《史记集解》考

《史记集解》是最早的《史记》注作结集。它与《史记索隐》及《史记正义》一起。世称《史记》三家注。《史记》三家注在《史记》注释学和版本学上具有重要的意义。本文从文献学角度。对作为“集解”体的《史记集解》的产生及其特点进行考释。     

留在草原上的记忆——内蒙古美术遗产述要

内蒙古草原文化遗产分布广泛,美术品种类有岩画、动物风格的青铜器、建筑、壁画、石人等多种,是草原游牧民族生活、文化风习、审美形态的历史记忆。草原文明从发生到绵延盛大的历史,因随逐水草的游牧方式,文化素质具有明显的周期性特征。因地缘文化的关系,留存的美术品一方面表现出与中原文化间的交流与互动,另一方面又与欧亚草原的文化形态相呼应。本文试以各时段具有代表性的美术遗迹为纲目,参用具体的作品实例,诠释波澜壮阔的草原文明背景下的美术面貌,由一斑而略窥全豹。     

Swift Creek paddle designs and the imperative to be unique

ABSTRACT

The emergence of the Swift Creek style tradition represents a shift from two or three simple carved paddle designs to many thousands of unique paddle designs by middle Swift Creek then back to merely a few in late and post Swift Creek times. This explosion in designs is a striking phenomenon, in need of consideration. Increased design diversity implicates a rise in creativity, verging on an imperative to be unique, where none previously existed in this medium. In this paper, we offer a revised model of Swift Creek social dynamics by reference to the new-found creativity of paddle makers situated within the context of ethnographic case studies.     

Hotel design in British Mandate Palestine: Modernism and the Zionist vision

From the early 1920s through the 1930s, an important yet forgotten avant-garde architectural phenomenon developed in the Zionist community of British Mandate Palestine. In cities and resort regions across the country, several dozen modernist hotels were built for a new type of visitor: the Zionist tourist. Often the most architecturally significant structures in their locales and designed by leading local architects educated in some of Europe's most progressive schools, these hotels were conceived along ideological lines and represented a synthesis of social requirements, cutting-edge aesthetics, and utopian national ideals. They responded to a complex mixture of sentiments, including European standards of modern comfort and the longing to remake Palestine, the historical homeland of the Jewish people, for a newly liberated, progressive nation. This article focuses on Jerusalem's most ambitious modernist hotel, the Eden Hotel, to evaluate how the architecture of tourism became a political and aesthetic tool in the promotion of Zionist Palestine.     

社会大变革时期的文体抗争——以詹安泰对旧体诗歌的坚守与传承为视点

20世纪前半叶是社会大变革时期,也是文化大转型时期,诗歌文体经历了较大变化,白话新诗以强劲的革命姿势崭露头角后发展迅速,并最终在新旧交替战中以主流形态进驻诗坛中心,而长期居于风雅中心的旧体诗歌生存窘境则日益凸现,逐渐减弱了话语权,黯然淡出诗坛核心圈。身历其间的传统诗人如詹安泰者经过长期艰苦的坚守、挣扎与调整,最终将旧体诗歌的创作、研究与传承结合起来,确保了大变革时期传统文体的有效延续,也确定了他们在20世纪诗学史中的独特地位与价值。     

泪眼思亲念 高楼寄所怀——论唐寅绘画风格兼记其《怀楼图轴》

《怀楼图轴》充分体现出唐寅绘画情景交融、诗画共汇的艺术风格。     

Rock surface luminescence dating of prehistoric rock art from central Iberia

Rock art paintings are notoriously difficult to date numerically. Recently, luminescence dating has been shown to provide reliable rock surface burial ages in various archaeological settings. Here we use the cross-cutting relationship between a fallen rock and two paintings of the Iberian Levantine (older) and Schematic (younger) styles to constrain the age of the paintings by dating the rockfall event using rock surface luminescence dating. Infrared-stimulated luminescence (IRSL) signals as a function of depth into the buried face of the talus border indicate that the IRSL signal measured at 50°C (IR₅₀) was sufficiently reset to a depth of about 1.6 mm prior to burial. An uncorrected IR₅₀ age of 1.6 ± 0.2 ka was calculated for the rockfall event by dividing the surface equivalent dose (D_e) by the total dose rate. This age was corrected using both conventional and field-to-laboratory saturation approaches to yield indistinguishable ages of 2.7 ± 0.5 and 2.9 ± 0.3 ka, respectively. Since the panel with Schematic art was first available to the artist after the rockfall, we conclude the Schematic rock art at Villar del Humo is younger than ~2.9 ka. The Levantine rock art was painted on a panel constrained by the talus boulder before detachment, and so it is likely to be older than ~2.9 ka.     

From Pottery to Politics: An Ethnoarchaeological Study of Political Factionalism, Ethnicity, and Domestic Pottery Style in the Ecuadorian Amazon

A long-standing assumption in archaeological theory is that pottery in the domestic context represents a form of passive style that does not enter into symbolic communication in the political domain. This paper presents ethnoarchaeological data to establish a link between women's active political behavior and pottery style in the domestic context in a small-scale, segmental society in the Ecuadorian Amazon. Analysis of individual variables of style shows that Achuar and Quichua women signify their political alliances in the painted decoration of their domestic pottery more strongly than they signify so-called passive processes of learning associated with early enculturation and ethnicity. Furthermore, analysis of women's judgments of pottery as Achuar or Quichua indicates that they decode cues to political alliances in the pottery of other women, including cues to political differences within and between groups. The theoretical implications of these findings are discussed in terms of the principles underlying women's stylistic behavior as part of the political processes involved in the construction and maintenance of social identity and social boundaries.     

Rock art as an archaeological and social indicator: The neolithisation of the Iberian Peninsula

Rock art has been regarded as a second class archaeological data source. In this paper we use Levantine rock art as a case study, to show how this situation can be reversed. This rock art, found along the Mediterranean region of the Iberian Peninsula, has been considered to be typically Mesolithic due to its distinctive hunting scenes. A review of certain archaeological indicators provides new arguments about its chronology, its socio-cultural attribution, and its significance. We first deal with the chronological issue, presenting the evidence that led to the recent consideration of the Levantine style as Early Neolithic, in synchrony with two other rock art styles (Schematic and Macroschematic). We will further propose that rock art itself is a central and independent source of information to explore the historical context of the Neolithisation of Mediterranean Iberia. Its wide geographical distribution allows us to study different and complementary territories as a single entity. This contrasts with the limitations posed by the study of settlements, whose differences, at a regional scale, are usually interpreted in terms of cultural variability. If we consider rock art as a key aspect in the constitution of social landscapes, it must not be treated just as an ideological by-product of the Neolithisation, but as a key factor in understanding this historical process.     

萨迦-元时期尼藏与藏汉金属造像存在阿尼哥风格吗?

在《元史》、《造像量度经》中对阿尼哥的评价较高,但现存能明确认定属于阿尼哥制作、具有"阿尼哥风格"的作品却几乎没有。本文通过比较世界各地保存的13世纪中期至14世纪上半叶制作的造像和绘画,考证出其中一些作品具有"阿尼哥风格"。阿尼哥风格是在纽瓦尔风格的基础上,融合波罗印度、西藏以及汉地本土的因素,由阿尼哥及其工作团队共同创造而形成,具有独特的波罗风格与"藏式元代"风格相结合的特点。从萨迦寺经大都到夏鲁寺,阿尼哥风格在"尼藏"和"藏汉"之间形成了一个完美的传播轨迹。