Painted Glass

The consideration of contemporary ‘designed landscapes’ around late medieval castles is now well-established. However, all too often the consideration of such a landscape is not accompanied by an equally detailed study of the building from which it was viewed, particularly the ‘viewing windows’—windows suggested to be deliberately placed within a building to provide a view over, across or towards a specific element of a designed landscape or the wider natural landscape. This paper discusses such windows, and also wall-walks, within the architectural context of one particular castle. It identifies three basic questions which should be asked in relation to any view (how did the viewer look, what were they looking at and why did they choose to look at it?), and seeks to demonstrate that windows and wall-walks intervene between the viewer and the view to the same degree as they facilitate the act of looking. An appreciation of these processes is crucial to understanding late medieval concepts of viewing.     

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.     

On a Monumental Effigy in Coningtion Church,Huntingdonshire

The well-known Norman motte at Abinger is identified as the caput of a small estate created by subinfeudation in c. 1100.     

Notes on a Piece of Painted Glass within a Genealogical Tree of the Family of Stewart

Skipwith church's west tower, of ‘pre-Norman’, ‘Saxo-Norman’ or ‘early Romanesque’ style, has been the focus of a campaign of investigation and analysis which included structural recording and archaeological excavation. A building earlier than this tower was identified; within and around it were burials, some in iron-bracketed wooden coffins, and a piece of newly discovered early ninth-century sculpture confirms the contemporary importance of this site. This building was replaced by a church incorporating the standing tower; hitherto unrecognized details of its construction are reported, together with its subsequent structural evolution. Attention is drawn to an extensive series of cross slabs and to a considerable quantity of painted alabaster fragments representing one or more altarpieces.     

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.