蒙元时期蒙古人壁画墓的分期

本文以蒙元时期墓葬材料中经过族别确认的蒙古人壁画墓为研究对象,尝试以文献为依据,分析蒙古人壁画墓中墓主位次的变化,再结合壁画题材,将蒙古人壁画墓分为蒙古时期、元代早期和元代晚期三个时期,并简单探讨其特点和演变.     

ANALOGUE SWITCH‐OFF

The paper addresses the switch‐off of analogue television in the UK and explores key issues about technology, audiences and communications policy. The main argument is that the characteristics of the “second 50%” are very different from the first half of households that have chosen to adopt digital, and that concerns are as much about content as cost. The paper reports a small, largely qualitative, study of households where analogue television has been switched off – the only place in the UK where this has happened, as a Department of Culture, Media and Sport (DCMS) trial. Qualitative data on the transformation of audience behaviour with the arrival of digital is contextualised by an analysis of British government policy on analogue switch‐off. The paper compares and contrasts the discourse of digital TV with viewing expectations and experiences. It reflects on choice, viewing behaviour and the shaping of technology and raises critical questions about government policies on analogue switch‐off.     

《史记·五帝本纪》中黄帝形象的知识考古

司马迁在《史记·五帝本纪》中所塑造的黄帝形象,包括政治、经济和宗教三个主要方面。政治上,黄帝实现了"统一",并为巩固"统一"做出重要贡献;经济上,黄帝重视发展种植农业及家畜养殖业,在推动农业科技发展方面也取得重要成就;宗教上,黄帝具有突出的神巫特征,是集宗教神权与政治权力于一身的远古帝王。《史记·五帝本纪》中的黄帝,实是司马迁兼采先秦、秦汉不同时期的史实和思想家们的社会政治理想而塑造的形象,是中华文明早期发展阶段在不同方面所取得成就的集中体现。     

Physical and mechanical properties of waterlogged wood treated with hydrolyzed feather keratin

The physical and mechanical properties of waterlogged wood treated using avian feather were investigated. Avian feather is mainly composed of keratin protein and expectable materials for industrial utilization. The feather hydrolysate enhanced the mechanical properties of waterlogged wood and recovered the correlations between modulus of rupture (MOR) and modulus of elasticity (MOE) and anisotropy. The color of the wood treated with hydrolyzed feather solution exhibited natural wood texture. The feather hydrolysate had antimicrobial activity. However, the wood treated with hydrolyzed feather solution showed high hygroscopicity.     

河南信阳长台关出土的饱水漆木器脱水定型研究报告

50年代在河南信阳长台关发掘出土了一批战国时代的漆木器,经受了二千余年地下水和各种菌类的侵蚀,木胎极度腐朽,绝对含水率高达1562％,其强度根本支撑不住自身的重量,所以只能在水中保存。采用蔗糖溶液浸渗加固饱水漆木器的木胎,克服了其它方法不易渗透或对漆皮有重大损伤的缺陷。它对不同含水率、不同树种都能适用,而且还具有可逆性。该方法设备简单、工艺简便,极利于推广应用。     

Shape recovery of collapsed archaeological wood ware with active alkali-urea treatment

Most wooden remains from archaeological sites in waterlogged burial environments are found to be intact without shrinkage despite centuries of storage. However, waterlogged wooden remains are subject to shrinkage damage and some even lose up to 80% of their original volume when exposed to air. The shrinkage of archaeological waterlogged wood with the loss of a large part of the initial volume of the wooden remains has been considered irreversible. Here we show that “active alkali-urea”, serving as a re-swelling chemical agent, can almost fully restore the collapsed archaeological wood to its original shape. The restoration experiment showed that the main reason for the restoration of collapsed wood is that the collapsed cell cavity almost completely recovered its original shape during active alkali-urea treatment. We suggest that the shape of collapsed archaeological wood remains can be fully recovered, and that the collapsed archaeological wood can thereby recover its valuable cultural properties.     

珠海宝镜湾岩画年代的界定

珠海宝镜湾岩画年代从其刻凿内容、刻凿手法以及户外摩崖的选择与遗址出土玉石、陶器等形态的比较中,推论距今约4200年～4500年之间。     

基于文化意象视角的宗教遗产地旅游文化内涵挖掘——以五台山为例

随着旅游体验方式转变,挖掘文化内涵为游客塑造高峰旅游体验成为必然趋势。中国是一个宗教旅游资源丰富的大国,宗教遗产旅游作为一种具有深刻文化内涵的专项旅游产品,文化内涵的挖掘和传承是开发的核心。但目前宗教遗产地普遍存在着遗产文化内涵展示不足,深厚的文化内涵和较高的审美价值未能为游客所感知。凝练遗产旅游地的文化意象,将其"活化","可视化"成为必然。以佛教文化为主的宗教旅游成为五台山旅游的根本,"文殊五台,智慧舞台"的文化意象成为五台山宗教遗产地的主题统领。五台山佛教文化遗产地的文化内涵挖掘必须在此主题下展开和进行。     

Grace Mildmay and the painted glass window in the Mildmay chapel at St Leonard’s church,Apethorpe, Northamptonshire

?????The 1621 painted glass window in the Mildmay chapel of St Leonard’s church, Apethorpe, Northamptonshire, belongs to the revival of figurative glass in churches during the first half of the seventeenth century. Its four subjects, the Fall of Adam and Eve, Christ’s crucifixion and resurrection, and the Last Judgement, express orthodox reformed belief in original sin and salvation only through faith in Christ’s saving grace. But the window’s design and unusual iconographic details are atypical of the period. Theme and imagery closely parallel sixteenth-century bible illustrations and both can be understood in relation to the volume of meditations compiled over her lifetime by Grace, Lady Mildmay, who was the patron of the chapel. The paper argues for her close involvement in the evolution of the imagery; the window can be seen as a visual equivalent of her meditations, and expresses her preoccupation with sinfulness, redemption, resurrection, and the afterlife.     

清代画珐琅的产地和不同时期的工艺特点

本文以文献和实物为根据,探讨了画珐琅器研究中三个互有关联的问题:一是清代北京确有民间作坊制造画珐琅器,其作品混杂在传世的画珐琅器中;二是宫廷画珐琅器的制造时限为康、雍、乾三朝;三是宫廷画珐琅器的做款规律,并由此明确官造画珐琅器和民造画珐琅器之间的区别。