The Tomb of the Three Brothers in Palmyra: The Use of Mimetite,A Rare Yellow Pigment,in A Rich Decoration

The wall paintings of the Tomb of the Three Brothers in Palmyra display a very rich Greco‐Roman iconography. The study of the painting reveals the use of a great variety of pigments, including Egyptian blue and an extremely rare bright yellow pigment, mimetite, of which no other traces are known for this period. This pigment was identified through the combined use of two methods of analysis, scanning electron microscopy associated with X‐ray microanalysis (SEM–EDS) and X‐ray micro‐diffraction (XRD). The varied chromatic palette used underlines the refinement and the particular care given to these decorations. Notable differences have been found between the pigments of the decorations of the arch and those used for the rest of the chamber.     

The Mid-Tang Scholar-Monk Shenqing and His Beishan lu

Abstract

This article investigates the thought of the mid-Tang scholar monk Shenqing through an examination of his Beishan lu. In this work, Shenqing launched a fervent attack against Southern Chan, while pressing for the harmonization of the Three Teachings. His critique of Southern Chan reflects his Theravadin tendency, as he expressed negative views about Southern Chan's violation of traditional Buddhist teachings. He specifically attacked its de-emphasis on the vinaya, and the fabrication of the 28-Patriarchs theory of transmission. In an effort to establish the orthodoxy of Southern Chan in early Northern Song, Chan clerics found it necessary to respond to Shenqing's critique, as clearly reflected in the writings of the monk Qisong. Beishan lu is a valuable source for a study of Shenqing's thought, and the unfolding of the harmonization of the Three Teachings. It also allows us to trace the historical unfolding of the Southern Chan movement from a different perspective.     

The Yellow Turbans

This article investigates the historical arguments found in the Da Song sengshilüe, an important work on the history of Buddhism in China by the vinaya monk Zanning. Throughout a life that spanned the turmoil of the Five Dynasties and Ten Kingdoms period as well as the imperial consolidation of the early Song, Zanning proved adept at developing close relationships with important political figures and prominent literati. He was widely praised for his literary skills, and he established a reputation as an erudite scholar of both Buddhist and Confucian learning. His fame attracted the attention of Emperor Taizong, and in the late tenth century, Zanning was ordered to write a text on the history of Buddhism in China, which he called the Da Song sengshilüe. In this work, Zanning described the institutional relationships that developed between Buddhism and the state as well as the manner in which these changed over time. His historical analysis revealed that Buddhism needed to maintain a relationship with the government and that this relationship should ideally be one of mutual assistance and support. In addition, Zanning used the Da Song sengshilüe to advance a polemical argument on the proper stance that the state should adopt towards Buddhism, Daoism and Confucianism. Based on an historical analysis of the causes underlying the vicissitudes in the political fortunes of the Three Teachings, he contended that Buddhism, Daoism and Confucianism should be treated equally, and that the holders of political power should refrain from establishing policies advocating either favoritism or persecution towards them.     

重新看近代史——近代三次改革运动的再思考

本文在反思意识形态史学的基础上,把中国近代史用五次战争、三场改革、一次革命串连起来。用解释学的方法,从人类文化学、心理文化变迁、思想文化层面、政治制度层面等视角重新审视、解读中国近代史。提出一个民族要不失时机地进行制度创新,要避免政治参与所引发的井喷效应。     

关于三青团成立的原始动机之三论——答杨焕鹏先生

蒋介石成立三青团的原始动机是为了"溶共".它与孙中山的"容共"在本质上不同,但与"反共"是一致的,只是手段不同.成立三青团,其倡导者不可能是陈立夫;其目的不可能是为了排斥汪派.汪派与汪精卫叛国集团是两个概念,周佛海不属汪派.复兴社、青白团成立于1932年,而不是1935年.     

从总结经验中创新--十三届四中全会以来党的理论创新之路

中共十三届四中全会以来党在指导思想上的创新发展是与党对历史经验的总结相伴随的,总结是紧密围绕两大历史课题展开的,通过总结,党在什么是社会主义、怎样建设社会主义和建设什么样的党、怎样建设党这样两个核心问题上形成了新的认识,丰富和深化了邓小平理论,凝结成"三个代表"重要思想.我们党在总结经验中还善于汲取群众智慧,从群众的实践创造和发展要求中获得前进的动力;能够立足于时代高度,把中国的问题放在全球的背景下来思考."三个代表"重要思想是13年来我党理论创新的最大亮点,体现了马克思主义与时俱进的理论品质.     

内蒙古塔尔梁五代墓葬壁画材料和制作工艺研究

塔尔梁墓葬壁画墓位于内蒙古呼和浩特市南部的清水河县。为了解该壁画的材料和制作工艺,通过显微镜、扫描电镜及能谱仪(SEM-EDS)、X射线衍射仪(XRD)和拉曼分光光谱仪对揭取时脱落的5个试料的颜料层、白灰层和地仗层的材料进行了分析。结果表明,红色颜料的主要成分为三氧化二铁,黄色为水合氧化铁,黑色与灰色中包含石墨构造碳黑;白灰层的主要成分为碳酸钙。地仗层主要成分为石英、方解石以及长石等粘土矿物,且在地仗中发现石灰籽粒,由此推测地仗制作时加入了石灰。地仗出土时多空洞,并发现了植物硅酸体,根据形态综合判断制作地仗时拌入了麦草与麦壳。根据材质分析结果,壁画的制作工艺为:加入了石灰的拌草泥层地仗上涂抹较薄的石灰浆,之后在上面作画。研究结果可为内蒙古五代墓葬壁画制作工艺的研究提供科学依据和同类科学分析提供参考。     

孙中山五权宪法思想的演进

辛亥革命以前,孙中山本人虽然基本形成了五权宪法的思想,但是较之于三民主义而言,他的五权宪法思想其实并未得到推广和宣传,当然也没有成为革命的思想基础。辛亥革命期间,南方独立各省制订的约法以及南京临时政府期间制订的《中华民国临时约法》,既非孙中山的本意,当然也不可能体现他的宪法思想,而是与其"五权宪法"相背离的。孙中山在维护"临时约法"、并以之作为反对北洋军阀统治的武器的同时,也对于这个武器进行了批判;在上述"扬弃"的过程中,其五权宪法思想得到了继续发展。孙中山晚年,通过多次演讲,五权宪法思想近乎成熟;1922年6月,叶夏声奉命起草的《五权宪法草案》,可以说是反映孙中山五权宪法思想的一个弥足珍贵的法律文本。孙中山将其毕生奋斗的五权宪法思想及其实现任务,作为政治遗产,留给了后世。与三民主义一样,五权宪法思想的演进轨迹,也体现了非常鲜明的孙中山个人的特点。     

论"三个代表"重要思想的形成

"三个代表"重要思想的形成经历了一个长时期的酝酿过程,体现了江泽民准确把握当今世界发展趋势和我国社会发生的一系列变化的战略智慧,是科学总结我们党80年奋斗、特别是20多年改革开放实践经验的必然结论,是深刻思考世界上一些政党兴衰和我们党执政面临的严峻挑战的思想结晶,是创造性地继承和发展马列主义、毛泽东思想、特别是邓小平理论的最新成果。