Pagoda-Shaped Pictures in Tibetan Rock Paintings

In 2004 we, with our colleagues, went to the Helanshan Ranges in Ningxia to conduct a rock-painting survey for more than a month. We were members of the Rock-Painting Research Center, Ethnology and Sociology College of the Central University for Ethnic Minorities. In the central and northern sections of the Helanshan ranges, we accidentally came upon quite a lot of ＂pagoda-shaped＂ rock paintings of the Xixia period （1038-1227）. These rock paintings consist of two different types.     

仙居岩画述论

本文详细介绍了仙居岩画的分布及画面内容,并主要从岩画的刻凿工具、图像特征、民俗学色彩等方面对岩画的制作时代作初步探讨,并从古越先民的农事意识、生活形态、宗教意识等方面对岩画的文化内涵提出了自己的见解。     

Re-examination of Ancient DNA in Texas Rock Paintings

An unsuccessful attempt to study ancient DNA from Pecos River genre rock paintings located in shelter 41VV75 in the Lower Pecos River region of southwest Texas is described. We were unable to extract any ancient DNA from these Pecos River genre rock paintings, casting doubt on a previous study that reported extraction and characterization of ancient DNA in paint samples of the same genre at the same site.     

Ancient Rock Paintings and BOLIN GYIASA RUINS IN MARKANG

In July 2000, when I went to investigate ethnic education in the AbaTibetan and Qiang Ethnic Minorities Autonomous Prefecture inSichuan Province, I heard of the BolinGyiasa Ruins in Markang County, androck paintings in nearby Mors Gully inSumgang Township.Accompanied by Mr.MaChaosheng from Markang County, Imade a special trip to Mors Gully. It wasdrizzling, and road conditions were terrible. Our jeep bumped for 15 km along atiny stream in the Gully.SLEEPING ROCK PAINTINGS.…     

贺兰山岩画的存在论分析

贺兰山岩画是视觉语言的具体表述,在这一表述形式之外,它是无法存在的。无论是从被视知觉感觉到或经验到的意义和物体或现象来看,还是就贺兰山岩画自身生存的具体语境而言,整个贺兰山岩画视觉语言系统都可以被区分为独体岩画和合体岩画两个子系统。前者指内部有着一定结构关系的、相对独立存在的、意义相对完满自足的单个岩画形式,后者指由两个或两个以上独体岩画形式结构的、相对独立存在的岩画形式。     

探寻达茂草原岩画

辽阔的达茂草原,东与乌兰察布市的四子王旗接壤、西与巴彦淖尔市的乌拉特前旗毗连,北接蒙古国,南靠阴山。达茂草原富饶而美丽,是中国古代北方少数民族生息、畜     

广西左江岩画的艺术特征及其价值

左江沿岸保存着许多古代壮族先民骆越人的珍贵化遗产——岩画,左江岩画有她自己的模式、风格、特征,当把这些共同的特征结合起来后,可以形成一个整体的概念。     

青海民和县寺沟峡岩画调查简报

2019年,丝绸之路南亚廊道调查队在青海省民和县寺沟峡内发现了4幅6组个体102个岩画,并对岩画进行了详细的调查、测绘和数字化扫描。从整个岩面的制作技法来看,有直接磨刻法和敲凿法。岩画主要以抽象图案为主,有少量人像、持物人物、鸟等具象形象。其形象与新石器晚期至青铜时代彩陶图案纹饰相似度较高,与中原地区岩画有着密切关系,为研究官亭盆地早期文化提供了新的突破口。     

象数符号与上古岩画中的网格图案初探

运用象数符号概念,从考古学、天文学、古文字学等多维视角对中国上古岩画中的网格图案进行初步探析,可以推测象数符号是文字符号产生之前,上古时代人们记录天文历法知识的特殊符号形式。     

Lithic Microwear Analysis of Middle Stone Age Artifacts from White Paintings Rock Shelter,Botswana

Abstract

Excavations conducted at the White Paintings rock shelter in the NW Kalahari Desert have uncovered seven meters of Later and Middle Stone Age deposits. Lithic microwear evidence was found on 15 artifacts representing five of the major archaeological subdivisions in the sequence and revealed work in wood, hide, and bone, as well as butchering and impact damage. Middle Stone Age points found in deposits bracketed by TL dates to between approximately 66,400 ± 6500 and 94,300 ± 9400 B.P. were of special interest because of the possible association of the Middle Stone Age with the origin of anatomically modern humans and because little, if any, micro-wear evidence has been published on Middle Stone Age points. Five out of 10 points examined revealed impact damage consistent with their use as projectiles, most likely as spear points. We present a model of the use of such points for hunting medium-sized mammals with spears, an interpretation that is largely consistent with faunal remains observed in South African cave sites.     

