我画西藏30年

算起来,我画西藏的时间已经有37年了。在西藏的日子是我最难忘的人生经历,西藏是我最重要的绘画题材。大学时代,充满对远方的幻想,喜欢看杰克伦敦、海明威的书,向往他们的传奇经历。1983年陈丹青的《西藏组画》的展览和发表对我触动很大,我被高原上的藏族人的形象、西藏文化、高原上的大自然所吸引,知道了还有那样一个神奇的地方和那样一个质朴的民族。     

WOAD, TATTOOING AND IDENTITY IN LATER IRON AGE AND EARLY ROMAN BRITAIN

Summary. This paper explores the archaeological evidence for the practice of facial and corporeal dyeing, painting and tattooing in the later Iron Age and early Roman period. The aim is to construct a hypothesis which explains how, why, when and by whom such pigments were worn. Although this hypothesis discusses woad-derived indigo, this is used mainly, although not exclusively, as an experimental tool, as no conclusive archaeological evidence exists which reveals the identity of the 'real' pigment(s). Woad has also long held a place in the popular imagination as the source of the dye which the ancient Britons used to paint themselves.
This paper explores the possibility that the cosmetic grinder was the focal artefact used in body painting or tattooing, and was used for grinding and mixing body and face paint. It is suggested that, rather than being a 'Roman'-style tool for cosmetic application from the start, it may have begun life as an artefact first used by the later Iron Age Britons for body painting and expressing indigenous identities.     

海岛不忧郁

这些可怜人让Flora看到了海岛的另外一面,原来在麦兜式的蓝天白云、水清沙幼下,也并非处处都是阳光和欢笑。 天堂的背面 汽车把FIora接到了义工宿舍,跟她同行的还有来自丹麦、澳太利亚等国家的义工。一群盒技碧H畏的白人面孔中,娇小的FIora特别引入注目。     

温婉如水 忧郁如河

如同Johannes Vermeer的画作一般,代尔夫特至今容颜未改：古老的运河、拱形的石桥、宁静的田园以及美丽的市集广场,在每一个晨昏,陷入一片古朴厚重得色调之中,温婉如水、忧郁如河。     

朱雨晨安纳塔拉遇见无尽蔚蓝

“安纳塔拉（Anantara）”在泰语中是无穷无尽的意思,不仅是这次取景地酒店的名字,更象征着眼前这片无穷无尽的蔚蓝。六月的三亚,天空像下了火,骄阳直射得让人睁不开眼,热浪时刻在眼前翻滚,每个人每一刻都在祈祷下一秒不要被晒晕过去……就在这样的温度晨,他谈笑、奔跑、开怀玩乐,也让我们有机会见证他旅行的点滴瞬间。     

匈牙利，带着忧郁浪漫

初冬的早晨,我习惯性地走在北京地铁熟悉的通道里。身边人擦肩接踵的是这 个时刻固有的熙来攘往的人群,匆忙的,目标明确却少有表情。 对面站台硕大明亮的灯箱广告时时被驶过的列车挡住又让开,那幅匈牙利布达 佩斯的广告已经挂出来很久了:链子桥、多瑙河以及两岸缓缓游动的车河,平 板而过于标致性,却每每都使我再度想起这个曾经匆匆走过的国家,《布达佩 斯之恋》中的那首《忧郁的星期天》,那些故事、场景和细节也会紧跟着回到 感觉里,影片中无论是开始时的清晨还是结束时的夜晚,那长镜头也是如此标 致性地透过链子桥慢慢地一路摇过宽阔的多瑙河,传递着这个国家忧郁而浪漫 的气质。     

迷失深蓝 塞班潜游记

正初闻塞班,只因自己从小就是地理迷,对位于其旁全世界最深的马里亚纳海沟有着特殊的关注。了解塞班,又因为《风语者》的悲壮,知道这里曾在第二次世界大战末时,发生过驻岛日军和美军的激烈战斗,空前惨烈。而如今,一切的血雨腥风都消散在茫茫太平洋中。由于邻近赤道,四季如夏,风景秀美,塞班成为了世界著名的旅游休养胜地。塞班岛及周边的天宁岛、军舰岛,有很多适合体验潜水的潜点,因此也被称作世界第一潜水圣地。     

