宋代铸造的唐代年号镜——仿古和逐利影响下的宋代工艺美术个案

自1945年梅原末治《唐镜大观》著录两面"永徽元年"铜镜以来,考古出土和文物征集发现多件带有"贞观元年""贞观十六年""永徽元年""上元二年""大和元年"等唐代年号的铜镜。这些铜镜因有明确的纪年,在唐代铜镜艺术研究中曾被作为标准器对待。但这些铜镜在造型、铭文书体、纹饰等方面,皆与唐代铜镜有异,而与宋代铜镜相合。本文对5种8件带有唐代年号的铜镜予以重新考察,认为它们与一般宋代的仿唐镜不同,一是没有铸镜作坊铭或是姓氏铭;二是铜质精良;三是花纹清晰。因此,这8件器物应为宋代铸造的仿唐镜。     

市内激励源对古建筑振动的影响

为了分析在不同激励下振动对古建筑的影响,选择苏州市省级文物保护单位——玉涵堂古建筑进行振动测试。记录了环境振动、地下轨道交通激励、人群社会活动激励和音响激励四种工况时一座两层砖木阁楼的振动信号。发现经过严格振动控制的地下轨道交通激励对古建筑振动的贡献可以忽略;环境振动和音响激励时段古建筑横向振动速度达标,而人群社会活动激励时段横向振动速度超标。从古建筑的建筑结构和功能区域划分以及人的激励形式三个方面对通常被忽视的人的因素进行了探讨,并提出了相应的减振措施。研究成果为其它类似两层砖木阁楼古建筑防护提供依据。     

试论楚文化对晚期蜀文化的影响

本文采用考古学方法,从青铜器、陶器、漆器、葬俗等方面,探讨了楚文化对晚期蜀文化的影响。认为以楚式青铜器对晚期蜀文化的影响为主,楚式漆器次之,陶器的影响微弱。楚国的部分葬俗也被蜀人所借鉴。秦灭蜀以前,在当时各列国中,楚文化对晚期蜀文化的影响最大。     

The View from the Verandah: Levuka Bungalows and the Transformation of Settler Identities in Later Colonialism

The residential architecture of Levuka, Fiji, contains a diverse and well-preserved sample of what architectural historians have called the British tropical bungalow. Dating to the late nineteenth and early twentieth centuries, these small frame structures bear witness to the in situ development of a descendant colonialist identity amongst the European settlers of the port town. Analysis of the degree to which these houses conform to, and diverge from, the normative traits of the global bungalow style provides insight into the material processes of later colonialist communities and their increasingly complex cultural and social identities.     

试论虚谷绘画风格的形成和发展

虚谷是晚清“海派”名家之一,以其冷隽奇峭的画风震人心弦。本通过对其人生过程的梳理,分析和论述了他的思想、心态及审美追求对其画风形成发展的影响和作用。     

绿色建筑概念下历史文化名城保护综合评价研究

本文以青海省同仁历史文化名城保护规划为例,从绿色建筑概念出发,结合我国国情和时代特点,利用AHP模型构建了"历史文化名城保护综合评价指标体系"。要求历史文化名城保护规划、设计遵循绿色建筑的设计方法,着眼于对地方技术及建筑历史的尊重、资源与能源的有效利用、防止环境污染,确保从建筑单体到城市整体环境逐步实现自然生态、社会生态、经济生态和历史文化生态的平衡、协调发展。使得管理部门、规划师、建筑师、业主等能够更加明确评价项目的依据以及可采用的改进措施等,也可实现从多个规划、设计方案中进行优选。     

The devil in disguise: action repertoire,visual performance and collective identity of the Autonomous Nationalists

Adopting protest tactics and visual performance of the far left, many neo‐Nazis in Europe, particularly in Germany, have developed a new style. Referencing their political opponents, the far‐left Autonomous Movement, they call themselves the Autonomous Nationalists. Though this new style caused intense conflicts in the beginning, Autonomous Nationalists have gained strong influence in the neo‐Nazi movement. What drives neo‐Nazis to adopt tactics such as ‘black blocs’ and certain symbols and dress of their political enemies? Based on movement's documents, semi‐structured interviews and observing demonstrations, this article uses empirical data to identify central dimensions of the Autonomous Nationalist's action repertoire and visual performance and their impact on the neo‐Nazi movement's collective identity. The analysis of external and internal effects reveals that the shift in public appearance strengthened the movement's mobilization potential, but otherwise decreased ideological internalisation and may increase the turnover of activists.     

National stereotypes and music

Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.     

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.     

早期楚文化探索中的几个问题

本文就早期楚文化探索中紧密相关而亟待解决的早期楚国与楚族、早期楚都、楚式鬲及早期楚文化面貌、性质等问题进行了学术史的回顾与思考,就今后早期楚文化探索的思路与方法提出了几点建议。