玻璃胎画珐琅考析

玻璃胎画珐琅为我国首创的工艺品种。几十年来,对于它的创始时间、历史发展、官造与民造的界限、工艺名称等众说纷纭。本文依据多种文献和清宫造办处的“活计档”结合作者多年来对实物的观察研究,论述了它在宫廷内创始、发展和终止的概况,并对官造的数量、品种、艺术特色等作了较为全面的考析。同时,对“古月轩”款的作品也作了一定的探讨。     

Anglo-Irish Tomb Effigy Armour: An Experiential Study

Abstract

This work examines two related armour types unique to Ireland and found only on tomb effigies dating to the late medieval period. The aim of this paper is to establish how the armour may have been constructed, whether it was practical and usable compared to better-known armour types, and how it may have fitted into the Irish style of warfare. Within this work the most likely construction methods and layout of the armour have been tested by making armour segments, using modern materials, to test the ability of the armour to move at joints and rivets, while retaining its protective functions. With documentary sources these results make it possible to come to conclusions as to the armour’s use on the battlefield. The paper also aims to show the contribution that can be made to academic research with the incorporation of experiential knowledge gained from disciplines such as Combat Re-enactment and Western Martial-Arts.     

翻译家校阅大师法成及其校经目录

佛教自松赞干布(srong btsan sgam po弃宗弄赞617-650年)时期正式传入吐蕃,赤松德赞(khri srong lde btsan,娑悉笼腊赞,755-797年)执政后,兴佛是吐蕃王朝的国策;佛教成为吐蕃的全民宗教.带着弘法、译经的远大抱负,吐蕃僧人管·法成,不畏艰险,长途跋涉来到敦煌.敦煌浓厚的宗教氛围和东西方佛教传播中理想的交通位置,深深地吸引了他,使他把毕生精力献给了敦煌的佛教事业.藏经洞出土的古藏文文献,向我们展示了这位藏汉文化的使者、大翻译家、大校阅师的卓越功绩.本文将对法成身世作一简单论述,并列出甘肃藏敦煌吐蕃文献中法成校经目录.     

John Lewyn of Durham: A North Country Master Mason of the 14th Century

Abstract

This paper examines the structural evidence for the claims made on the behalf of the 14th-century master mason, John Lewyn. It suggests that comparison of artistic detail, has limited usefulness when attempting to identify his work. Buildings which, on a superficial level, bear little resemblance to one another, can nevertheless be shown to have significant mutuality of concept when studied in depth. Thus, a close examination of John Lewyn's known works and contemporary buildings suggests that Lewyn was the dominant influence in the northern region during the later 14th century, and that he retained control of planning to a fine level, whilst allowing his deputies varying degrees of independence in the execution of detail.     

凤凰城里的彩扎传奇

古老的彩扎艺术 彩扎,被称为“指尖上的艺术”,只见金丝银线在指尖缠绕,在一刀一剪、一针一线之中,一个个色彩缤纷、惟妙惟肖的工艺品就诞生了. 彩扎艺术是一门古老的民间传统手工技艺.它与丧葬民俗相关,最初以木偶的形式殉葬,随着丧葬制度的改革,逐步发展到纸人、纸马,用以引导灵魂归天.对父母生前的孝道以厚葬的形式体现,表达活着的人对死者悼念之情,也是遵循孔夫子以孝为先的思想.     

Painted Textiles in a Buddhist Temple

Abstract

This article investigates women's dye practice at a time when natural dyes were deemed obsolete, or when created by men working from an artisanal studio, transformed into idealized labour more consistent with the ideals of the Arts and Crafts Movement. The objective of this article is to assess the extent to which gender plays a role in the historical and contemporary determination of the aesthetic, cultural, and social value of natural dyeing. Another goal is to move away from the term 'craft work' with its acquired pejorative context and locate dyeing within 'artisanal practice' as an occupational choice. Current studies on women's participation in the Arts and Crafts Movement raise questions as to the distinction between amateur and professional status among practitioners in many media. The only dyer deemed to be 'professional' was William Morris; yet in north-west Ireland, the Scottish Highlands, and England's Lake District, female dyers contemporary with Morris also made important contributions. That their production of colour originated from the separate sphere of home need not mitigate against professional status nor historical value, but there is a lingering perception that men such as Morris possessed inherently superior abilities. The focus of this article is also to analyze the mythology of natural dyeing which has limited the opportunity to recognize female dyers whose practice aligned with the utopian ideals of the Arts and Crafts Movement. Three examples are discussed here against a brief summary of centuries of women's involvement in the business and trade of dyeing. The Arts and Crafts dyers discussed in this paper are also compared to Morris. Women's abilities as colourists were as worthy of professional designation as were those same skills when they emanated from men who comprised the Movement's elite.