远东那一抹蓝——海参崴

<正>"认识一个人,你希望他能了解你,在这之前,请你先清楚自己是谁"。一直觉得,旅游是个认识自己的过程。冬日游海参崴,源于东北游结束后的一时之兴。很多人说我挑错时间,但我坚信这种缘分安排的际遇都是美好的。带上相机,出走远东,我原来是那么喜欢未知的浪漫。城市印象——美丽的街道美丽的人海参崴,俄国名符拉迪沃斯托克市,意为"征服东     

OCCURRENCES OF GREEN EARTH PIGMENT ON NORTHWEST COAST FIRST NATIONS PAINTED OBJECTS*

An analytical study of First Nations painted objects from the Northwest Coast showed that green earth (celadonite) was used as a green pigment by Tlingit, Haida and Tsimshian artists. Green earth appears to have been used less frequently by Heiltsuk and Kwakwa ka ’wakw artists and was not found on Coast Salish or Nuu‐chah‐nulth objects. Microscopical samples of green paint from 82 Northwest Coast objects, as well as several pigment sources and mineral specimens, were analysed using Fourier transform infrared spectroscopy or X‐ray diffraction. Green earth was the most frequently identified green pigment, found in approximately 40% of the samples.     

PREHISTORIC ROCK ART FROM PAINTED BLUFF AND THE LANDSCAPE OF NORTH ALABAMA ROCK ART

Abstract

Painted Bluff in northern Alabama is one of the richest and most elaborate open-air rock art localities in the Eastern Woodlands, rivaling some of the Southeast’s dark zone cave art sites discovered over the past several decades. Known for more than a century, the site has never seen detailed documentation until now. Painted Bluff contains motifs similar to iconography associated with Mississippian ceremonial objects, and a radiocarbon age determination (cal A.D. 1300–1440) would indicate contemporary use of the site. More than 80 images were painted on the cliffs, most using red mineral pigments but some reflecting polychromatic use of differently colored minerals. We present examples of the Painted Bluff artwork and discuss the site in the broader context of prehistoric rock art on the southern Cumberland Plateau and in northern Alabama.     

NON-DESTRUCTIVE ANALYSIS OF JINGDEZHEN BLUE AND WHITE PORCELAINS

The energy dispersive X-ray fluorescence method is used for the non-destructive qualitative analysis of Jingdezhen blue and white porcelains, which include the imperial wares of the Yongle, Xuande, Chenghua, Jiajing and Wanli periods of the Ming dynasty, the imperial wares of the Kangxi, Yongzheng, Qianlong, Jiaqing, Daoguang and Guangxu periods of the Qing dynasty, and those of the Republic and the contemporary period. The distribution pattern of the X-ray fluorescence intensities of the six characteristic elements for porcelain manufactured at different times has been investigated.     

贺兰山之子:身怀绝技的岩羊

岩羊,生活在宁夏贺兰山的特有野生物种,为国家二级保护动物。2010年到2011年间,我们的撰稿人米飞飞曾随影视摄制团队,3次奔赴宁夏贺兰山拍摄科普纪录片《岩羊》。本期,她与我们分享了这些让她永生难忘的、影片拍摄背后那一幕幕扣人心弦的精彩、艰辛和危险,以及贺兰山保护区自然和谐的美丽。     

SYNTHESIS AND ACID RESISTANCE OF MAYA BLUE PIGMENT*

Maya blue is an organo‐clay artificial pigment composed of indigo and palygorskite. It was invented and frequently used in Mesoamerica in ancient times (eighth to 16th centuries). We analyse in this paper one of the characteristics of Maya blue that has attracted the attention of scientists since its rediscovery in 1931: its high stability against chemical aggression (acids, alkalis, solvents, etc.) and biodegradation, which has permitted the survival of many works of art for centuries in hostile environments, such as the tropical forest. We have reproduced the different methods proposed to produce a synthetic pigment with the characteristics of the ancient Maya blue. The stability of the pigments produced using either palygorskite or sepiolite has been analysed by performing acid attacks of different intensities. The results are analysed in terms of pigment decolouration and destruction of the clay lattice, revealed by X‐ray diffraction. Palygorskite pigments are much more resistant than sepiolite pigments. It is shown that indigo does not protect the clay lattice against acid aggression. We show that Maya blue is an extremely resistant pigment, but it can be destroyed using very intense acid treatment under reflux.     

