宗喀巴大师的六种造像

“没有上师之前,就无佛陀之说;千年佛陀之果,源自上师之因”。正是由于视上师为佛陀的传统文化观念,上师或祖师像成为藏传佛教造型艺术当中最为普遍,最具特色的一种题材。不论是唐卡,壁画等绘画艺术,还是石刻、泥塑、木雕、金属等造像艺术,上师像都是题款最多的一项作品,这将十分有助于后人辨认他们的具体身份和研究不同时期、不同地点、不同宗派的造像风格。     

我眼中的中国近代海防

从抵抗派的“师夷长技制夷”到洋务派的“师夷长技自强”,他们都为中国近代海防的发展做出了贡献,但同时也给我们留下了海防危机的沉痛教训。     

万里长征中的“三大纪律八项注意”

长征途中,虽行军艰苦、战斗激烈,但红军始终军纪严明,秋毫无犯。红军,虽是一支疲惫之师,但更是一支文明之师、仁义之师、威武之师。他们每到一地,都要开展宣传教育,并在一些地区"打土豪、分田地",从而深得群众爱戴,同当地人民结下了深厚情谊。     

老舍的稿子受到排字师付赞扬

老舍的稿子受到排字师付赞扬老舍先生写稿都是用毛笔,无论时间多紧,都是书写得很工整。个别写错的地方也都认真贴补好,如不仔细看,还发现不出是改正过的。因而赢得了印刷厂排字师付的赞誉,每当他们拿到老舍先生的稿子,总是赞不绝口地说：“老舍,够意思！冲着人家这...     

唐代狩猎俑中的胡人猎师形象研究

在唐代狩猎俑造型中,有不少满脸须髯、膀大身强的胡人形象,他们就是经常以"猎师"身份陪侍主人狩猎的扈从,这些胡人受过调教猎兽猛禽的训练,是一种专业的驯技师,他们或是随外域进贡助猎动物一起来的"贡人",或是为谋生移民入华的"蕃口",与汉人一般猎户不同,他们凭驯化鹰鹖犬豹技艺特长依附达官贵人,成为随从参与狩猎活动。胡人猎师的出现进一步刺激促成了唐代狩猎风气的兴盛。     

八路军改编初期三个师的师政治委员

<正>中国人民解放军的政治委员制度始于1929年12月的古田会议。政治委员,简称政委,是军队中的重要职务,是同级党的委员会日常工作的主持者,与同级军事指挥员同为部队的最高首长。聂荣臻、关向应、张浩于1937年分别担任八路军一一五师、一二〇师、一二九师政委。他们之所以能够担任八路军三大主力师的首任政治委员,不仅在于他们有着深厚的革命资历和丰富的对敌斗争经验,更在于他们对革命事业的无限热爱和对中国共产党的赤胆忠诚。     

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。     

“洋师兄”彼得·圣吉

南怀瑾大师有很多洋弟子,比较著名的如前美国外交官协会主席艾德、法国东方语言学院院氏戴思博和美国麻省理工大学教授彼得·圣吉等人。说来他们都算是我的师兄弟．其中比较熟悉的耍数彼得·圣吉博士。     

我们的小菜园——班本活动中幼儿合作学习的培养

正案例:师:刚刚大家参观了我们班的菜园,你们发现了什么问题?生:鸡毛菜都要被淹死了!生1:他们都要去浇水,浇得太多了!生2:还有的组没有人浇水,土都干死了!(幼儿七嘴八舌地回答)师:那怎么办?有的小组人人都想浇水,有的小组谁都不去浇水,我们的菜还能长出来吗?生:不能!生1:不能都去浇水,轮流浇水吧!(教师发现孩子活动时团队合作出现了问题,在带领幼儿参观了     

班主任的几点体会

俗话说：“千人千思想,万人万模样”。一班之内,四五十个学生,他们有着不同的心理,不同的智力,不同的生活环境和自控能力。因此,作为班级教育教学的组织者、实施者,要想让不同层次的学生从心理上接受你,让学生“亲其师、信其道”,构建和谐、     

明代宫廷画家职官状况述略

明代宫廷画家的官职、称谓不一,任职混杂,史料记载零散、简略,给宫廷画家身份的辨认造成一定的困难。从宫廷内部管理状况来看,画家的官职多样且分散,涉及多个职官体系,官职中有相当一部分为虚职,在具体管理方面权归内廷太监。本文力图从明代职官体系和内廷隶属等方面切入,区分辨别宫廷画家的官职与称谓,从而进一步认识明代宫廷画家的身份定位,了解明代宫廷绘画创作的运作状况。     

