PREHISTORIC ROCK ART FROM PAINTED BLUFF AND THE LANDSCAPE OF NORTH ALABAMA ROCK ART

Abstract

Painted Bluff in northern Alabama is one of the richest and most elaborate open-air rock art localities in the Eastern Woodlands, rivaling some of the Southeast’s dark zone cave art sites discovered over the past several decades. Known for more than a century, the site has never seen detailed documentation until now. Painted Bluff contains motifs similar to iconography associated with Mississippian ceremonial objects, and a radiocarbon age determination (cal A.D. 1300–1440) would indicate contemporary use of the site. More than 80 images were painted on the cliffs, most using red mineral pigments but some reflecting polychromatic use of differently colored minerals. We present examples of the Painted Bluff artwork and discuss the site in the broader context of prehistoric rock art on the southern Cumberland Plateau and in northern Alabama.     

Earthen Architecture at the Bluff Great House Site in SE Utah

Abstract

An earthen terrace has been identified at Bluff Great House, a Chacoan site located in SE Utah. The Bluff site was part of the Chacoan regional system that operated in the northern part of the American Southwest between about A.D. 900 and 1150 and was focused on Chaco Canyon in NW New Mexico. Several types of earthen structures have been identified at great houses in Chaco Canyon and throughout its region, usually associated with the construction of ritual landscapes. The Bluff terrace is part of this tradition of earthen construction, but is unlike most other reported examples. It seems to express the same concern with creating an appropriate setting, however, and may be interpreted as part of the ritual landscape that surrounded and defined the Bluff great house, although other interpretations are considered. It dates not only to the Chaco era, but also to the first part of the post-Chaco era (A.D. 1150–1225).     

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。     

《近似无限透明的蓝色》的电影化努力

《近似无限透明的蓝色》作为小说,后现代主义倾向和因素、或者说艺术上的最大特点,是对电影艺术的诸多借鉴和整合,并且从中找到了小说文本的全新形态。对于小说和电影的执著,之于村上龙是很难分出伯仲的。正因为如此,他才可能在小说创作中,把电影艺术的长处信手拈来,融汇期间,为自己的文本找到全新的叙事模式,并成为村上龙小说艺术风格的一大特色。     

Muhammad Ghaffari: The Persian Painter of Modern Life

In the late nineteenth century, Qajar Iran, like its neighbor the Ottoman Empire, faced the dual challenges of colonialism and modernity. This paper considers the role of art education and art production in its response to these forces, focusing on the leading court painter of the late Qajar period, Mirza Muhammad Ghaffari, Kamal al-Mulk (1848–1941), whose career bridged the late Qajar period and the early twentieth century. Early in his career, Ghaffari was recognized as the leading exponent of academic painting, yet by the constitutional period his art had evolved into a style representing contemporary Persian life, a style which was informed by nationalistic discourses current in intellectual and political circles. This paper's consideration of the evolution of his style from a European modernism to an authentic Iranian modernism includes Ghaffari's training as a painter, the role of photography in the development of his style, his travel to Europe, and parallels with the art and career of the Ottoman painter Osman Hamdi.     

中国绘画程式略论

世界上任何一种成熟的艺术都表现为一定的程式，中国绘画尤其如此。本文通过对中国绘画史及世界绘画史以及对当代中国绘画的研究，对中国绘画程式的起源、发展过程及发展趋势进行了分析和论述。     

Evaluating the Reliability of Fluoride Dating at Two Prehistoric Mound Sites in Mississippi

Abstract

Ion-selective electrode fluoride dating is used to address chronological problems at two mound sites located in Mississippi. At the Mississippian period (A.D. 900–1520) Lyon's Bluff site, 220K520, the fluoride content of deer and human bone is compared with radiocarbon dates and stratigraphic levels to evaluate the reliability of the fluoride dating method for understanding relative burial chronology. At a second site, Pocahontas Mound A (22HI500), fluoride content of deer bone is used to corroborate radiocarbon dates and to establish the proper chronology of levels associated with two distinct occupations (Archaic and Coles Creek/Plaquemine) identified in a large midden area. Fluoride analysis also is used to date a second midden area at this site. For Lyon's Bluff; fluoride dates did not correspond with accelerator mass spectrometry (AMS)-dated burials and midden strata. In contrast, fluoride dating proved very useful in determining chronological placement of midden levels and dating other areas at Pocahontas Mound A. Sample age, site location, soil, and bone preservation are considered as possible causes for the negative results at Lyon's Bluff.     