NORTH APULIAN COARSE WARES AND FINE PAINTED WARES: A REAPPRAISAL ACCORDING TO NEW DATA FROM HERDONIA AND CANUSIUM

Late Antique coarse cooking wares and painted fine wares found at Herdonia (second half of the fourth century to mid‐fifth century ad ) and Canusium (late sixth century to early seventh century ad ) have been chemically and mineralogically characterized. A total of 74 samples (40 of coarse ware and 34 of fine painted ware) was investigated through optical microscopy, scanning electron microscopy, X‐ray powder diffraction, inductively coupled plasma optical emission spectrometry, inductively coupled plasma mass spectrometry, neutron activation analysis and X‐ray fluorescence. A new statistical method, namely the classification tree methodology, was used for the treatment of geochemical data. The characterization of the Herdonia and Canusium assemblages was combined with a review of earlier results obtained for San Giusto and Posta Crusta, in order to get an insight on Late Antique ceramic trades in northern Apulia. It appears possible to reconstruct a production pattern organized at multiple production sites, both rural and urban, that exploited similar raw material deposits, specialized in certain productions, and commercialized products at different geographical scales. Imports from outside northern Apulia may be identified for coarse wares. A likely area of production is difficult to establish; however, the northern Adriatic coast and the area of Greece may be suggested.     

THE X-RAY FLUORESCENCE ANALYSIS OF MEDIEVAL DURABLE BLUE SODA GLASS FROM YORK MINSTER

The chemical composition of durable blue soda glass dated to the twelfth century from York Minster, both from the windows and excavated within this building, has been determined by X-ray fluorescence spectrometry. The analytical data are compared with results from specimens of similar date, colour and composition from Old Sarum and Winchester in England and Chartres Cathedral in France. Multivariate analysis of the compositional data reveals that this unusual blue glass may be classified into three principal groups the possible origins of which are discussed. The specimens in one of them are of particular technological interest since they may have been produced from Roman, or slightly later, glass in a manner referred to by the twelfth century monk Theophilus. It is shown that medieval stained glass of the soda-lime-silicate type, vis-a-vis that containing potash as the predominant alkali, is not as rare as hitherto believed.     

THE EGYPTIAN GREEN PIGMENT: ITS MANUFACTURING PROCESS AND LINKS TO EGYPTIAN BLUE*

The chemical and structural analysis of raw Egyptian blue and green pigment cakes and of 50 pigment samples taken from paintings kept in the Louvre Museum was performed using a set of analytical techniques (X‐ray powder diffraction, transmission and scanning electron microscopy, Raman microscopy and UV spectrophotometry). The structural and morphological study of modern samples prepared on the basis of these results has provided technological data that help to explain ancient procedures. The role of the firing temperature, the atmospheric conditions in the furnace and the cooling rate are considered. The difference between Egyptian blue and Egyptian green pigment is proved. Manufacturing processes for their deliberate synthesis are proposed.     

AN ANALYSIS OF THE GEM‐BLUE GLAZE OF YE WANG'S KOJI POTTERY*

Koji pottery is a glazed ceramic art used widely for figurines. In early Taiwan, it was employed in temple construction for decorative purposes. Ye Wang (1826–87) is the first historically documented Koji artist of Taiwan and also the most prominent Koji pottery artist, noted for his modelling and glazing skills. Unfortunately, his unique technique was lost following his death in 1887. In order to provide vital information for ongoing conservation work on Koji pottery, this study analysed the physical and chemical characteristics of Ye Wang's gem‐blue glaze, to discover the glaze formula. DSC combined with the two‐thirds rule revealed that the firing temperature of Ye Wang's works of art was most probably around 878–923°C. EPMA revealed that the gem‐blue glaze has high alkali levels, and belongs to the PbO–K₂O–B₂O₃–Na₂O–SiO₂ system, deriving its unique colour from copper, iron, manganese and cobalt. This study found high potassium levels in the gem‐blue glaze, which are generally a characteristic of traditional Chinese glazes. In addition, a unique discovery of boron, commonly used in famille rose, was also identified in the glaze. By comparing spectra of historical and reconstructed glazes and adjusting the proportion of chromophoric elements, this study found a glazing formula with colours close to those of Ye Wang's gem‐blue glaze.