千手观音造像石质本体修复研究

石质本体修复是大足石刻千手观音造像抢救性保护工程的重要环节,本文针对千手观音造像保存现状,从石质本体基本特性和环境因素等方面分析劣化机理,依据工程地质勘察等研究成果,在实验室试验、现场试验的基础上,选择典型病害区域开展石质本体局部修复试验及技术路线研究,确定了醋酸纤维素材料ZB-WB-S为石质本体修复材料,探索出了合适的修复工艺.在总体保护修复方案获得审批后,分区域开展石质本体加固、补形等修复工作,并在修复工作开展中不断改进和完善施工工艺,通过对修复效果检测及跟踪监测,基本达到了预期修复效果与目标,恢复了千手观音造像的稳定性和完整性,最大限度保留了千手观音雕刻形态的历史信息,为下一步造像表面髹漆贴金和彩绘修复提供了良好的操作条件.     

Achilles or Adonis: Controversies Surrounding the Male Body as National Symbol in Georgian England

This paper analyses the controversy that arose when a monumental bronze nude statue of Achilles was unveiled at Hyde Park Corner (London) in 1822 as a monument to the Duke of Wellington and his army. The neoclassical statue (made by Richard Westmacott) perfectly embodied the ‘modern male stereotype’. According to historian George Mosse, this masculine image was a powerful and stable symbol of nineteenth‐ and twentieth‐century bourgeois societies. Intended by the commanders and artist as just such a symbol, the statue in practice was unable to express these high ideals. Ever since its unveiling, the statue has elicited laughter and ridicule. The uneasiness created by male public nudity is an aspect that Mosse missed in his history of masculine imaginary, in which he focused on certain moments of ‘spectacular’ masculinity in modern Western history. Ultimately, the failure of Westmacott's Achilles can best be understood from the well‐known feminist framework on the gendered ‘economy of the gaze’, a framework that is all too often absent in the historiography on masculinities.     

The Ritual Year of Athena: The Agricultural Cycle of the Olive,Girls' Rites of Passage,and Official Ideology

Through the ritual year of ancient Athens, many festivals were dedicated to Athena. The Panathenaia was the most important festival. It has been regarded as a political festival, but the importance of agriculture is also illustrated through the offerings and rituals carried out during this main festival dedicated to the Goddess of the olive crop. All Athena's festivals were related to the olive, the third main crop of the Athenians, and protected by her, as her festivals were celebrated in the crucial period for the olive crop, from the flowering of the olive tree, growing period of the fruit, until the gathering in winter. The summer festivals, particularly, may be related to the importance of securing the dew for the growing fruit. Many rituals during the festivals reflect the daily activities of women, several rituals are also important to the rite of passage undergone by girls at puberty to prepare them for marriage.     

A National Saint in a Fascist State: Catherine of Siena,ca 1922–1943

The annual festival of Saint Catherine of Siena is now the focus of a self‐conscious internationalism which celebrates Catherine as both Patron Saint of Italy and Co‐Patron Saint of Europe. When Catherine of Siena was proclaimed Patron Saint of Italy in 1939, however, the annual festival in her honour was quite different in ethos, being a highly patriotic, nationalistic, and even militaristic celebration of Catherine's significance in and for Fascist Italy. The article examines the campaign for Catherine to be proclaimed a “national saint” and “patron of Italy” during the 1920s and 1930s, locating it within the context of the relationship between Catholicism and Fascism in Mussolini's Italy. It also examines the celebration of her annual festival between 1940 and 1943 in the context of Italian participation in the Second World War, until the fall of Mussolini and his regime.     

