挥洒聚散见乾坤——扬州博物馆藏折扇赏析（下）

异彩纷呈的书画扇面折扇扇面的质地一般分纸本、绢本两类(这里不讨论象牙、檀香木等工艺扇),而各自又可分素面、色面两种。扇面上还可作泥金、泥银、洒金、洒银、暗花等装饰处理,有些书画家喜用此类扇面,使书画扇面更加富丽堂皇,熠熠生辉。在折扇扇面上加以书画装饰,据文献记载始于宋代。北宋王禹玉《华阳集》中“赵模墓志铭”载,赵模前往契丹报聘,席     

袖里翰香——天一阁博物馆藏明清扇面撷英（上）

在中国书画艺术中,经由最初的实用品发展到纯艺术欣赏样式的,唯有扇面书画。扇面书画载体独特,形制别样,轻巧便捷,十分适用于文人雅士之间的礼尚往来,因此受到历代书画家的青睐。     

沈周山水扇面赏析

明代中后期,扇面书画蔚然成风,达官显贵、名家流派、文人墨客都善笔于折扇,尤其以被称为“吴门画派”之首的沈周也创作了大量扇面书画精品流传至今。本文以沈周山水扇面为赏析对象,描述了沈周画作的绘画风格及画中所蕴涵的意境。     

咫尺艺苑——旅顺博物馆藏扇面画选介(上)

<正>扇面画作为中国传统书画中一种独具特色的艺术表现形式,将扇子的实用性与书画的观赏性巧妙地结合,既提升了扇子的品位,又赋予日常生活用品独有的情趣和文化内涵。相较于长轴大卷,扇面画实属小品。而恰恰因为这一点,艺术家们反而得以无拘无束、自如挥洒的发挥,尽情地在扇面之中表露出真实性情,将其最真实、最生动的艺术品格引于笔端。扇与书画何时结缘,没有确切的文献记载。但从整个发展历程来看,早期扇面是由实用品演变为艺术     

介绍沈周、王铎的两幅扇面书画

介绍沈周、王铎的两幅扇面书画苏岩我国扇面艺术的发展源远流长,它糅文学与书画为一体,成为独具特色的民族艺术形式。透过小小的扇面,可以看到其丰厚的文化背景和时代风尚。河南省博物馆所藏明代绘画大师沈周的《涧水村居图》和清代著名书法家王锋的《殷生·小园子贴》...     

中国古代书画精品选登

明 祝允明 草书后赤壁赋 水墨纸本手卷明 文伯仁 山水扇面明 庄同生 山水扇面中国古代书画精品选登     

咫尺艺苑——旅顺博物馆藏扇面画选介(中)

中扇面画作为中国传统书画中一种独具特色的艺术表现形式,将扇子的实用性与书画的观赏性予以巧妙的结合,既提升了扇子的品位,又赋予日常生活用品独有的情趣和文化内涵。相较于长轴大卷,扇面画实属小品,而恰恰因为这一点,艺术家们反而得以无拘无束、自如挥洒的发挥,尽情地在扇面之中表露出真实性情,将其最真实、最生动的艺术品格引于笔端。旅顺博物馆历史悠久,书画类藏品极为丰富,更是藏有"四王""海派"等一代名流的上乘之作。本刊上期刊登了该馆收藏的山水类扇面画,本期继续介绍。     

清代画家山水扇面册赏析

<正>吉林省博物院藏《清代画家山水扇面册》,于20世纪60年代收购于北京市文物市场(宝古斋)。册中收录清代"四王吴恽"六家中王作品3件,王原祁和恽寿平作品各1件,另有高简、戴熙、徐枋、吴、李育5人作品各1件,共计10帧扇面集成一册。在本院所藏诸多明清书画扇面中,这件《清代画家山水扇面册》品相好而画功精湛,汇集名家笔墨,是院藏书画扇面系列中比较重要的一件,具有较高的艺术研究价值。     

尺幅千里——佛山市博物馆藏明人绘扇精品赏评

扇面作为中国书画艺术的一种重要形制,因其独特性,历来受到文人雅士的青睐,尤其在明清之际甚为流行。书画扇面强调以小见大,扇面创作被认为是艺术创作中带着镣铐的舞蹈,对作者的要求极高,也最能展现一个书画家的才情功力。现择取佛山市博物馆藏有的几幅明代金笺扇面绘画,与同好共赏,并就教于方家。     