万马腾飞-画家笔下的马简

马是个吉祥之物，它与人类的关系自古以来就是密不可分的，是人类征服自然、改造自然的工具，征战、狩猎、商旅、游宴、农耕、运输、通讯等都离不开它。在古代，金戈铁马是开疆扩土的保证，香车名马是上流社会身份的象征，还有在沙场上与主人生死与共的传奇。中华民族把马视为迅捷、勇敢、奔放、成功的象征物。即使在现代社会，     

Sails Set in Stone: A Technological Analysis of Non-indigenous Watercraft Rock Art Paintings in North Western Arnhem Land

In 2008 researchers from the Australian National University??s Archaeology and Natural History Department and Flinders University??s Program in Maritime Archaeology recorded nine non-Indigenous watercraft rock art images in a rock-shelter in the Wellington Range of north western Arnhem Land in the Northern Territory. During the project it was recognised that one of the missing elements of interpreting watercraft in rock art was a comprehensive analytical framework that can be tested and reproduced. The development of such a framework can be used by future researchers to begin addressing the larger issues and considerations represented in non-Indigenous watercraft depictions across Australia.     

嘉祥木版年画及灯画

嘉祥位于鲁西南,是宗圣曾子的故乡,现属济宁市,东揖儒都曲阜,西览菏泽牡丹,北依代出好汉的梁山,面朝烟波浩淼的微山湖,文化古迹众多,自然环境优美,富有人文历史文化特色,是齐鲁文化研究区域的重要组成部分。嘉祥木版年画及灯画,就是在这片传统文化和民间文化沃土上绽放的一朵小花。     

Paintings by Wosma

Wosma, Hui, was born in 1936 in Lhasa. He is Vice-President of the Lhasa Association of Literary andArt Circles, member of the Chinese Association of Fine Artists, and council member of the Lhasa Association of     

Documenting and Analyzing Rock,Paintings from Torres Strait,NE Australia,with Digital Photography and Computer Image Enhancement

Abstract

The deterioration of rock-art over time is an important concern for indigenous communities, archaeologists, rock-art researchers, and cultural heritage managers. Computer enhancement has emerged as an important tool in viewing poorly visible rock paintings. While most studies regarding this technique explore the methods associated with computer enhancement there is little discussion of the results that can be generated beyond the recovery of images. This article presents results from the application of computer enhancement methods to rock paintings from the Torres Strait region in NE Queensland. The results obtained through the computer enhancement of deteriorated rock paintings are used to reveal degrees of preservation, interregional interaction, and previously undocumented spatial patterning across the strait.     

Tangka Paintings IN TIBET

Tangka (a Tibetan word meaning"silk, satin or cloth painting scroll")have been in vogue in Tibet for centuries, but no one knows when andwhere they evolved. Archaeologistswho found pottery bearing patternsin the Karub Site dating back some5,000 years came to the conclusionthey were the embryo of the Tibetanpainting art.FRESCOES. In Tibetan, "tang"means "unfolding" or "displaying".Tangka is created with the intentionof showing the painting art to thepublic. This shows the importance offre…     

日本所藏有关夏圭的资料

本文介绍了日本美术界对夏圭绘画的研究现状,进而对日本收藏的《山水图》、《江城图》与台北故宫所藏的《溪山清远图》做了对比研究,指出了三图的相互关联与区别,为夏圭山水艺术与南宋宫廷绘画的进一步研究提供了新的资料。     

Tibet Institute for Nationalities:First in Tibet

Article 9 of the Agreement of theCentral Government and the LocalGovernment of Tibet on the PeacefulLiberation of Tibat, signed on May23, 1951, stipulates: "The spokenand written language and schooleducation of the Tibetan ethnicgroup shall be developed step bystep in accordance with the actualconditions in Tibet."In accordance with the Agreement,Mao Zedong, founder of the People's Republic of China, instructedthe Central People's Governmentto work hard to develop school education in T…     

Paintings by Contemporary Artists

Cloth painting:Cultivationby Soinam Cering(Fine art teacher ofXigaze No.3Middle School)     

Jails in Tibet

There are three jails in the Tibet Autonomous Region, with 2,300 inmates, including those serving lifesentences or awaiting execution. They account for 0.9 per 1,000 of the Tibetan population.The three jails are the Tibet Autonomous Regional Prison, the Lhasa Prison and the Borne Prison. Of the three, the TAR Prison is the largest and the only one exclusively for female inmates.Of the inmates, 76 percent are of the Tibetan ethnic group, 20 percent from the Han ethnic group, and remaining four percent from