Sustaining artistic practices post George Brandis’s controversial Australia Council arts funding changes: cultural policy and visual artists’ careers in Australia

This article analyses how public funding enables artistic practices from the perspectives of both national cultural policy decision makers, and our three interviewed subjects in the visual arts. Funding from the Australia Council for the Arts is examined in terms of the extent to which it is perceived to dis/enable ongoing artistic practice. This examination is timely given Australia’s former Minister for the Arts George Brandis’s 2015 shock annexation of Australia Council funding: $104.7 million was originally to be transferred from the Australia Council to the newly established National Programme for Excellence in the Arts (NPEA). This body represented a move away from the ‘arms-length’, independent peer-reviewed funding decisions with the arts minister having the ultimate authority with regard to the NPEA. The NPEA has now been renamed Catalyst – Australian Arts and Culture Fund (Catalyst) as a result of consultations and feedback relating to the NPEA.     

Style in New Ireland Art and Culture: Grasping the Native's Point of View

A review of definitions of style and studies of particular people suggest that while many studies of art discuss iconography, social relationships, structure, identity, form, function, and so on, few discuss style; and fewer discuss style as world view, ethos, values, or gestalt. In this paper, I report some findings of field work in the arts and cultures of New Ireland and New Hanover in support of research in cultural anthropology on style in this larger sense. I will provide some documentation for ‘the Native's point of view’ on this subject, which affirms its importance in any study of culture.     

对加强家庭廉政文化建设的思考

家庭廉政文化是党风廉政建设的重要内容。切实把握家庭廉政文化的内涵,针对存在的问题和原因,全面加强家庭廉政文化建设,是社会和谐发展的需要。     

邴法敬造像碑研究

邴法敬造像碑是中国现存造像碑中十分罕见的隋代造像珍品,其名见于志书和一些专业文章,但仅是涉及部分信息,对造像题材和题记均未有完整详细的资料公布。该文对造像内容全面详细的介绍,并对其造像题材和艺术风格进行了初步研究。     

儿童生活往昔:丰子恺作品之社会史考察

清末民国时代的丰子恺,以艺术的视角观照儿童生活的琐屑与微末,发现:与成人世界不同,生活于特定社群中的儿童,熨贴着亲属和邻里关系,少受自然的支配和社会习惯的束缚,由其本真的生活激活出无限的创造性,而伴随着初始社会化而来的异化生活终结了儿童的本真,同时也斫丧了他们的创造力。透过往昔儿童生活场景,可以依稀发现一个历史时段儿童的生活方式、区域特色、时代特征以及演变痕迹。     

织绣文物中的寿字装饰

我国于汉代已经在织锦的铭文中使用寿字.到明清时期,寿字与象征长寿的仙桃、菊花、仙鹤及寓意连绵万代的葫芦、字和寓意喜庆幸福的灯笼、蝙蝠等组成吉祥图案。寿宇的字体也随着时代的发展而不断丰富。本文按时代顺序将寿字的字形排列梳理,不仅可供读者了解其丰富的文化内涵.而且根据寿宇的字形变化.可作为判断织绣文物年代的一种依据。     

《六世班禅画像》唐卡考证

本文根据档案记载对《六世班禅画像》唐卡的制作时间、作者、内容进行了考证,阐释了其“样式”的形成及其对清宫唐卡创作的影响。此唐卡画像属清宫独创的写真画唐卡类,它融合了多种绘画技法即西藏唐卡技法、西洋写实技法和中国传统的青绿山水技法,可以说是一种新的唐卡绘画形式。     

赫图阿拉城“尊号台”遗址建筑格局及相关问题讨论

本文运用考古学资料并结合文献史料,力图论证赫图阿拉城“尊号台”遗址的建筑格局及“尊号台”所在,从而推断满族宫室建筑的雏形。     

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。     

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。