挥洒聚散见乾坤——扬州博物馆藏折扇赏析（上）

明清两代的扬州,由于盐业和漕运的迅猛发展,有力推动了商业、手工业的兴盛。官衙的倡导、豪商巨贾的奢侈以及各阶层市民的消费,大大刺激了这一地区手工艺品的生产,漆器、玉器、金属器、刺绣、竹木器、雕版印刷、制笔、制扇等,无不穷极天工、争奇斗艳,在全国享有美誉。扬州博物馆馆藏近千件折扇和书画扇面,正反映了当时制扇业的高超技艺和风雅气     

‘Brazil,Tell Me How It Feels’: Soccer,Music, Narcissism,and the State,or Mascherano’s Failure

During Brazil's 2014 World Cup finals, Argentine fans popularized a chant that stated “Brazil, tell me how it feels”. The chant became viral, and produced a Brazilian response, “Argentina, me diz que se sente”: both discussed relationship of rivalry by joking at the other's expenses. But it was surprising that the chant was based on the melody of a very old song from the American rock band Creedence Clearwater Revival, recorded in 1969, possibly before the birth of those who sang the melody in Brazil (“Bad Moon Rising”, a very popular song recorded many times). This paper discusses several topics derived from that fact: the relationship between popular music and football chants; the uses of popular music and global pop at the World Cups from 1962 to our days; the self-presentation of the “local” (national) fans before a globalized media scene; and, last but not least, the role of sport icons and heroes for the fans but also for the construction of national epics (the icons and heroes invoked in the chants included, obviously, both Maradona and Messi, two of the most important football heroes from the ‘80s until today). The core idea is to show how contemporary football culture must be described and interpreted in the continuous intersection of local texts -and fans’ practices- and global events.     

智慧博物馆的发展路径探析

智慧博物馆是传统实体博物馆发展到一定阶段所产生的一种新的博物馆高级形态,具有主体的人本性、资源的整合性和数据的再生产性等基本特征。与数字博物馆相比,智慧博物馆的"智慧化"主要体现在数据来源的多样性、数据传输的多向性和数据交换的普遍性上。建设智慧博物馆需要警惕走入载体离心化、技术泛滥化、内容娱乐化、数据固态化和建设盲目化的误区,抓住"数据"这一核心要素,围绕数据生成、数据加工、数据运用和数据共享诸环节,科学系统地推进展开。     

丹青咫尺 扇里乾坤—吉林省博物院藏扇画赏析

摇曳生风千秋过,扇子原本不过是御风消暑、驱逐蚊蝇的实用品和装饰物,它在古代的别称为“摇风”、“凉友”,不光达官贵人使用,平民百姓也广泛使用。我国早在商代就有了扇子的雏形,汉代以后,扇子从煽风发展到士人淑女把玩的装饰品,少女们常喜欢用绘有图画的纨扇半遮脸面,而被人们形容得更美丽,于是扇子又有了“便面”、     

Exportando “marginalidad”: Consuelo Tamayo Hernández, “la Tortajada” (1867–1957)

Abstract

Although nowadays barely remembered, the dancer and singer Consuelo Tamayo Hernández, “la Tortajada” (1867–1957), once was a Spanish performer of considerable talent. She was a diva skilled at self-fashioning who knew how to exploit her public image both on and off stage. Born in Santa Fe (Granada, Spain), Tortajada hardly ever performed in her country of birth. But although her presence on the Spanish stage was merely marginal, as a “Spanish dancer” she achieved celebrity status in the music halls of Europe and the United States. Tortajada perfectly exemplifies the mobility and cultural transfer that took place between the cosmopolitan stages at the end of the nineteenth and the beginning of the twentieth century. This article explores how Tortajada obtained international fame and success, not so much because of the authenticity of her performances—which were often contaminated by the music halls where she performed—but because of her ability to export a certain idea of Spanish “otherness” and “marginality” by staging a series of traditional movements and dances. It is by skillfully embodying a stereotype construction of “Spanishness” (elapsing it into an Oriental fantasy) and a certain type of femininity that the artist achieved international celebrity.     

