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| 0462 |
Notes on Marco Polo : vol.1 |
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together»; 衲衣 *na-i*, as a designation of the Buddhist garb, anciently occurs as 納衣 *na-i*, for
instance in 藥, x, 16 *a*, and in 蔦, VIII, 166 *b*; cf. also SOOTHILL and HODOUS, *A Dictionary of
Chinese Buddhist terms*, 336, 339; under the Yüan, the tribute from Fu-chien included 200 *na*
robes [絹棉 *na-ao*], according to WANG Ch'i's *Hsü Wên-hsien t'ung-k'ao*, 32, 16 *a*). In his
lost commentary on the *Ch'ien-Han shu* entitled *Han shu yin-i*, Mêng K'ang, who lived in the
first half of the 3rd cent., had a note saying that «*ta-pu* is 白疊 *po-tieh*» (cf. also *T'ai-p'ing
yü-lan*, 691, 1 *a*; in spite of the *Chêng-tzŭ t'ung, s. v.* 緤 *mien*, Mêng K'ang of course does not
yet speak of «*chi-pei*»). In the first half of the 7th cent., Yen Shih-ku opposed this view,
saying (*Ch'ien-Han shu*, 91, 3 *b*) : «[*Ta-pu*] was a coarse cloth; it was cheap, and that is why it
had to be delivered [in paying taxes] in the same weight as leather; it is not *po-tieh*. As to *ta*,
[it expresses] the idea of 'thick and heavy' (厚重 *hou-chung*), but readers have foolishly given
it the sound *t'a*, which is not correct.» Later authors have quoted Yen Shih-ku's text, more or
less accurately, in particular Chang Shou-chieh, who, in his commentary on Ssŭ-ma Ch'ien, dated
736 (not «737», as said by CHAVANNES, *Mém. histor.*, I, CXVI, and *TP*, 1907, 183, followed by
LAUFER, *The Story of the Pinna*, 115), added on his own account (TAKIGAWA ed., 129, 35) :
«*Po-tieh* is woven from cotton (*mu-mien*), which does not exist in China.»
Yet Yen Shih-ku's dogmatic assertion is not conclusive. The *Tz'ŭ-yüan*, under *tu-pu*,
maintains that the *tu-pu* of Ma Yüan's biographical notice is the same as the hempen light
material known in Kuang-tung as 絡布 *lo-pu* or 都落 *tu-lo*, which is worn in summer, and,
at the same time, under 苔 *ta*, says that *ta* in *ta-pu* is the same as *tieh*, «to duplicate», and
expresses the idea of «thickness». But, in view of the alternation of *ta-pu* and *tu-pu* in the
*Hou-Han shu* and the *Tung-kuan Han chi*, it seems probable that both designate the same textile
and are doublets of the same term. On the other hand, this double form would almost imply
that both represent a foreign southern term borrowed twice at different stages of phonetic evolu-
tion; the relation between *ta* (*\*tâp*) and *tu* (*\*tuo*) would be practically the same as between
*chieh* (*\*kiop*) and *ku* (*\*kuo*) in the transcriptions *chieh-pei* and *ku-pei* of *\*kappāī* ← *kappāsī*
(cf. above, p. 441). YÜ Chêng-hsieh (*Kuei-ssŭ lei-kao*, 14, 4 *a*) accepts Mêng K'ang's view that
the *ta-pu* was *po-tieh*, «cotton». FUJITA has also hypothetically connected with *ta-pu* the
puzzling term 打布 *ta-pu* which occurs several times in the *Tao-i chih-lio*, written in the
middle of the 14th cent. (*Tao-i chih-lio chiao-chu*, *Hsüeh-t'ang ts'ung-shu* ed., 15 *a*); on this
late *ta-pu*, cf. ROCKHILL, in *TP*, 1915, 86, 237, where *ta-pu* is supposed to be some cotton fabric
(but the reference to a term 達布 *ta-pu* in Chao Ju-kua must be suppressed, since Chao Ju-kua
actually speaks of 于達布 *yü-ta pu*; cf. *HR*, 160). I feel very sceptical about FUJITA's
hypothesis. The interval in time is so great that the proposed connection remains *en l'air*
unless the expression can be traced in some southern dialect. Moreover it may not be necessary.
In his *Chên-la fêng-t'u chi*, «Description of the customs of Cambodia», Chou Ta-kuan, also a
writer of the Yüan period, speaks of the rules which decided the kind of «cloth» (布 *pu*) which
everyone was entitled to «put on» (打 *ta*), and also of the brahmans, who, besides the «cloth
put on» (*ta-pu*) by everybody, wore a band (*Ku-chin shuo hai* ed., 6 *a*, *b*, 8 *a*; *BEFEO*, II, 146-
148). It may be that the *ta-pu* of the *Tao-i chih-lio* was a term of the spoken language, desi-
gnating a cheap cotton fabric, a «cloth to wear». One might be also tempted to see the same
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