ART GALLERY IN LHASA

Art galleries have emerged on the streets of Lhasa since the reform and opening up of China.The earliest ones were Art Gallery of Tibetan Exhibition Hall and Art Gallery of Potala Palace 20 years before.For 20 years as one fell,another rose until now,tens of art galleries of various sizes and centred around the Barkor Street are attracting enormous numbers of tourists from both home and abroad.     

ART GALLERY IN LHASA

Art galleries have emerged on the streets of Lhasa since the reform and opening up of China.The earliest ones were Art Gallery of Tibetan Exhibition Hall and Art Gallery of Potala Palace 20 years before.For 20 years as one fell,another rose until now,tens of art galleries of various sizes and centred around the Barkor Street are attracting enormous numbers of tourists from both home and abroad.     

THE FULFILLING LIFE OF A SENIOR TIBETAN LADY

<正>I am someone who is full of happiness.In this world,the people who surround me look after me and treat me very well.The environment I live in is absolutely beautiful,and the best part of my life is most certainly these most recent years,allowing me to live in full confidence with each passing day.You young ones,I     

CAVE ART AND THE THEORY OF ART: THE ORIGINS OF THE RELIGIOUS INTERPRETATION OF PALAEOLITHIC GRAPHIC EXPRESSION

This paper explores the origins of the symbolic–religious interpretation of Palaeolithic art. We analyse the relationship between the explanations that were given of the 'primitive' mentality in the second half of the nineteenth century and the birth of the religious interpretations of Palaeolithic art and we try to show how this union does not express a direct cause–effect relationship. In order for the union to take place, an intellectual change that would generate a new way of understanding the origins and the nature of art was necessary.     

浮世丽人衣

最是那一低头的温柔,像一朵水莲花不胜凉风的妖羞,道一声珍重,道一声珍重,那一声珍重里有甜蜜的忧愁——沙扬娜拉！     

卫生间标志的艺术情趣

<正>旅行过程中往往会有一些很可爱的细节元素值得关注、欣赏、拍摄,这些细节都是当地生活的一部分,是文化、艺术、思想的集中体现。我在过去一两年旅游过程中,有时候会注意到卫生间门口的标志很特别,当然这些标志所表达最直接的信息都是统一的,那就是"男"或者"女",但是所表现的形式却     

浅谈美术地理的地域空间性

本文从地理学的角度,用地域空间和历史的观点对美术的地域性进行了论述,提出了美术地理学的研究范畴。全文从横向地域性、纵向地域性、地域空间的扩散性三个方面对美术的地理特性进行了研究。通过大量的分析,作者认为地理环境对美术风格具有决定性的影响。文章所提出的观点可以看作是对文化地理理论的一种补充与印证。     

STUDY ON THE PIGMENTS IN THE CRUCIFORM GALLERY OF ANGKOR WAT,CAMBODIA

In the cruciform gallery of Angkor Wat in Cambodia, red, orange, white and black pigments were widely painted on the surfaces of pillars, walls and friezes. The application sequence of the pigments is different from area to area. The following substances were confirmed from the pigments: hematite (laterite), minium, calcium oxalate hydrates (whewellite and weddellite), Pb–Cl compounds (cotunnite, laurionite and blixite), calcium phosphates (whitlockite), gypsum, hydrocerussite, calcite, anglesite, lead dioxide, azurite and carbon black. The orange pigment (minium) underlies the red pigment (hematite). The former may have been applied at the time of the foundation (the Angkor Wat style period), and the latter in the Bayon style period or later, but mainly before the early 17th century of the current era.     

GALLERY OF THE FIRST CHINA TIBET TOURISM AND CULTURE INTERNATIONAL EXPO

<正>From September 25th to27th,2014,the First China Tibet Tourism and Culture International Expo,which is cosponsored by the State Culture Ministry,the National Tourism Administration,and the government of Tibet Autonomous Region,was held in Lhasa.During those three days,all forms of activities ranging from exhibitions and theme forums all the way to economic and trade     

THE PALEOLITHIC CAVE ART OF VASCO-CANTABRIAN SPAIN

Summary. This article explores the relationship between cave art and Upper Paleolithic archeology in northern Spain (and extreme southwestern France). Among the 83 known art sanctuaries, only three can probably be terminus ante quem dated to the early Upper Paleolithic (c. 35,000-20,000 BP). Other types of evidence (virtual absence of ornaments and mobile art objects before the Solutrean, stylistic similarities between works of late Upper Paleolithic mobile art and parietal art, overwhelming association of Solutrean and/or Magdalenian cultural deposits with art sanctuaries) clearly suggest that most of the cave art was done in the period between c. 20,000-10,000 BP. Cave art sanctuaries are distributed in non-random fashion. The clusters of sanctuaries usually correspond with dense clusters of habitation sites. The clusters are separated by substantial geographical gaps. These chronological and geographical facts coincide with contemporaneous subsistence intensification, all of which tends to support the hypothesis of increased territorialism in the late Last Glacial.     

REVIEW ARTICLE USE-WEAR ANALYSIS: THE STATE OF THE ART

This paper is a review of the recent developments in use-wear analysis. The focus is on some key issues: polish formation, quantification of use-wear, residue analysis and the way these related themes have affected methods of use-wear analysis. A brief history of the development of use-wear analysis is presented and a discussion of blind tests, expert systems (explained at length in the ‘Appendix’) and how use-wear analysis can be incorporated into the chaîne opératoire approach to the interpretation of Stone Age sites.