南宋宫廷绘画中的“谍画”之谜

本文根据宋代的文献材料,从大量的宋人册页中甄别出一些在军事上具有特殊功用的绘画。据考,在南宋出使金国的使团人员中,潜藏有擅长山水画、人马画的画院画家,他们奉命描绘金国的山川地形和女真人的军事活动,笔者称此类带有间谍用途的南宋宫廷绘画为“谍画”。本文阐述了“谍画”的发展历史,特别是南宋出现”谍画“的政治、军事等方面的历史原因,对此类“谍画“进行了详细的剖析,发现宇文虚中、萧照和陈居中等是可知的南宋”谍画“的作者。此种从军事角度认识某些宫廷绘画,尚属尝试。     

Expertise et Construction de la Valeur Artistique (XIVe–XVe siècle)

Working from a body of Tuscan commission contracts from the 14(th) and 15(th) centuries, this article shows how painting was the object of concrete evaluative practices among professional painters before becoming the subject of discussion for scholars and humanists. This study rests on the legal and economic analysis of clauses of expertise by which painters and commissioners submitted the work to other painters in order to guarantee the proper execution of the contract, thus constituting an essential evaluative measure for the economy of painting.     

康熙皇帝肖像画及相关问题

帝后像是清代宫廷绘画中的主要组成部分,但并没有得到国内美术史界的重视。笔者希望通过对康熙帝肖像画相关问题的探究.引起更多的学人对清代帝后像加以关注。本文是在整理故宫博物院现藏的康熙帝肖像画的基础上,运用文献资料,初步对史籍中记载的这些画作的绘制者加以考辨。进一步勾勒出清初宫廷画家进行创作的工作程序。此外,借助梳理御制诗文,指出康熙帝对绘画的淡漠态度。揭示了其肖像画数量不多的原因.并探求了其行乐图极少的缘由。文中指出康熙帝肖像画受西方绘画的影响实则微乎其微,而且康熙时期的帝后肖像画创作既是清代宫廷肖像画的转型期又是定型期。     

沈阳故宫藏袁江袁耀界画

清前期至中期的山水画,以＂创新＂和＂摹古＂两派对立并存于画坛,前者有一定的创造性,适合社会发展的总趋势,尽管在当时不受世人重视,但仍然在发展着;后者持＂正统＂的态度,符合统治者粉饰太平、稳定政治的需要,取得当权者的支持倡导。以著名画家袁江、袁耀为代表的界画派,     

Comedy in Paestan vase painting

Summary.   The 'phlyax' vases of magna graecia are now known to represent actors and staging of Middle Comedy. More than half of the comic vases dating from the third quarter of the fourth century BC were painted in Paestum by Asteas and his circle, who were influenced by the Sicilian Painter of Louvre K 240. This paper asks whether these painters worked from direct observation of the theatre; and if so, whether the vases are evidence for details of performance methods in Paestum or in Sicily, and at what period. The stage and skene , masks, costumes and comic acting style are considered, together with the link between Asteas and the Painter of Louvre K 240 and the significance of the disagreement of their evidence with that of the Manfria Group of Sicilian painters.     

Two Byzantine Albanian icons: a non-destructive archaeometric study

The present work is part of a project aimed at studying the pigments and painting techniques used by Albanian iconographers to produce Byzantine and post-Byzantine icons dating from the fourteenth to the nineteenth centuries; the state of conservation of these icons was also explored. Inorganic pigments are identified by means of X-ray fluorescence, reflectance spectrophotometry and UV fluorescence analysis. These analysis techniques were performed to discriminate between pigments on the basis of their typical features. Moreover, the study of the optical properties of paintings is of fundamental importance for correct restoration. This work enabled us to recognise the palette used in two artworks by anonymous painters of the fourteenth and fifteenth centuries. Only three small samples were taken from the edge and the back of the wooden tables in order to achieve information on preparatory layers. Twelve to fourteen non-destructive measurements were made to characterise the palette used by the two anonymous painters.     

南通明清以来绘画概说

本文主要介绍了明清以来南通众多画家的艺术成就。     

几种印鉴及相关书画真伪

本文概述了几种印鉴的钤盖特点,对其真伪及与之相关的书画作品和作者加以简要考证。     

Feminine Wiles and Masculine Weakness: Seventeenth-Century Visual Responses to Tasso’s Crusade

This essay offers a political reading of the artistic choices made by seventeenth-century painters in their depictions of the heroines of Tasso’s Jerusalem Delivered (1581). It discusses the political subtext of Tasso’s epic poem by exploring the roles Tasso assigns to his oriental heroines and their representation in seventeenth-century paintings. Painters and patrons alike were particularly enthusiastic about the love stories that developed around Jerusalem. But Tasso is promoting a crusade, and the visual focus of later painters on Tasso’s seductive female protagonists and their submission to Christian warriors, suggests that their aim was to display the delights that await those who join a military expedition to conquer the Holy Land.