圣旨,是中國古代封建帝王布告臣民、委任官吏、冊封宗室、表彰功德、告諭外邦等一種專用的文書形式,亦是帝王權(quán)力的載體和象征。中國圣旨起源于商周時(shí)期,規(guī)制于秦漢,發(fā)展于唐宋,完善于明清,其內(nèi)容和制式體現(xiàn)了封建歷史王朝至高無上的權(quán)力與意志。
　　
　　由山東文物收藏家呂乃濤先生申請創(chuàng)辦的“聊城明清圣旨博物館”對外開放一年間,吸引了眾多國內(nèi)外旅游者紛至沓來,爭睹難得一見的明、清兩朝“圣旨”真跡,令參觀者大開眼界。
　　該博物館是中國首個(gè)以“圣旨”為專題的民間收藏博物館。它坐落在有“江北水城”之稱的山東省聊城市東昌府區(qū)駐地,與著名旅游景點(diǎn)“光岳樓”相距僅50米,相互依鄰輝映。
　　博物館館長劉新華先生介紹,這處“圣旨”博物館為二層仿古建筑,展出面積1000多平方米,館藏明代、清代的詔書、國書、誥封、敕封(通稱為圣旨) 達(dá)132道之多,開館展出的“圣旨”55道,以及“偽滿洲國圣旨”和日本、越南、韓國等國家的“圣旨”,并配以明清時(shí)期的科舉試題、殿試卷、官場文書、字畫匾牌及用墨魚汁做墨汁密寫在衣衫內(nèi)的“夾帶小抄”等科舉文物2000多件,反映了當(dāng)時(shí)的政治、經(jīng)濟(jì)、軍事、外交及中國宮廷文化等多種形態(tài)。
　　
　　劉新華先生說:“這些彌足珍貴的‘圣旨’是呂先生20多年間從民間收集的,所展出的‘圣旨’實(shí)物都是經(jīng)過文物專家鑒定過的真跡�！�
　　據(jù)資料記載,“圣旨”見于漢代,距今已有1830年歷史。之前,最初始的“圣旨”并無固定形式,夏、商、周時(shí)期,可稱圣旨的有:訓(xùn)、誥、誓、命等,如周武王的《討紂檄文》可稱是中國歷史上最早的圣旨之一。至春秋戰(zhàn)國時(shí)期,圣旨多為:命、令、政。直到秦朝,改“命”為“制”,改“令”為“詔”,圣旨才有了標(biāo)準(zhǔn)稱謂,制、詔、誥、敕等4種形式便成為皇帝布告臣民的專用文書。
　　明清時(shí)期的圣旨可謂具有大成色彩。封建帝王為加強(qiáng)中央集權(quán),在制、詔、誥、敕的基礎(chǔ)上又增加了“冊、書、符、令、檄”等文書形式,直到1911年辛亥革命告成,清朝滅亡,2000多年的皇權(quán)統(tǒng)治宣告終結(jié),“圣旨”退出了歷史舞臺。
　　
　　在使用燈光感應(yīng)技術(shù)的博物館一樓展廳,墻壁上懸掛著明、清兩朝28位皇帝的大幅畫像及其簡歷。近百個(gè)3面通透的長條玻璃展臺里,陳列著如此多的明、清兩朝皇帝頒發(fā)過且后來流落民間的“圣旨”,如今又匯集于一室,令人無不感到驚訝與興奮。這些有著神秘色彩的“圣旨”,有的是紙制的,有的是絲制的,有的是多種顏色的,有的雖有殘缺,但其字跡、印章、色彩與花紋都清晰如初,尤如走進(jìn)一坐神秘的中國古代宮廷文化博覽園。
　　博物館業(yè)務(wù)主管、對圣旨頗有研究的李鶴小姐說:“館內(nèi)展出的明清兩朝圣旨,均出自28位帝王中17位(其中明朝7位,清朝10位)皇帝之手,年代最久遠(yuǎn)的一道圣旨是明洪武二十五年十二月二十一日開國皇帝朱元璋頒發(fā)的,距今已有600多年。”
　　走進(jìn)圣旨博物館,特別吸引游客眼球的是清朝光緒二十七年,德宗皇帝敕諭頭品頂戴戶部那桐為專使,出使日本國道歉的一道圣旨,并加蓋滿漢文合璧的玉璽――敕命之寶。