Between Regionalization and Centralization: The Creation of the Musée Léopold II in Elisabethville (Musée national de Lubumbashi), Belgian Congo (1931–1961)

Since “museumland” was revisited in the 1980s, different authors have studied the history of colonial museums in Europe within a broader discussion on colonial bias, the creation of traditions and the theory of representation. It has become clear, for example, how African utensils were exported to Europe, where they were exhibited as curiosa, ethnographical objects or art. But what happened when the very notion of the museum was exported back to Africa? Who created these institutes and in what context? Was the relationship between colonizers and colonized altered? Did the “social life” of the objects on show change? And what was the relationship between the “old” museums in Europe and the “new” ones created in the colony? These questions have rarely been studied. In this article, the creation of the Musée Léopold II will be used as a basis to offer insight into the links between colonial “science” and “policy”, which proved not to be as monolithic as often portrayed, but rather were complex amalgamations of different opinions and even conflicting interests.     

博物馆融入多元人群的理论建构与现实实践

西方博物馆学研究在关注博物馆与"人"的问题时存在着一类倾向,即愈发强调人群的多元性.这种倾向以强调曾经被忽视或边缘化的人群以及人群内在的差别性为主要特点,同时,学界也惯于以"官方"与"非官方"这样的二元关系解释此类现象.对于中国而言,中国博物馆已有诸多收藏、展览、教育等实践均呈现出关照多元人群的一面,但从其关照的人群范...     

Assembling an Anthropological Actor: Anthropological Assemblage and Colonial Government in Papua

This paper traces the networks through which particular practices of collecting cultures became imbricated in new relations governing colonial populations. It investigates the socio-technical arrangements associated with “practical anthropology” as they were enrolled in the Australian administered territory of Papua. The paper follows the assemblage of a new kind of anthropological actor: one which is framed in relation to new articulations of the administrative, academic and museum networks associated with a programme of “scientific administration” and the doctrine of “humanitarian colonialism”. In particular, it focuses on the office of the Government Anthropologist and the ways in which “native culture” emerged as an administrative surface.     

Transatlantic unity on display: the “white legend” and the “pact of silence” in Madrid’s Museum of the Americas

This article examines the history and recent pro-immigrant installations of the postcolonial Museum of the Americas in Madrid. It critically relates the Hispanist “White Legend” regarding the benevolence of Spanish colonialism to both the “pact of silence” following Spain’s Civil War and the current Spanish orientation towards immigrants from Latin America. Despite significant recent reconceptualization, the museum continues to put forward a narrative in which Spain is represented as a benevolent and civilizing contributor to Latin America. The museum’s more recent inclusionist turn to welcoming and serving Latin American immigrant communities in Spain does not complicate the pro-colonialism stance but rather, through a strategically neutral curatorial style, further serves to insist on a positive framing of the past. The exhibit analysed in this article highlights the innocence of Latin American children in order to frame immigration as positive while simultaneously supporting the “White Legend”. Contemporary Spanish tendencies towards forgetting or silencing the past have a deeper history than is usually recognized, and in this case study, these tendencies work to occlude not just the violence of the colonial period but also the inequities of today’s immigration.     

The Past under the Shadow of the Present: The Case of the National Museum of Korean Contemporary History

The National Museum of Korean Contemporary History, which opened in 2012, has been the focus of a heated controversy between the progressive and conservative camps over the “proper” ways to represent South Korea’s turbulent history. I build on the relationship between heritage, collective memory and national identity, and argue that the division that typifies South Korean society has implications that extend beyond socio-political issues. Anchored within a broader discursive context, the museum became an important memory carrier involved in the process of debating the issue of national identity. Although no agreement has been reached regarding the “proper” historical narrative the site should exhibit, the museum has nevertheless offered an opportunity to shape a form of national identity that can embrace a more complex perspective on the country’s contemporary history. At present, though, this contentious site has demonstrated the extent to which the legacy of the conservative–progressive divide remains deep. I offer a discursive context that is useful for the study of current debates over heritage sites in South Korea, while the overall analysis illuminates the idea that the “present-centred” management of heritage in national museums can, potentially, play a part in the process of forming more intricate notions of national identity.     

Publicising private lives: celebrities,image control and the reconfiguration of public space

The nature of contemporary celebrity demands the negotiation of publicness and privacy. Given the increasingly intrusive presence of the paparazzi, entertainment media, and fans (from obsessed ‘stalkers’ to well-wishers), celebrities need to regulate but also publicise their ‘front stage’ public persona. While this is usually achieved with a degree of comfort, at certain times their space is threatened. Through a case study of the 2003 court case concerning unsolicited photographs of the wedding of Catherine Zeta-Jones and Michael Douglas, published in Hello! magazine, this paper examines the policing, staging and legislative defence of celebrity privacy. It is suggested that celebrities' role in public is compromised by their extreme recognisability.