谈明代女画家马守真画兰

明代中后期,南方经济发达的金陵地区产生了许多才貌出众的名妓才女,她们中不乏能诗善画者,如马守真、薛素素、林雪、朱斗儿等。马守真是其中最有成就的一个。马守真(1548～1604年),字玄儿、月娇,号湘兰。金陵(今江苏南京)人。因同胞姊妹四人,她为最小,故人称四娘。钱谦益《列朝诗集小传》说她"姿首如常人,而神情开涤,濯濯如春柳早莺,吐辞流盼,巧伺人意,见之者无不人人自失也"。她以其聪慧机敏,能诗善画,又轻财重义,成为秦淮地区名妓之一;因她擅绘兰草,又以马湘     

《宋史》点校本献疑

1.第一册2页,卷1《太祖》:“会周祖以枢密使征李守真,应募居帐下。” 按:《旧五代史》卷110《周太祖纪一》,周太祖所征者,乃李守贞。李守贞,《旧五代史》卷109与《新五代史》卷52均有传。故“真”字当改为“贞”。 2.第一册29页,卷2《太祖二》:“开宝二年五月癸未,韩仲贇败契丹於定州北。” 按《续资治通鉴长编》卷10,开宝二年五月所载,及《宋史》第二十五册8824页、卷250《韩重贇传》所载,在定州击败契丹者,乃韩重贇。故“仲”字当为“重”之误,应改正。     

《分毫字样》研究

本文运用敦煌遗书中的有关文献考证《分毫字样》一书的成书年代及作者。证明《分》与《玉篇》并无关系;通过与《正名要录》反切的比较推定《分》的成书年代,还对《正名要录》的作者姓名进行了考证,论证了《分毫字样》在唐代字样学中的地位及其对后代字书的影响。     

三答《英山毕昇墓碑再质疑》

三答《英山毕墓碑再质疑》孙启康在湖北英山县发现的毕具墓碑．笔者曾根据该碑的形制与纹饰特征以及年款残存字迹,断定此碑立于北宋仁宗“皇四年”,即公元１０５２年,并依其镌刻内容所留下的历史信息,考证英山毕与北宋沈括《梦溪笔谈》所载之“庆历（１０４１１０４８...     

《老树集》序

《老树集》序杨向奎里干兄的《老村集》内容主要可分三部：一为历史地理,二为人物考证,三为文艺,不属于以上三者的如《罗素和他的中国问题》等文更见其博学,为世人所敬佩。在历史地理方面,他的近作《安乐与孙武生地》一文,考证精切,可成定论。我曾经说,考证古人的...     

《四书平议》补正:《中庸》六条

俞樾是清朝末年著名文献学家,继承戴段二王乾嘉考据学风.对经部、子部典籍做过深入的考证注释工作,尤其是其《群经平议》、《诸子平议》、《古书疑义举例》,对后学影响最为深远.其中,《群经平议》乃经学研究十分有价值的著作.此巨制采取闲诂夹注形式,对经书中部分难懂、不通或具疑问的字句进行考察和释训.本文在此基础上对于其中《礼记·中庸》的内容进一步给以考证,疏通俞樾的说法,弥补其疏漏.     

《大唐新语》佚文辨证

本对中华书局《唐宋史料笔记丛刊》本《大唐新语》所辑佚加以辨证,考证其时代与《大唐新语》成书年代不合,属于误辑。     

银雀山竹简《吴问》考辨

多年来,我们在＂春秋末年肯定有孙武存在＂的惯性思维下,对山东临沂银雀山出土的竹简《吴问》,一直缺乏透彻的考证。本文从新的视角,以先秦史料为依据,对《吴问》进行了全面考证,证明《吴问》是一件战国最末年才出现的赝品。     

汤贻汾款《采石酹诗图》浅考

本文对汤贻汾款《采石酹诗图》的创作背景和真伪进行了辨析,并对上款“芷卿”的籍贯、著作、中举时间,以及他和汤贻汾、赵翼、赵申嘉等人的关系等进行了考证,对卷后部分题跋者的身份和生平作了简要的介绍,简要分析了汤用中的交游情况。文章释读并摘录了部分题跋的内容,其中多首诗不见于史籍记载,这对研究道光时期武进文坛有一定参考价值。     

