昭華風，服禦綺繡考鼓鐘。食有鼎俎居有宮，語言文字皆順從。善俗殊異羯與戎，萬年景運當時雍。皇考在天靈感通，監觀海宇罔不恭。爾源道義能迪功，遠島微寇敢鞫兇。鼠竊蠅嘬潛其蹤，爾奉聯命搜捕窮。如雷如電飛蒙沖，絕港余孽以火攻。焦流水上橫復縱，什什伍伍禽奸兇。荷校屈肘衛以從，獻俘來庭口喁喁。彤庭左右誇精忠，顧咨太史疇勛庸。有國鎮山宜錫封，惟爾善於山增崇。寵以銘詩貞石礱，萬世照耀扶桑紅。」

詩中敘述了兩國的友好、日本對中華文化的效仿，還特別贊賞其抓捕海盜之功，希望這樣的關係能夠延續，而這樣的關係也的確在明成祖之後延續了很長一段時間。

浡泥國「於萬斯年 仰我大明」

浡泥是亞洲加里曼丹島北部文萊一帶的古國。自北宋時與中國通好。明初，明太祖曾遣使前往浡泥。永樂三年（1405）國王麻那惹加那遣使獻土特產，明成祖派官封其為王。

永樂六年（1408），國王麻那惹加那攜妻子、弟妹、子女、陪臣共一百五十多人來中國進行友好訪問，同年十月病故。成祖以王禮埋葬，謚恭順王，建祠祭祀。在繼任的浡泥國王遐旺回國時，成祖厚賜禮物給他，包括金鑲玉帶一、金帶一、金百兩、銀三千兩、錢鈔錦綺紗羅衾褥帳幔器皿等。

麻那惹加那在世時，曾希望成祖將他們國中的一座山封為鎮國之山，他的兒子遐旺繼任後又向成祖請命，成祖同意將長軍山封為鎮國之山，並禦製碑文，上面刻的贈詩曰：

「炎海之墟，浡泥所處。煦仁漸義，有順無遷。㥪㥪賢王，惟化之慕。道以像澤，遹來奔赴。同其婦子，兄弟陪臣。稽顙闕下，有言以陳。謂君猶天，遺其禮樂。一視同仁，匪厚偏薄。顧茲鮮德，弗稱所雲。浪舶風檣，實勞懇勤。稽古遠臣，順來怒逆。以躬或難，矧曰家室。王心亶誠，金石其堅。西南番長，疇與王賢。矗矗高山，以鎮王國。攙文於石，懋昭王德。王德克昭，王國攸寧。於萬斯年，仰我大明。」

詩為四言詩，凝練莊重，用字典雅，充分體現出大國之君的才學氣度。詩中贊頌了浡泥前國王麻那惹加那的賢德及對大明的忠心臣服，他們受著仁義的滋養影響，從不違背仁義，又因仰慕中華文化，便率領妻子兄弟陪臣遠來大明。此外，詩中贊頌浡泥與大明的關係「金石其堅」，表達了兩國世代友好的願望。

永樂六年（1408），國王麻那惹加那攜妻子、弟妹、子女、陪臣共一百五十多人來中國進行友好訪問，同年十月病故。浡泥國王墓（現存江蘇省南京市雨花臺區）。

柯枝國「吐煙出雲，為國洪龐」

柯枝國，在今印度西南部的柯欽一帶，是航道要沖和重要港口。15世紀初與中國有友好往來，宋、梁、隋、唐、明皆入貢。

永樂元年（1403），明成祖遣中官尹慶賫詔撫諭其國，賜以銷金帳幔、織金文綺、彩帛及華蓋。永樂六年（1409），又命鄭和出使其國。三年後，柯枝國王可亦里遣使入貢。永樂十年，鄭和再出使其國，此後連續兩年入貢。

永樂十四年，明成祖封柯枝國王可亦里為國王，詔封其國內東大山為「鎮國山」，並賜「柯枝禦製碑」。成祖派鄭和賜其王印，並親製碑文，詩曰：「截彼高山，作鎮海邦。吐煙出雲，為國洪龐。時其雨旸，肅其煩熇。作彼豐穰，祛彼妖氛。庇於斯民，靡災靡河。室家胥慶，優遊車歲。山之嶄矣，海之深矣。勒此銘詩，相為終始。」

詩中表達了對柯枝國和人民的祝福，希望他們風調雨順，民眾生活幸福。

參考資料：

《萬曆野獲》

《明史》

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