浅谈巴中石窟观音菩萨造像

巴中石窟中的观音菩萨造像窟(龛)多达100余处。巴中石窟可分为四期:即隋末初唐期、盛唐期、中晚唐期和宋及以后时期。初唐、盛唐时期观音菩萨造像多为一佛二弟子二菩萨二力士二天王组合及"西方三圣"和"西方净土变",药师、观音、地藏等组合形式,观音菩萨单身像龛还很少。但是到了中唐以后,观音菩萨的单身像以及以观音菩萨做主尊的造像就多了起来。唐代是巴中石窟观音菩萨造像内容最丰富、数量最多的时代,特别是中晚唐时期,观音菩萨造像达到了鼎盛。     

天梯山石窟9窟彩塑与壁画地仗矿物 及颜料分析

天梯山石窟,即北凉石窟,在国内史学界誉为中国古代石窟鼻祖。据考证,9窟彩塑与壁画制作始于唐代,后经历代多次重绘。针对目前彩塑与壁画的保存现状及需要修复的状况,本研究运用现代分析仪器与技术,对9窟现存的彩塑、壁画进行了科学分析。其中,对彩塑及壁画地仗土层矿物进行了X射线衍射分析,对重层彩绘颜料进行了X射线衍射、X射线荧光分析;另外,对清理彩塑地仗时发现的植物茎秆及附属物,采用偏光显微分析技术进行了材质鉴定。分析和鉴定结果表明:9窟现存彩塑及壁画地仗土层具有相同的矿物组成,基本包括石英、长石(斜长石、少量的K-长石)、云母(白云母、绿泥石、伊利石、斜绿泥石)、方解石、少量石膏,并确定植物茎秆材质为稻草;在使用的彩绘中,黑色为墨,红色颜料有朱砂、铅丹和铁红,蓝色颜料为石青,白色颜料以方解石为主,有少量的石膏。本结果可为后期天梯山石窟的全面复原修复提供参考资料。     

COUNTRY HOUSE POEMS: THE POLITICS OF A GENRE

Abstract

The St. Louis Art Museum’s statue of Reclining Pan proved inspirational to many artists of the seventeenth century, none more so than Giovanni Benedetto Castiglione. The artist reproduced the statue in many of his works, making it a symbol of his invenzione. Previously, the few reproductions known of the statue have given the impression that Baroque audiences considered it antiquwct 2 e, and of less interest than other antiquities. This article corrects that assumption by examining Castiglione’s, as well as Peter Paul Rubens’, Joachim von Sandrart’s, Nicolas Poussin’s, and Salvator Rosa’s uses of the statue. The artists used the Pan as both figural exemplar and symbol for pastoral themes. These artistic responses are here set alongside new information concerning the Pan’s seventeenth-century provenance, display, and attribution to Bernini, to reveal the Reclining Pan as a primary catalyst for the period’s extensive Arcadian and bacchanalian imagery while simultaneously representing lessons of the classical style.     

Race and the Pitfalls of Emotional Democracy: Primary Schools and the Critique of Black Pete in the Netherlands

A centrepiece of the Dutch festival of Sinterklaas, the blackface character Black Pete, has met with growing contestation in the past decade over its caricatural representation of people of African descent. Attacks on this national “happy object” elicited a host of majority responses that converged in professing non‐racism. As the celebration is primarily thought of as a children's festival, schools across the Netherlands had to decide whether to maintain, alter or suppress the Black Pete character. This article considers the spatial politics of race that informed school decisions about the festival. We show geographical variation in the distribution between change and non‐change. However, we find that both strategies were justified in the name of respect for “black feelings”, even as majority calls for mutual tolerance between proponents and opponents of Black Pete normatively portrayed multicultural society as conflict free and ultimately strove to disarm anti‐racist critique by framing it as anti‐democratic.     

