谈江南綵衣堂建筑彩画的艺术独特性

翁同龢故居"綵衣堂"的建筑彩画是中国现存明清建筑装饰艺术中的精品。"綵衣堂"彩画普遍运用了宋锦纹饰和包袱锦形式,在继承传统的基础上又有艺术创新;其"瑞鹤祥云"的主题纹饰体现了独特的精神内涵;工艺上也综合运用了不同等级的作法。綵衣堂是建筑艺术和装饰艺术结合的成功范例,值得后人深入研究。     

A multi-technique characterization and provenance study of the pigments used in San rock art, South Africa

During the course of a conservation project at the rock shelter known as RSA TYN2 (Eastern Cape, South Africa), a sample of 33 painted fragments that had become detached from the wall were collected. They have been studied using a multi-technique approach (optical microscopy, SEM-EDS, Raman spectroscopy and FTIR), with the aim of achieving a better understanding of their paint stratigraphy, composition, and provenance. The paintings are on a Clarens Formation sandstone and are embedded in calcium sulphates and oxalates. The red pigments show two different ‘hues’, corresponding to two different compositions. The light red is a red ochre, possibly pure, which is probably a degradation product of the Clarens Formation sandstone. The dark red contains more iron oxides and may be a mixture between the red ochre and pure haematite. Because of the presence of crystals which may be identified as augite we suggest this haematite came from the basaltic upper part of the Drakensberg, at least 4 km away from the rock shelter. The black pigments have been identified as carbon black, that is to say, incomplete combustion products of organic compounds, and are radiocarbon dated to between 2120 and 1890 cal BP, making these samples the oldest directly dated South African rock art.     

李渔的建筑装饰思想及现代启示

李渔作为“文人系之建筑思想”的代表人物之一,其建筑装饰思想主要体现在崇尚自然,重视环境;尊重个性,重在创新;强调实用与空间相宜;尚平淡雅致,忌奢华等诸方面。李渔的建筑装饰思想,是中国古代文人的人意识和情趣在建筑装饰上的集中反映,是对中国古代建筑装饰思想的发扬和光大,它对现代建筑装饰设计和施工,具有十分重要和现实的指导意义。     

试论美国奴隶制时期的黑人家庭

生活在美国奴隶制下的黑人奴隶被看作主人的财产,其婚姻和家庭没有法律保障,但黑人在特殊的生存环境中并未放弃这种最基本的权利,他们建立了属于自己的家庭生活并形成了奴隶制度下特有的家庭观念。黑人在家庭中找到一种群体归宿感和个体身份,家庭生活是黑人奴隶在奴役和剥削下得以生存的重要策略。     

鲁迅《无题（洞庭木落楚天高）》诗“涴”字义辨

鲁迅旧体诗《(洞庭木落楚天高)》七绝,自鲁迅逝世70年以来,我国鲁迅研究学界对这首诗的诠释,一直争论不休,各执其辞,各圆其说,至今未能达到统一的认识,本文作者认为,多年争论的焦点不应在“诗本事”上,而应在对诗中关键词句——“眉黛猩红涴战袍”的正确理解上,只有读通了诗的词句,才能考证出“诗本事”。作者不厌其烦的以训诂的方式,从古今20多位著名诗人的诗词中,考证出他们所用“涴”字的确切意义,从而证实了与《无题》诗中所用“涴”字的意义完全相同。     

Black Rod and the Office of Usher of the Parliament Chamber

The gentleman usher of the black rod has long been acknowledged as an officer of the house of lords. Yet he was in origin an officer of the order of the Garter with no necessary connection with parliament. This note aims to throw light on the process whereby this association came about. By 1509, the house of lords had the services of an usher of the parliament chamber, a post always held in conjunction with an office in the royal household. By 1558, this post was being exercised by one of the gentlemen ushers daily waiters, who had been granted the office of black rod as an additional perquisite in 1554. From this point it became customary for the offices of black rod, daily waiter and usher of the parliament chamber to be held by one man. This association was broken in 1620, when the then usher relinquished the office of daily waiter but retained his parliamentary functions together with the office of black rod. In 1631, a decree was promulgated annexing the office of black rod to that of one of the gentlemen ushers daily waiters but it was only from 1660 that this became fully effective.     

Accommodation in the Painted Chamber for Conferences between the Lords and the Commons from 1600 to 1834

The Painted Chamber, adjacent to the old house of lords at Westminster, was the venue for conferences between the house of lords and house of commons designed to settle any disagreements between the two Houses. Information about the accommodation in the Painted Chamber and its furnishings is provided by a study of a plan by Sir Christopher Wren dated about 1703 and a painting by William Capon of 1799. This note discusses the layout of the accommodation in the early 17th century and how it changed after the Restoration in 1660 and again at the union with Ireland in 1801. It further considers how the furnishings dictated the use of the space by the managers of the conferences, and how the gentleman of the black rod regulated the use of the Painted Chamber by the public.     

The Power of the Future: Prophetic Politics Between Political Crises and Civil Rights

ABSTRACT

This paper examines the political life of Malcolm X in the context of the Black Prophetic Tradition. By exploring historical, literary, and theological considerations of political violence and divine warnings, “Catch on Fire” evaluates Malcolm X’s legacy as one of the iconic figures within more contemporary prophetic politics.     

James Cone’s Legacy for White Christians

ABSTRACT

This article explores James Cone’s lesson and legacy for white Christians. Specifically, it analyzes Cone’s claim that whites can “become black.” Cone insists that a process of conversion to blackness “means that white people are prepared to deny themselves (whiteness), take up the cross (blackness), and follow Christ (black ghetto).” In this essay, I will draw upon Cone’s writings and original interview material to construct an outline of these three steps of becoming black. Making sense of what it means to convert to blackness begins with first analyzing his specific challenge to white theology, then his concepts of blackness and the Black Christ, and finally, the praxis of these three steps – that is, what does it look like, practically, to follow the black Christ as a white person.     

故宫古华轩黑漆描金落地罩装饰层的材料工艺研究

故宫乾隆花园内的古华轩外檐落地罩是北方地区建筑装修使用大漆工艺的罕见案例。为探明其装饰层材料工艺做法,综合利用光学显微分析、免疫荧光染色分析、X射线荧光光谱分析、扫描电子显微镜-X射线能谱分析、热裂解-气相色谱/质谱联用等多种技术,结合传统漆作文献记载和清宫档案,详细厘清了装饰层的材料组分、制作工艺及营缮历史。研究表明,古华轩落地罩保存了八个时期的装饰层,整体使用调入桐油的大漆髹饰,不同时期的黑漆分别采取添加炭黑、添加铁盐两种方法制得。金饰做法包括描金、贴金两种。初始营缮工艺为捎当灰—布漆—漆灰—黑漆—色漆—金饰；重缮时做法相对简化,并将原先的一色金改为两色金。