CERING WANGDUI: THE RICHEST

Tenyearsago,CerinqWangduidreamedofbringinguphisfivechildreninprosperity.Hisdreamhascometruetoday.andraisingchildrenhasbecomenothingforsomehowwhonowhasassetsvaluedatmorethan10millionyuan.HisnewhomeisfurnishedwitheverythingfoundinmodernfamiliesinBeijingandShanghaifcolorTVsets,refrigerators.washinqmachines.brjghttoilets.telephones.,,.CerinqWangdui,48,usedtoearn28yuanamonthprojectingfilmsforthelocals.Later,hismonthlyincomegrewtoover300yuan.In1986.whenbordertradeflourishedamidboomingtourism,heq…     

A Tibetan Restaurant In New Delhi

Ihavebeenawayforsomanyyears,andImissmyhometown.Around1985,IreturnedtWotimesaff6raSeparationof3oyears.Whenmyfirstwifeplantedherselfinfrontofme,whatIrememberwerehereyes,WhboIthinkareStillbeautifuldespitethefactthatshewasAnut5oyearsold.Mysonwaswodeng.TheylivedagoodIffe.'Mysecondwlleissick,andsoismyd8ughterIamoId.Iyeamforar6tumhome.Hot!Hot!Theairtemperaturehadreached48degreesCentigradeinNewDelhi!in26years.Oppressedbytheheat,thelocalIndiansshunnedworking,andsodidI.Onahotevening,Itookmyfa…     

大地湾地画新考

大地湾地画是我国迄今已知最早的建筑绘画作品,众多学者曾先后著文对地画含义及功用进行释读。本文通过对上部人物、下部动物及人物左手动作的分析,认为该地画是父系社会阶段体现“求丰育”观念,与巫术思想无关的装饰画。     

Painting as Agency,Style as Structure: Innovations in Mimbres Pottery Designs From Southwest New Mexico

The act of painting a design is a form of agency, and the overall style of that design in part can be conceptualized as a kind of structure. This perspective is used as a basis for analyzing chronological changes in designs on Mimbres Black-on-white pottery (ca. AD 750–1150) from Southwest New Mexico. Specific focus is on a methodology that can be used to detect innovations, that is, the introduction of novel designs that are incorporated into the design corpus and thus transform the structure. The conceptualization of a particular tradition (in this instance, pottery painting) as a form of structure analogous to general structure in Giddens' sense thus provides important insights into the recursive relationship between agency and structure.     

White natures: Sydney's Royal Agricultural Show in post-humanist perspective

Few events perform so ritualistically the triumphal narrative of human ingenuity and agency over the natural world, as the metropolitan displays of produce and machinery known as agricultural shows. The Royal Agricultural Show held in Sydney (Australia) is a case in point. Since the 1890s those liminal forms, of Herefords, hay, harvesters and the like that spill over the categories we think of as culture and nature, have been annually assembled. In the showground, they were made to stand as testimony to the successful march of 'civilization' to the colony of New South Wales – with civilization conceived, in European and humanist terms, as a spatialized progression out of an animal-baseline in nature, through an agrarian garden, to the evolved space of the City. This was the trajectory that had long since been presumed to mark out the life of humanity from all other life-forms that simply lived . Rather than reinscribe the privilege of that partial perspective, I use the New South Wales agricultural society and its Sydney show's 'white natures' to think across the referential categories of humanity and nature. By critically juxtaposing the Show's hybrid things with its dramatizations of human invention and ingenuity, the article opens cracks in the normativities of civilization that shaped the conviction of 'the human' as the being who transcends the merely natural. In so doing, the article also offers a fresh line of critique of those pernicious hierarchies that have, and continue to assign, premodern people and livelihoods to an anterior developmental space.     

画中游

黑颈鹤热拍地念湖,在彩云之南,地处曲靖市会泽县最西北部的大桥乡境内,原本有一个颇具时代特征的名字,叫跃进水库.这个高原湖泊的形成,改变了当地的气候环境与资源环境,天长日久成为一处湿地.这里碧波荡漾,鱼游浅底,水草丰美,于是,大批的黑颈鹤被这温暖湿润的高原海子吸引而至.每年冬天,携儿带女,双双对对飞越千山万水,历经千险来到这里.     

中国木偶戏论稿(一)

1992年,拙著《中国影戏》出版后,赓即着手搜集傀儡(木偶)戏的资料,准备撰写《中国木偶戏发展史》。其间,我的影戏专著在德国和台湾又出版了两本(《四川灯影戏》、《中国影戏与民俗》),但是傀儡(木偶)戏的文章仅发表了两篇(《浅谈被单戏》、《水傀儡戏重考》),更多的篇章尚为腹稿。在此,将我考虑多日的观点,以札记形式陆续刊布,庶几对年轻学人有所帮助。     

看晚清纪实绘画战图大画记

＂战图＂是清朝宫廷绘画中的一个重要题材或门类,相对于此前的宫廷绘画,显得有它自己的时代特色。此类题材或门类的作品,以描绘战争场面为主。这类题材在此前的宫廷绘画中甚为少见。     

Kamba:A Show of Garments,Hats and Boots

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Tsering Drolma:Every Painting Is My Child

正On the wall of her room,which is no bigger than twenty square meters,she has hung all her paintings that she has worked out while in a different spirit and state,most of them in a series of a few pictures.The paintings were finished in the past one or two years during her free time after lectures.Pointing at her paintings,she smiled and said,"Each painting is my soul work,to which I have devoted     

杨家埠画店概述

在传统年画的下方,署有年画店的店名,表明为该画店产品,它是区分和确定年画产地的标志,是知晓年画大致朝代的依据,是年画史中不可缺少的参照。为了调查山东潍坊杨家埠的年画史,笔者曾于1961年春夏之际在杨家埠住了三个月,在艺人杨连元的大力协助下,对杨家埠年画店进行了疏理,并深入溯源,弄清了杨家埠画店的概况。     

松风吹解带 山月照弹琴 由《松下抚琴图》解读傅抱石的“抚琴图像”

傅抱石是我国现代绘画思路最为宽广的杰出中国画家之一,具有高度驾驭绘画语言的能力和天赋。傅抱石在画面中非常善于各种音声的描绘,泉瀑喷涌声、浪花溅落声、微风吹拂落叶声、雨声、月光徐徐的落地声……,都能在不同的画面中呈现出来,使人如临其境,如闻其声。而以丝竹器乐声音的描绘更具特色,在其全部作品中也占据一定的分量,箫声、阮声、琵琶声、     

论魏晋南北朝画赞

“画赞”,又名“图赞”、“像赞”,是伴随着以画为赞的绘画观念,在东汉至魏晋南北朝时期逐步发展起来的一种以图画内容为题材,以赞美为主的诗歌形式。其特点是:以四言为主,言辞简洁,以陈述、说明、议论和生动形象的描绘为主而兼有抒情。画赞的出现,是文学与绘画融通的产物,是中国绘画融诗、书、画为一体之特点的肇端,对唐以后的咏画诗、论画诗及画赞创作有积极的影响。从画赞可以看出绘画题材的转变及其时代特点,因而画赞具有重要的绘画史料价值。另外,画赞序还有一定的绘画理论价值。