钱大昕整理《后汉书》成就研究

钱大昕对《后汉书》进行富有成果的研究,在清代《后汉书》研究中占据极其重要的地位。钱大昕研究《后汉书》时先从小学始,对《后汉书》及其《注》进行了校勘和辨伪,内容涉及典章、官制、舆地、氏族、天文历法等多个方面;在考证方法方面,他灵活运用版本互校、金石考证、以及避讳等方法,这些考据的方法极具科学性,对整个清代的考据学具有深远的影响。     

The Nanjing Courtesan Ma Shouzhen (1548–1604): Gender,Space and Painting in the Late Ming Pleasure Quarter

The city of Nanjing in the late Ming period (1550–1644) was a bustling commercial and cultural centre. In its pleasure quarter along the Qinhuai River, literati and officials mingled with elite courtesans who, educated in painting, poetry and music, used their cultural capital in order enhance their visibility and sociability, and obtain the literati's patronage. The extraordinary gender relations of the entertainment district were specific to its socio‐historical environment, where courtesans, although still highly dependent on men, partook in the public scene and exceeded some gender stereotypes and Confucian values, as they owned material goods and enjoyed higher physical mobility than their female counterparts in the gentry. The geographical space shared by courtesans and literati was principally a social and intellectual space, where they generated cultural productions and established social practices. In order to explore the concepts of gender and space in urban settings, this article analyses the case of the as redundant elite courtesan Ma Shouzhen (1548–1604), who was a renowned painter and poetess. A close look at her case contributes to further understanding the construction of social space and expressions of gendered subjectivity in the southern metropolitan courtesan environment.     

宋徽宗墨笔花鸟画初探

一个画家艺术风格的形成离不开他所处的时代环境及其本人的气质。作者认为,宋徽宗墨笔花鸟画的渊源,一为五代兴起的以徐熙为代表的江南花鸟画派,一为宋代中叶兴起的文人士大夫画风。因此,宋徽宗以特有的文人情怀致力于其他文人画家所追求的江湖之思、林泉之趣,但又因其特定的帝王身份,其墨笔花鸟作品仍带有雍容的气貌而缺少荒远之境。值得注意的是,徽宗将文人情趣引入宫廷绘画,改变了宫廷绘画历来的富丽倾向,其墨花开元代之先河。     

虞弘墓所谓“夫妇宴饮图”辨析

本文对虞弘墓图像中一幅学界一直认为是“夫妇宴饮图”的图像进行了辨析正名。作者列举了多件以“夫妇宴饮图”为主题的图像与虞弘墓这幅图像进行比对,通过男、女主人的排位原则考辨出虞墓图像的女主角不是虞弘夫人,又从其冠服特征、手持之物以及身旁二女伴的身份考定出她是一位天界神灵,即Daena女神。作者又进而指出,此幅图像的主题是表现墓主人灵魂进入天国后的美好情景。     

The Identity of the Nabataean 'Painted House' Complex at Baidha,North-West Petra

Abstract

An attempt is made to shed light on the identity of the Nabataean 'Painted House' from an understanding of its plan, the content of the painting and the function of the associated features, mainly the water installations. This study reveals new mythological figures unnoticed by previous scholars. These include additional cupids and, most importantly, Isis. The water installations of the monument, its functions and meaning, the content of the painting combined with comparative studies of Mediterranean and Near Eastern evidence all suggest that this monument was an Isiac (Isis) sanctuary devoted to her as a goddess of improved quality of life, good crops, good herds, and love.     

