东周楚式戈斑纹的成分与相组成

为探讨东周楚式戈斑纹的处理技术,采用金相显微镜、SEM、EDS、EBSD研究了上海博物馆藏的楚式斑纹戈的成分、显微组织和相组成,讨论了其制作工艺.结果表明:东周楚式戈富锡层厚度不均,以十余μm左右的厚度居多,最多处由4种不同物相组成,分别为η相、ε相、σ相及(α+δ)共析相.富锡层与基体之广日j没有明显的分界线.与现有其它富锡工艺研究成果进行比较,认为此件楚式戈与其它地域的富锡技术具有共同的工艺特征,应为热镀锡工艺.但在工艺参数掌控方面应呈现地域上的差异.     

The paleolithic site of Longwangchan in the middle Yellow River,China: chronology,paleoenvironment and implications

The Longwangchan Paleolithic site, situated on the Yellow River terraces in the Hukou area, Shaanxi province, China, was found in 2003–2004, and two areas (Localities 1 and 2) of the site were excavated in 2005–2008. Abundant stone artifacts including microliths, a grinding stone fragment and a shovel, with some animal bones and shells, were recovered from Locality 1. In this study, the cultural deposits from Locality 1 were dated using radiocarbon and optical dating techniques, and the sediment properties of the deposits were analyzed. The results show that the age of the deposits ranges from 29 to 21 ka and most of them were deposited between 25 ka and 29 ka. This indicates that corresponds to late Marine Isotope Stage (MIS) 3 and early MIS 2. During the human occupation period, the climate in this area became colder and drier. Sediments from beds where the grinding slab and the shovel were found were dated to ∼25 ka, which is the oldest among the grinding stones found in China. The microliths and the grinding stone are important evidence for an incipient socio-economic process that eventually led to the regional transition from hunting-foraging to farming.     

侨郡改置与前燕政权中的胡汉关系

侨州郡县的研究一直是历史地理研究中的难点,对于前燕设置侨郡的研究尤为不足。通过比对《通鉴》和《晋书》的记载,可知慕容廆设置侨郡的时间在建兴二年,早于东晋。慕容政权采取任用非本州人担任侨郡太守的政策,以此来削弱流民的力量,巩固自己的统治。这一政策激化了汉人大族与慕容政权的关系,并导致了大族的叛乱。慕容皝将侨郡改置为侨县,进一步削弱大族的势力。侨郡的改置反映了慕容政权内部胡汉关系的微妙变化。     

Simulacra and simulation: double simulation at a North Song Dynasty theme park

ABSTRACT

This paper examines an unusual type of ‘cultural theme park’, one that is not based on simulating existing cultural diversity or historical places, but based in some senses on a ‘double simulation’. The theme park is based on an historical painting assumed to represent the North Song Dynasty period in Kaifeng, China; however, it is a representation that historians argue may never have existed. Utilising on-site interviews and participant observation, this paper traces the connections between the classic painting (清明上河图) and the actual historical landscape of Bianjing (the first simulation), and in so doing, unravels the links between the painting and the theme park (the second simulation) and the simulacra that are envisioned to form within the spaces of the theme park as a result of the interplay of simulations during theme park visits. The simulations and intended simulacra are ‘consumed’ to various degrees, suggesting that the representations of Kaifeng's historical past and culture have been impactful and (in)authenticity has not been an issue. Moreover, the theme park has served to entertain and, in some cases, inspire through playful appropriations of Kaifeng's past and culture. The resultant simulacra and its double simulations (in simulating both the real Bianjing and the neo-real landscape painting) contrast and simultaneously connect with rampant replications of the Occident in contemporary Chinese residential landscapes, townships and themed spaces.     

《水经·浊漳水注》“桃水”辨

《水经·浊漳水注》所载桃水,前人多以今桃河当之;严耕望则提出故关水说。二说与郦注原文或传世文献间均有无法融通之处。细绎桃水经行诸地,或可确定古桃水实指今甘陶河、冶河至冶河故道一线。而今桃河之所以转承古桃水之名,源于金代蔡珪《晋阳志》误解郦注桃水之文。     

临淄齐故城镜范与汉代铸镜技术

在古代铜镜铸造中,镜范的制作和使用是最为关键的环节,也是铸镜技术的核心所在。山东临淄齐故城出土的汉代陶质镜范在材质、结构和制作工艺等方面,都较先秦陶范有了很大的改进,反映了汉代铸镜技术的进步。这些镜范在制作时于泥料中羼入了大量稻壳灰,焙烧火候也高,因此范体密度低、重量轻,内含大量孔隙,适合铸造,同时又结实耐用且不失柔韧性,从而便于工匠对其进行塑形、雕刻乃至修补和改制。镜范结构设计亦较科学、合理,不仅可铸造出好的产品,而且有利于保护镜范,以达到多次反复使用的目的。另外,镜范成形工艺的改进,特别是刻纹技术的普遍采用,既保证了镜范的质量,也使工匠的艺术创造力得以充分发挥。技术上的进步,造就了汉代临淄镜范优异的铸造性能,同时还使其可以多次反复使用,从而大幅度提高了当时的铜镜生产效率。     

友朋致沈曾植六札

书信作为交流的主要媒介,在旧时交游活动中发挥着重要作用,是人们表达思想、交流感情、探讨学问、传递信息等最普遍的方式。寐叟哲嗣慈护先生捐赠给嘉兴博物馆的沈曾植遗物中,不少为友朋致沈曾植的信札。沈曾植（1850—1922年）,字子培,号乙盦,晚号寐叟,别号甚多,浙江嘉兴人。光绪六年（1880年）中进士,历官刑部主事、江西按察使、安徽提学使、署布政使、护理巡抚。宣统二年（1910年）乞休归里。辛亥革命后,以遗老隐栖上海。其学问精博,识见雄伟,为世所共仰。     

深切怀念敬爱的导师金啟孮先生

我与先生相识,是在农历庚申年春季。我的《塞北日记》之《庚申二月三日命笔》一篇日记中有如下记载：“庚申初始……又值春光明媚,万物复甦……导师林干,调至内大,余随之而徒。”农历庚申二月,即公历1980年3月。就在这一年的初春,我读研究生的指导老师林干先生,从内蒙古社会科学院历史研究所调至内蒙古大学蒙古史研究所,     

陕西佳县白云观真武壁画的初步研究

本文以陕西佳县白云观真武大殿东、西壁画的真武修行图为中心,探讨该壁画的相关环境、故事来源和图像风格,以及壁画排序的宗教意义与佛教因素等问题进行初步探讨。     

赵恺先生与遵义文化

赵乃康先生是民国时期遵义文化杰出的代表人物之一。是沙滩文化传人;遵义文化教育的名师楷模;《续遵义府志》总纂;一生为推动遵义教育事业和遵义文化的发展作出了积极贡献。