Military Orders Between Territorialization and Periphery from the 12th to the 16th Century

Military orders have historically played a key role in defining borders, both in a mental sense, by favouring an awareness of alterity in the most peripheral territories (Christians against Muslims and Christians against Pagans), and also in more direct ways, as owners of land in these territories. This article¹ discusses both the influence, in the broadest sense, of territory and periphery upon the medieval military orders, and the relationship between the crown and the military orders. It will be done through a comparative historical analysis of two cases: Portugal and Denmark in the 12th–16th centuries. Both countries were placed at the periphery of the Western world in the Middle Ages, and they were both active agents in the Crusading movement.     

18世纪末至19世纪中期英国在印度的“文明使命”

在"文明使命"价值观的指引下,英国人在印度扮演的角色,既是征服者和殖民者,又是统治者和开化者.他们在治理与掠夺印度的过程中,摧毁了印度原有的社会与经济结构,推进了印度社会的近代化,用强力手段将古老的印度拉进了以英国为中心的世界资本主义体系.     

从公元七至十六世纪扶壁栱形制演变看中日建筑渊源

自19世纪末关野贞、伊东忠太等日本学者开始研究东亚美术史以来,在中日两国学者的努力探索下,日本古代建筑直接或间接受中国古代建筑影响而发展演变的观点,已成为中、日两国学术界的共识,通过对比研究中、日古代建筑扶壁棋形制的流变,可以揭示不同时期中、日古代建筑的具体渊源关系,以微观窥全局之一斑,补证既往。     

Nuts in the Netherlands: Attalea and other nuts from archaeological contexts,dating from the 16th to 19th century AD

Abstract

This paper describes the use of palm nuts for the manufacture of artefacts in the Netherlands. From the 17th to 19th century buttons were made of nuts of the Brazilian palm tree Attalea cf. funifera. Finds from 17th century shipwrecks suggest that the palm nuts of this species were directly imported from Middle or South America. Coconuts were used for carving, for example for the manufacture of coconut beakers. In the 19th century buttons were also made of 'vegetable ivory' or tagua nut.     

伏虎罗汉、行脚僧、宝胜如来与达摩多罗——11至13世纪中国多民族美术关系史个案分析

本文从分析宁夏贺兰山山嘴沟所见伏虎罗汉入手,梳理了汉藏罗汉图像的差异,重点考察了藏传佛教罗汉中伏虎罗汉、布袋和尚与达摩多罗图像的来源。作者认为,达摩多罗名号与图像的形成与吐蕃禅宗、禅宗保唐派、唐五代行脚僧及其变化的宝胜如来信仰密切相关,并与佛陀波利以及流行于两宋的布袋和尚信仰相互交织。论文解释了新罗僧与宝胜如来的信仰如何引发藏传罗汉达摩多罗与宁夏贺兰山之间特殊的联系,这些错综复杂的信仰与图像演变是中国11—13世纪多民族美术关系史的集中映现。