South Carolina's Harvest Festivals: Rural Delights for Day Tripping Urbanites

Crop harvests, livestock and poultry products, and hunting and fishing activities provide the themes for 18 annual festivals staged by rural South Carolina communities on weekends and holidays during the April-December festival season. Drawing 5,000 to 25,000 participants, the typical harvest festival mixes the promotion of visitor industry with the friendly spirit of a community gathering. Urbanites are attending South Carolina's harvest festivals in large and growing numbers. They are attracted by their ready accessibility, novelty and emphasis on something-for-everbody family fun with a distinctive "down home" country flavor. For the sponsoring communities, the festivals provide not only an excuse to get together and have fun, but also a morale boost and an important source of funds for much-needed civic projects. In the years to come it is likely that the state's harvest festivals will increase in number, and that the attendant rise in competition will on the one hand lead to improvements in management and on the other increase the incidence of gimmickry designed to boost attendance.     

Historicizing Edai Siabo: a Contemporary Argument about the Pre‐colonial Past among the Motu‐Koita of Papua New Guinea

ABSTRACT In the 1970s the Motu‐Koita, traditional inhabitants of what is now the National Capital District of Papua New Guinea, inaugurated a yearly cultural festival thematically based on traditional coastal trading voyages known as hiri. Contestation over the location and commercialization of the festival in the capital city developed in the new century as one distant village claimed to ‘own’ the hiri. The Motu‐Koita view of their past and their identity has been affected by their encounter with Christianity, colonialism and its aftermath, and the rhetoric of the villagers’ claims drew on criteria of authenticity, cultural purity, and exclusiveness which are arguably contemporary rather than ‘traditional’. This article reviews Motu‐Koita history, the story of the origin of the hiri, and the local politics of the cultural festival. It attempts to understand the way the past, which was formerly mythopoeically invoked, is being historicized and thereby fixed in new local discourses of cultural and heritage rights and ownership, as Melanesians come to terms with the effects of global processes on their traditions and other resources.     

Memorializing Race in the Deep South: The 'Good Darkie' Statue,Louisiana, USA

Abstract

The period between World War I and World War II saw the development of several memorials commemorating African Americans in the Southern USA. The 'Good Darkie' is unique amongst these in being a life-size bronze statue. It was erected in Natchitoches, northwestern Louisiana in 1927, where it remained in a prominent position in the centre of the town until it was taken down in 1969, ending up in the Louisiana State University Rural Life Museum where it is displayed as the statue of 'Uncle Jack'. The various meanings and values given to the statue over the last 80 years, from acceptable paternalism to its politicization in the 1960s, to the criticism currently levelled at its use make this an important case study in public commemoration. This paper explores the various meanings given to the statue by different social groups, which reveal how the concept of race, and solutions to the 'race problem' of the Southern USA have evolved over time.     

Guerilla art,social value and absent heritage fabric

There is extensive commentary on the role of unauthorised art, but little on the coincidence of heritage value and guerilla art. This paper analyses the relationship of the two in a 2007 statue which is a monument to a lost place for which there is no surviving historic fabric. The statue functions not just as a place of memory, but of guerilla art; a complex interplay has emerged between an official piece of government art and unsanctioned community performance. Growing heritage emphasis on social value over the previous dominance of original fabric suggests that the delight with which the statue has been greeted illuminates evolving heritage philosophy, monument language and the emergence of the importance of the heritage community especially for its potential performance value at a site. The dramatic contribution that the statue has made to the city has an impact on the fields of landscaping, planning, history and heritage.     

千手观音造像主尊残损手型考证——以主尊4-7-S1、4-6-S1号手为主的初步考察

宝顶山千手观音主尊形象可谓是同题材中的奇葩.考察发现,在主尊形象中,以佛经为基础,在面数、手的数量、器物等方面较多遵循着佛典的要求.同时,在具体的表现形式上,具有自身的一些特点,如在布局、细节处理等方面,特别是通过以第4-7-S1、4-6-S1号手为主的初步考察,可见千手观音造像在巴蜀地区,甚至于国内的同题材作品中,具有自身独特的创造性特点.     

