铜版组画《平定苗疆战图》初探

本文对《平定苗疆战图》的创作背景、题材选择、艺术水平及乾隆与组画的关系等进行了探讨与评述,对组画作了重新定名,并重新标记了各幅的画题,调整了其排列顺序,对各图作了详细介绍。文章最后阐述了清中期铜版战图创作的若干特色。     

Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia

This article attempts to extend the study of rock-art beyond the visual to include the non-visual experiences and perceptions of human beings. It is argued that there is 'more than meets the eye' when interpreting rock-art. Rather than restricting interpretation to the visual, the relationship between rock 'art', rock-art 'site' and the wider landscape is considered as articulated within a socially and historically specific Neolithic (ca. 4000-500 BC) hunter-gatherer 'mindscape'. An audio-visual perspective is argued, where the auditory sense and visual experience of the landscape combine in a vital interplay that is essential to the interpretation of 25 out of about 80 known rock-engraving sites in northern Scandinavia (ca. 33%). These sites have in common a strong water-centric focus; in particular noisy, running water. This approach provides a more profound understanding of these rock-art sites and the prehistoric use of 'images' as transmitters of different kinds of knowledge from the mundane to the esoteric. It is argued that the ebb and flow of water and human breath are analogous within a frame of enquiry that also considers shamanistic practice in approaching and experiencing these rock-engraving sites.     

江苏徐州兴化寺晚唐摩崖石刻调查初探

江苏徐州兴化寺大雄宝殿之下的摩崖石刻造像共54龛,题记16方,分为五个区域,开凿于晚唐时期,窟龛规模较小,造像组合形式独特。造像题材中的毗沙门天王与密宗无关,是战神的形象,反映出当地百姓长期处于战乱状态下,寻求神灵护佑的心理安慰。