国立情報学研究所 - ディジタル・シルクロード・プロジェクト
『東洋文庫所蔵』貴重書デジタルアーカイブ

Kha tribe of Hua-phan or of the southern border of the Sip-song-phan-na. Some connection is
not impossible with the kingdom of Pa-pai hsi-fu, « Eight hundred Wives », of early Ming times.

The 杜 陽 雜 編 Tu-yang tsa-pien, written by 蘇 鶚 Su Ê in the last quarter of the 9th cent.,
contains the following paragraph (Hsüeh-chin t'ao-yüan ed., 3rd ch., 4-5; except the final note, it
has been copied in T'ai-p'ing kuang-chi, 480, 5) : « In the beginning of the ta-chung [years] (847-
859), the ' Kingdom of the Women-Man ' (Nü-man kuo) offered in tribute a pair of dragon-rhino-
ceroses (雙 龍 犀 shuang lung-hsi; I do not know the term, but I do not think that it is possible
to understand the text as meaning « a pair of dragons and [a pair of] rhinoceroses »). The scales,
the bristles, the claws and the horns of the two dragons were entirely covered with a brilliant reddish
brocade, which was said to be made by refining ' water scented hemp ' (漣 水 香 麻 lien shui-
hsiang-ma; lien means « to melt », «to refine by fire»; shui-ma is Lycoris radiata; hsiang-ma is
either Hibiscus cannabinus or Andropogon schoenanthus; but I do not know shui-hsiang-ma);
its brilliancy was dazzling (the text is here better in T'ai-p'ing kuang-chi) and its fragrant smell
clung to people; the five colours were mixed in it; it was of more exquisite beauty than Chinese
brocade. The people of that kingdom do up their hair in a high knot with a golden crown, and
their bodies are covered with necklaces; so they have been called 菩 薩 鬘 P'u-sa Man (« Man [orna-
mented like] p'u-sa [i. e. bodhisattva] »). On that occasion, singing actors made the ' song (ch'ü)
of the P'u-sa Man ', for which many writers made poems (詞 tz'ü). Moreover, the ' Kingdom of
the Woman King ' (Nü-wang kuo) offered in tribute ' dragon-oil damask ' (龍 油 綾 lung-yu-ling)
and ' fish-oil brocade ' (魚 油 錦 yü-yu chin), the designs and colours of which were most extra-
ordinary. When dipped into water, they did not become wet, which was said to be on account
of the dragon-oil and fish-oil. Actors also made the ' Song of the Kingdom of the Woman King ';
the tune was pleasant and has remained in use at the Bureau of Music (yo-pu). » A final note recalls
the ' Kingdom of the Woman King ' mentioned by the Hou-Han shu in the north-eastern sea, and
the six ' Kingdoms of Women ' of the Liang ssü kung chi. A shorter version of the offering
of the ' dragon-oil damask ', occurring in a Sung work entitled 南 郡 新 書 Nan-pu hsin-shu
(sect. 辛 hsin, 11 a, in the Yüeh-ya-t'ang ts'ung-shu ed.), is clearly taken from the Tu-yang tsa-
pien.

The Tu-yang tsa-pien is a work of mirabilia, crammed with anachronical dates and fictitious
names of countries; it has long been accepted, however, and is still adduced as authority in the
Tz'ü yüan, for determining the date at which the ' Song of the P'u-sa Man ' was created and, as a
consequence, for disputing the authenticity of the song of that title which occurs in the works of
Li Po (Li T'ai-po) a century earlier. But WANG Kuo-wei was certainly right when he maintained
(Kuan-t'ang chi-lin, 21, 7-8) that the tune known as the 'Song of the P'u-sa Man' already existed in the
second quarter of the 8th cent. Two Western scholars, MAYERS and HIRTH, have spoken of the
P'u-sa Man, and both have been very unfortunate. MAYERS (Chinese Reader's Manual, No. 566) has
said that the proper form was 菩 薩 鬘 P'u-sa man, « Bodhisattva garlands », but all ancient texts
give the same P'u-sa Man as the Tu-yang tsa-pien, and this is confirmed by Mss. of the 9th cent.
recovered from Tun-huang. As to HIRTH (HR, 16), he found in the P'ing-chou k'o-t'an (2, 4 b),
written c. 1120, the following passage : «The Bureau of Music (yo-fu) has the 'P'u-sa Man [song]',
and I did not know what it meant. When I was in Canton, I saw that the Barbarian wives (Fan fu)