CIRCLE DANCE FESTIVAL “GORKA”: TRADITIONS AND INNOVATIONS*

The circle dance festival “gorka” is one of the oldest Russian rituals of the spring and summer cycle, preserved by the Priestless Old Believers (Pomortsy) living in the Ust-Tsilma Region of the Komi Republic. This ritual activity requires the performance of seven dance fi gures or moves. Particular songs that are called “gorka songs,” correspond to each of the fi gures. In the past, the symbolism of the circle dance was linked to the renewal of life. The transition of adolescents to adulthood was arranged in ritual form; dramatized songs helped young people to fi nd potential marriage partners and to approve couples that had been formed earlier. The modern festival is held as a tribute to the ancestors. A recent innovation can be seen in the children's “gorka” and the inclusion of children into a single circle dance.     

Pollen analysis of a soil sample associated with a Greek cult statue as a guide to provenance

A Classical Greek cult statue of a Goddess, “Aphrodite”, currently on display in the J. Paul Getty Museum has recently been reclaimed by the Italian government. The statue is thought to have been sculpted between 425 and 400 B.C. in southern Italy or Sicily, but its provenance is obscure. Soil incorporated into the true right arm socket of the acrolithic statue at the time of burial was pollen analyzed to provide information on its geographic origin. Since palynomorphs are often not well preserved in soils, a preliminary study was undertaken to investigate preservation and abundance of palynomorphs to determine the potential benefits of undertaking further analyses. Although concentration was low, the soil contained sufficient pollen and spores to determine the environment in the vicinity of the burial site of the statue. The landscape had been cleared of natural arboreal vegetation and intensively cultivated. Juglans regia and cereals were cultivated, and pastoralism may have been practiced. A specific geographic location could not be inferred without comparative soil analyses.     

The Dormition of the Virgin Mary on the Island of Tinos: A Performance of Gendered Values in Greece

On the Greek island of Tinos, the Dormition of the Virgin Mary is celebrated on 15 August. This death, fertility, and healing festival is important for several reasons: the church of the “Annunciation” owes its fame to a miraculous holy icon; the miracles worked by this icon have made Tinos a centre of pan‐Orthodox worship; and pilgrimages are particularly made to the shrine during the Dormition. The celebration is also an important ideological festival for the Greek nation‐state, as illustrated through several ceremonies, particularly the procession when the icon is carried from the church to the harbour. The date 15 August is a special one for Hellenism; it combines religion with patriotism, and the Dormition is a profound social event. There are several meanings and values connected to the festival — female and male, popular and official — the pilgrimage site on Tinos presents an interrelationship of history, ritual, and gender.     

异托邦：音乐节事活动的空间实践——以迷笛音乐节为例

文章使用异托邦理论为概念框架,以迷笛音乐节为案例,通过参与式观察与深度访谈法,试图揭示音乐节空间实践中构建的另类特征。研究发现,迷笛音乐节所承载的功能逐渐由叛逆的“出口”转变为“好玩”的生活方式;音乐节事空间实践中呈现出多元的功能并置,矛盾与流动的融合;音乐节事空间的文化实践也呈现出日常结构的超越与反抗,以及作为理想的补偿空间。周期性节事时空实践中文化的稳定性则使其成为对称而不可分割的系统性时空。该研究为节事空间提供了新的认知途径,也从节事的角度丰富了异托邦理论的微观案例。     

‘Singing oneself into a nation’? Estonian song festivals as rituals of political mobilisation

This article argues that Estonian song festivals were a powerful ritual of political mobilisation. Throughout their history, however, they had to be accommodated to narratives of ruling regimes. Taking Patrick Hutton's concept of such events as a ‘moment of memory’ with which images of the past are being reconstructed in a selective way, song festivals are on each occasion made to suit present needs. During the history of Estonian nationhood, these needs have been guided first and foremost by forms of political authority: during years of independence, the festivals were to serve different purposes than under imperial or Soviet Russian rule. Thus, the concept of ‘singing oneself into a nation’, popular in Estonian history textbooks, is only partly true. Although the performance of the festival changes only slightly through the years, its political significance changes enormously.