古陶文明博物馆藏瓦掇英

古陶文明博物馆是座落在首都北京,得到国家文物局指导和北京市文物局批准成立的第一批民营博物馆。在任继愈、李学勤、李伯谦、刘庆柱等一批知名学者的关怀帮助下,逐渐形成了有相当质量与数量的瓦当、封泥、彩陶、陶俑、古砖等系列收藏,受到了海内外广泛关注。本期刊发了该馆收藏的重要秦汉瓦当标本,并邀请路东之馆长以诗句形式,阐述有关标本的征集、著录、研究等学术内容。作为一种学术文字的别体,以飨读者,以荣学林。     

记嘉兴博物馆藏两件崧泽文化刻纹陶器

嘉兴博物馆馆藏两件崧泽文化晚期刻纹陶器的考古学文化属性明确,刻纹不仅丰富了这一阶段的图像资料,而且为良渚文化玉器的龙首纹和神人兽面像研究提供了很大的启示,是十分重要的图像资料标本。     

试论定西美术创作发展原因

本文深入分析了定西美术创作突飞猛进的原因。其外因主要表现在两个方面：广泛的群众基础、频繁的文化交流,为定西画家提供了创作的生机和活力。内因是定西画家群体的本土意识、精品意识、开放意识,以及熔铸在作品中的诗性精神。其具体表现为：立足本土,深度挖掘定西地域文化的独特内涵,展示定西画家的鲜明个性;以包容和开放的心态融人全省、全国画坛。赋予定西美术创作强烈的时代气息;精品意识的确立,赋予定西美术创作更加成熟的艺术魅力。     

(顽)石老玉、古陶陈茶——谈造型艺术之形质品味

一直以来,我认为中国的艺术是最发达的,是世界艺术各种形态中成就最高的一种形态。从原始进入文明直到现在,并未经过西方幼稚的、以科学为目标的低级阶段,而是延续了人类表情达意直到大彻大悟后不停留在表现所见所闻、向更高的天马行空般的精神、观念和理想境界探索。     

留学生与中国美术教育的现代转型

中国美术教育的现代转型始于辛亥革命时期,一批从日本和欧美回国的留学生为中国传统的美术教育过渡到现代美术教育作出了重要的贡献,蔡元培、徐悲鸿、林凤眠等就是其代表人物。他们不仅是西方现代美术教育思想在中国的主要提倡者,而且是中国现代美术院校的主要创办人和主要师资,还是中国现代美术社团的主要发起者和主要成员。在他们的身体力行下,中国美术教育的现代转型于20世纪30年代初得以完成。     

On the origins and organization of South Italian poverty

John Davis. Land and Family in Pisticci. London School of Economics Monographs on Social Anthropology No. 48. London: The Athlone Press, 1973. ix + 200 pp. Illustrations, tables, appendixes, reference's, and index. $10.50.     

试论高师美术教育专业实践课的地位与作用

高师美术教育专业的发展相对其他专业还比较薄弱,在一定程度上影响了我国美术教育的发展,尤其是基层中小学美术教学。为此,高师美术教育专业必须面向基础教育,突出师范特色,注重实践课环节的教学改革与研究,以培养一专多能的合格中小学美术教育师资。     

洛阳汉河南县城陶排水管道发掘简报

2001年 7月, 洛阳市文物工作队在洛阳汉河南县城南墙外发现一段陶水管, 根据其结构特点, 认定为汉代的排水管道, 这为研究汉代建筑的排水系统提供了十分珍贵的资料。     

故宫博物院新入藏的湖北出土的战国、西汉漆器

本文以故宫新入藏的湖北出土的战国、西汉漆器为基础,从其胎质、形制、装饰纹样和使用功能等方面加以考析,指出了这批漆器的传承关系、时代特征及鲜明的地域色彩。     

Relies of reconciliation: the Confederate Museum and Civil War memory in the New South

This article examines the Confederate Memorial Literary Society (CMLS), an organization of elite white women in Richmond, Virginia who founded the Confederate Museum in the 1890s. Faced with the plunder of Civil War relics and cultural homogenization on northern terms, the CMLS founded the Confederate Museum to document and defend the Confederate cause and to uphold the antebellum mores that the New South's business ethos threatened to erode. In the end, however, the museum's version of the Lost Cause served the New South. By focusing on military sacrifice, the Confederate Museum aided the process of sectional reconciliation. By depicting slavery as benevolent, the museum's exhibits reinforced the notion that Jim Crow was a just and effective means of managing postwar southern society. Lastly, by glorifying the common soldier and portraying the South as "solid," the museum promoted obedience to the mandates of industrial capitalism. Thus, the Confederate Museum both critiqued and eased the economic transformations of the New South.     

From Pottery to Politics: An Ethnoarchaeological Study of Political Factionalism, Ethnicity, and Domestic Pottery Style in the Ecuadorian Amazon

A long-standing assumption in archaeological theory is that pottery in the domestic context represents a form of passive style that does not enter into symbolic communication in the political domain. This paper presents ethnoarchaeological data to establish a link between women's active political behavior and pottery style in the domestic context in a small-scale, segmental society in the Ecuadorian Amazon. Analysis of individual variables of style shows that Achuar and Quichua women signify their political alliances in the painted decoration of their domestic pottery more strongly than they signify so-called passive processes of learning associated with early enculturation and ethnicity. Furthermore, analysis of women's judgments of pottery as Achuar or Quichua indicates that they decode cues to political alliances in the pottery of other women, including cues to political differences within and between groups. The theoretical implications of these findings are discussed in terms of the principles underlying women's stylistic behavior as part of the political processes involved in the construction and maintenance of social identity and social boundaries.     

Resources for Teachers from the Educational Department of Fine Arts of Seville for Archaeological Sites

Abstract

The province of Seville, situated in the south-western part of the Iberian Peninsula, contains a large number of archaeological sites. Some of them are of great significance: for example, the ancient Roman cities of Itálica and Munigua, the megaliths in Valencina de la Concepción, or the Roman necropolis in Carmona. These four mentioned above receive a considerable number of educational visits by students between the ages of twelve and sixteen, and a number of educational projects have been carried out there. This article outlines the types of resource material provided at these four sites.     

Memory, Distortion, and History in the Museum

Museums are conventionally viewed as institutions dedicated to the conservation of valued objects and the education of the public. Recently, controversies have arisen regarding the representation of history in museums. National museums in America and Germany considered here, such as the Smithsonian's Air and Space Museum, the Holocaust Memorial Museum, and the German Historical Museum, have become sites of contention where national histories and personal memories are often at odds. Contemporary art installations in museums which take historical consciousness as their theme similarly raise contentious issues about public knowledge of and personal interest in the past. When members of publics find that their memories of the past or their expectations for museum experiences are not being met, a kind of "distortion" occurs. The "distortion" related to memory and history in the museum is not so much of facts or interpretations, but rather a distortion from the lack of congruity between personal experience and expectation, on the one hand, and the institutional representation of the past on the other. This essay explores the possibilities for a redefined relationship between personal memory and history that is experienced in contemporary museums.