犍陀罗与马图拉造像艺术比较研究

犍陀罗艺术和马图拉艺术是贵霜王朝时期大乘佛教传播过程中产生的最重要的两种造像范式,两种佛像的雕塑材料、造型特征、艺术风格上都呈现出巨大的差异性。本文将两者进行比较,介绍了犍陀罗和马图拉艺术的文化、地理范围和分期,列举了犍陀罗和马图拉造像艺术的主要差异性。根据两地出土文物证实,两者虽然归属于独立发展的艺术体系,但两者之间始终联系紧密、互为影响。马图拉艺术所代表的印度本土因素,在犍陀罗艺术形成初始期就已经对犍陀罗造像产生影响,并一直持续至犍陀罗艺术晚期灰泥阶段。受犍陀罗艺术"迦毕试样式"的影响,贵霜时代马图拉艺术出现了着通肩式佛衣、身材矮短的佛像。笈多时代马图拉艺术在融合犍陀罗灰泥造像的基础上创造了"湿衣佛像",并以此完成了印度佛像自诞生之日起便不断融入亚洲人审美特征、逐渐向着东方风格佛像回归的整个历程。     

Images of Uncertainty: some thoughts on the meaning of form in in the art of Late Antiquity

Abstract

My concern is with the change in style in the visual arts which occurred with the emergence of Late Antiquity. The discussion is intended to fall into three parts; in the first part I review how art historians have approached Late Antique art and examine some of the theoretical positions that have arisen through attempts to explain style in art; in the second part I shall endeavour to formulate my own theoretical explanation and I shall go on, in the third part, using some examples, to consider how this theoretical formulation is particularly valuable in the analysis of the art of the Late Antique period.     

敦煌莫高窟早期雕塑源流

敦煌的雕塑是敦煌石窟艺术的主体部分,而其早期彩塑被认为从我国源远流长的雕塑艺术传统中获得了坚实的造型基础,形成了概括、含蓄、富有装饰性的鲜明风格。敦煌早期艺术家在本土文化语境中,以积极的姿态吸收并融合了外来佛教艺术的技法,开启了灿烂辉煌的敦煌莫高窟雕塑艺术的序幕,开创了新异而又民族化的风格。敦煌莫高窟早期的雕塑像莫高窟其他艺术一样,是一部中西艺术交流史,是中国民族艺术早期向西传播的图像见证。     

The Angara Rock Art Style and the Emergence of Ethno‐Cultural Identity

This paper focuses on a stylistic analysis of depictions of elk in Siberian rock art in the Neolithic and Bronze Ages. The aim of this paper is to go beyond the cultural and chronological attributions of rock art and to try to understand why and through what processes changes in rock‐art style occurred. In order to answer these questions, the phenomena of ethnicity and ethno‐cultural identity are explored. Rock art is not considered as a passive reflection of past ethno‐cultural groups but rather as an active agent in structuring social identities.     

Late Holocene Historical Ecology: The Timing of Vertebrate Extirpation on Crooked Island,Commonwealth of The Bahamas