　　“這道圣旨的特殊價(jià)值在于:它就是1901年簽訂的《辛丑條約》附件里第三款的真實(shí)內(nèi)容,也是1900年八國聯(lián)軍侵華的借口之一,‘圣旨’真實(shí)地記錄了清朝末期的一段屈辱史,”李鶴小姐道出了一個(gè)歷史事實(shí),她說:“這道圣旨是我們博物館的‘鎮(zhèn)館之寶’,在圣旨中屬于敕書中的“敕命”,用于諭告外藩及外任官員的一道敕諭。這是一件存世孤本,也是一件進(jìn)行愛國主義教育的國寶級文物史料�！�
　　據(jù)介紹,明清兩朝圣旨質(zhì)地等級極為嚴(yán)格。清朝圣旨基本上都沿用了明朝的各種體制及文書形式。一般國書、詔書多為紙制,而加官封爵的圣旨均為絲制而多彩,以“誥命”封贈五品以上官員或世襲罔替之爵位者,其主要特點(diǎn)是有顏色、底紋之別,顏色分為三色、五色、七色,官員品級越高,“誥命”的顏色越多,最高級別的為七色,“誥命”封贈二至五品官員用祥云底紋,一品高官則用仙鶴作底紋;敕封外藩,覃恩封贈六品以下官員及世襲罔替之爵位的敕書稱敕命。因此,封贈品級低的官員只有單一顏色,則不享受多彩和底紋待遇;“誥命”與“敕命”的等級區(qū)別,除了圣旨前端用提花工藝?yán)C制的金粉篆字不同外,還在于圣旨兩端軸頭材質(zhì)有別,如:一品官用玉軸,二品用黑犀牛角軸,三品用貼金軸,四、五品官為黑牛角軸,六至九品官則用木質(zhì)軸頭等,頒布誥命一般為“誥命”或“奉天誥命”,鈐蓋“誥命之寶”或“制誥之寶”,而敕命則為“奉天敕命”,鈐蓋“敕命之寶”。
　　
　　明清兩朝圣旨中,滿漢文對照書寫是清朝圣旨與明朝圣旨最本質(zhì)的區(qū)別。明朝至清朝前期的圣旨都是用墨汁書寫的,乾隆皇帝以后,為防止官員偽造圣旨,便改用朱砂赤、膽石綠、孔雀蘭、松墨黑和褚石褐等五種顏色搭配書寫圣旨。同時(shí),圣旨必須由兩個(gè)人書寫,寫滿文的不寫漢文,寫漢文的不得寫滿文,起到互相監(jiān)督作用。
　　日常生活中,人們印象中的“圣旨”形象是:一尺黃綾,后面書有“圣旨”兩字。實(shí)際上,明清兩朝圣旨實(shí)物的寬度都在30-34厘米之間,長度隨圣旨具體內(nèi)容而定,館內(nèi)最長的一道圣旨有5米多長。清朝圣旨因用滿漢兩種文字書寫,相對來講就更長了,所以清朝規(guī)定:宣讀圣旨時(shí),只展?jié)h字部分,滿文不展開。
　　李鶴小姐介紹:“圣旨由內(nèi)閣或翰林院撰寫初稿,交大學(xué)士呈皇帝閱定,由專為皇帝書寫圣旨的中書科繕寫,最后欽準(zhǔn),鈐蓋御璽,圣旨即刻頒發(fā)。圣旨從擬稿到繕寫,均由朝內(nèi)頂尖文化高手來完成的,其行文精悍洗練,幾乎達(dá)到增一字嫌其累贅,減一字詞不達(dá)意的程度,因而‘圣旨’具有史料價(jià)值的同時(shí),也具有文化藝術(shù)價(jià)值�！�
　　由此可見,圣旨的產(chǎn)生與頒發(fā),不是一發(fā)一接的簡單傳遞,而是經(jīng)過一個(gè)自上而下,機(jī)密程度極高而具有禮儀性、權(quán)威性的復(fù)雜程序。
　　
　　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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