女中豪杰 艺坛奇葩 方召麐其人其画

<正>近期吉林省博物院举办了《师承之路—张大千、方召麐书画作品展》。张大千是人们熟知的20世纪中国画坛最具传奇色彩的绘画大师。她的学生方召麐是20世纪中国画坛上一位极富声望的艺术家、香港画坛泰斗,更是女画家中之翘楚,香港大学美术博物馆馆长刘唯迈将方召麐誉为"艺坛奇葩"。钱松喦评价她的作品"雄厚质朴、浑成大方"。方召麐在追求艺术的道路上不断创新和求变,她的绘画作品不囿于传统,独辟蹊径,自成一格。这与她传奇的人生经历是分不开的。坎坷人生不懈追求方召麐(1914-2006年)又名如麟,生于江苏省无锡市。为江苏纺丝厂实业家方寿颐、王淑英之长女。方召麐的一生,经历了无数坎坷。7岁时,战争爆     

雅趣长存天地间—白石老人遗作鉴赏

2008年9月16日,是先君白石老人逝世51周年纪念日。光阴荏苒,转眼间就是半个世纪。老父离世之际,我还是个26岁的青年,而今已届耄耋之年了。每忆当年在老父画案前看老人家作画,听老人家教诲,为老人家磨墨调色,得老人家手把手地传授画艺的往事,不觉感慨万千。我家兄妹共10人,老父独钟于我这个小女,自我记事起20余个春秋,     

The Temple of Venus (Pompeii): a study of the pigments and painting techniques

We report here on a study of 57 fragments of wall painting excavated from the Temple of Venus (Pompeii). These samples were characterised by a wide range of analytical methods. Data showed that the palette is varied, although not so broad as that found in other buildings in Pompeii, and is consistent with pigments used elsewhere in Pompeii and in the Roman Empire. It is composed of: natural earths, minerals and rare artificial pigments. Paintings are made up of thin paint layers (0.01–0.10 mm thick) strongly adhering to the underlying preparation layer. Nonetheless, in some cases thicker layers (up to 0.40 mm) were recognised, often spread on other previous painting layers. Samples were also compared with the microstratigraphic criteria developed in Piovesan (2009) to distinguish wall painting techniques. This comparison demonstrated that both fresco and lime painting techniques were adopted.     

烫印的破绽:由马臀烫印质疑波士顿本《胡笳十八拍》册之版本年代

本文由“马臀烫印”对波士顿本之版本年代、成画时间、描绘族别等问题进行检视。研究结果显示.波本烫印字样暴露出鉴识学上的破绽.此一破绽不仅提供了理据确凿的关键性证据,亦足以推翻前人对波本既有的版本认识。作为“祖本”——波本之马臀烫印出现了不该出现的讹误字样,而所谓的“摹本”——台北故宫本之烫印字样却悉数正确,这暗示波本既非刘商谱系本之祖本原型,亦非台北本之底本.台北本很可能才是成画年代更早、更为精确之南宋古本。其次.波本应非如前人所认定绘成于北宋中晚期或南宋初年,其成画年代应下推至南宋中晚期。再者,波本绘有1119年后始见于历史之女真字{(?)}烫印,这是判定该本描绘对象之族属必为女真族(而非契丹族)的最佳证明。     

《十咏图》及其对宋元吴兴文化圈的影响

由北京故宫博物院重新购藏的《十咏图》是一幅流传有绪的11世纪作品。在综合近人对《十咏图》考证的基础上,本文重点分析了这一北宋绘画基准作品的历史重要性及其对吴兴一地的文化影响。这卷叙事性的作品通过描绘“南园”之景开创了“家产山水”的范例。在南宋史学家的笔下,《十咏图》呈现了特别的文化史价值:它被用作修纂《吴兴人物志》的第一手材料,而且它的创作成为中国史学上较早的以图像证史的自觉实践。在宋亡之际,收藏界开始将张先视为《十咏图》的创作者,即文人画的早期代表。配合文人艺术在吴兴这个元初绘画中心所形成的新格局,《十咏图》直接激励了赵孟顿等大画家确立起的反映主观自我意识的山水境界。这些新的山水创作不仅突出了地域景观特色,而且表现出文人画家们在蒙古人的统治下,努力显示自己的家庭财富及文化优势的鲜明个性。在此过程中,整个元代绘画的风格发生了革命性的转变。     

This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.