We report eight new accelerator-mass spectrometer (AMS) radiocarbon (¹⁴C) dates performed directly on individual bones of extirpated species from Crooked Island, The Bahamas. Three dates from the hutia (Geocapromys ingrahami), recovered from a culturally derived bone assemblage in McKay's Bluff Cave (site CR-5), all broadly overlap from AD 1450 to 1620, which encompasses the time of first European contact with the Lucayan on Crooked Island (AD 1492). Marine fish and hutia dominate the bone assemblage at McKay's Bluff Cave, shedding light on vertebrate consumption by the Lucayans just before their demise. A fourth AMS ¹⁴C date on a hutia bone, from a non-cultural surface context in Crossbed Cave (site CR-25), is similar (AD 1465 to 1645) to those from McKay's Bluff Cave. From Pittstown Landing (site CR-14), an open coastal archaeological site, a femur of the Cuban crocodile (Crocodylus rhombifer) yielded an AMS ¹⁴C date of AD ～1050–1250, which is early in the Lucayan cultural sequence. From a humerus in a non-cultural surface context in 1702 Cave (site CR-26), we document survival of the Cuban crocodile on Crooked Island until AD ～1300–1400, which is several hundred years later than the well-documented extinction of Cuban crocodiles on Abaco in the northern Bahamas. We lack a clear explanation of why Cuban crocodiles likely survived longer on Crooked Island than on a larger Bahamian island such as Abaco. One AMS ¹⁴C date on Crooked Island's extinct, undescribed species of tortoise (Chelonoidis sp.) from 1702 Cave is BC 790 to 540 (2740 to 2490 cal BP), which is ～1500–1700 years prior to human arrival. A second AMS ¹⁴C date, on a fibula of this tortoise from McKay's Bluff Cave, is AD 1025 to 1165, thereby demonstrating survival of this extinct species into the period of human occupation.     

探赜索隐 钩深致远——论魏晋六朝人物画风的演变

在中国绘画史上,魏晋六朝是中国人物画由汉代粗放简略的画风转向精致工整画风的时期,其内部也因不同时期的审美趣味蕴含了一一个整体性演变过程,显示出人物画风格成熟过程中诸多样式的艺术追求。     

三代传承 同宗异趣 吴伯滔、吴待秋、吴木翰墨因缘

历史悠久的中国画,以其独有的美学思想与风格体貌、自有的艺术规律与艺术特征,迥异于西方绘画。中国画以＂家学＂、＂师承＂为主要形式的传承体系,也颇具中国特色。综观中国绘画史,无论是开宗立派之大师,还是各流派中的大家、名家,无不得益于家学承继或名师授传。在不同的流派中,也多见亦父亦师、亦师亦友的结构关系。     

Possible evidence for intraspecific aggression in a Pliocene crocodile from north Queensland

A large, fossilised crocodilian metatarsal has been recovered from the Pliocene Bluff Downs Local Fauna exhibiting proliferative bone growth consistent with an episode of osteoperiostitis, possibly resulting from trauma. The nature and location of this trauma suggests that it may have occurred as a result of intraspecific aggression between rival animals. Three crocodilian genera have been recovered from the Bluff Downs Fauna, Crocodylus, Quinkana and Pallimnarchus. The metatarsal does not conform to Crocodylus porosus and therefore most probably represents one of the other two known crocodilian taxa. The nature of the injury suggests that it occurred in water and it may belong to the now extinct Plio-Pleistocene Pallimnarchus rather than Quinkana babarra which is interpreted as being predominantly terrestrial.     

吉祥绘画的图像意义及风格特征

吉祥绘画是中国造型艺术的重要组成部分,它的图像意义是十分丰富的。而它的风格演变是符合中国绘画艺术自身的发展规律。     

汤国造纸

Tang Guo has dedicated to the paper art for more than ten years, which can be called a kind of behavior art. Meaning out of the paper, he not only takes it as a job, but also pursues the ancient style. His works can be classified to several aspects and each one is bold and unconstrained     

文人画与文人写意园

写意,是中国艺术重要的美学特征,中国园林艺术的独特性也正是在于它是写意的,文人写意园形成的主要因素则是文人画的影响。     

瞿昙寺回廊佛传壁画内容辨识与风格分析

瞿昙寺回廊佛传壁画是明清之际壁画艺术的重要遗存,正在引起美术史界的高度关注。以往回廊壁画的研究多为当地考古工作者的概括描写,同时对壁画内容也未作一个完整准确的辨识,对壁画表现的艺术风格及其在中国美术史上的地位更少有涉及,本文考察了瞿县寺建寺史实,首次完整辨识瞿县寺回廊佛传壁画的内容,复原了不同时期壁画的次序,并就壁画风格进行分析。