夏鲁寺部分壁画的汉地影响及其所在文化情境下的政治寓意

本文分析了藏区南部夏鲁寺集会殿门廊中,带有宋元时期舞台布景效果的龙凤戏珠纹图画,认为这是自13世纪以来,随着西藏贵族与元代朝廷政治关系的建立而来的汉地艺术影响的一个独特案例。作者将这种影响置于元朝政府与西藏的政治关系,以及尼泊尔纽瓦尔艺术风格的强大影响共同构成的特定的文化情境之下,且重点分析了绘于夏鲁寺早期整个门廊北壁带有汉地风格的壁画。     

“余震”到后余震——近十年中国当代艺术的发展轨迹

2006～2007年在广东美术馆和首都博物馆分别举办的"余震"展向中国观众展示了20世纪90年代YBAs[1]曾经轰动一时的作品。YBAs是中国当代艺术史上2000年左右那段疯狂年代的导火索,重新回顾这段历史,有助于我们理性地审视中国当代艺术的发展历程及其发展规律。     

The ‘Triple R’ Approach on the Restoration of Archaeological Dry Stone City Walls: Procedures and Application to a UNESCO World Heritage Site in Oman

The ‘Triple R’ approach on the restoration of dry stone walls, using recognizable, reversible and respectful constructive techniques is here illustrated. A set of restoration procedures are explained and applied to a UNESCO World Heritage site in Al-Baleed (Salalah, Sultanate of Oman) in the ‘Land of Frankincense’. The procedures were adapted in an innovative way to take into account the climate features of the Indian Ocean area (specifically, the effects of the monsoon season). All the restoration procedures aimed at conserving the site’s original architectural features by using only suitable stones and materials found on-site. Specific procedures have been adopted to consolidate walls, gates, foundations and sloping surfaces. Simple on-site mechanical tests and evaluation methods have been developed for a quick assessment of the safety level of the restored walls to ease future archaeological excavations. The application is related to a waterfront side of the ancient city built around the ninth century and added to over the next five centuries. These restoration procedures allowed for further archaeological excavations with new findings is here described.     

Temporal and Narrative (Dis)junctures: Guillermo Núñez’s Aesthetics of Memory and the Museum of Memory and Human Rights (Santiago,Chile)

Focusing primarily on Guillermo Núñez’s work, this essay juxtaposes two almost-identical exhibits of his ‘exculturas’ (sic: xculptures/ex-cultures) – one at the Chilean-French Cultural Institute in 1975, which resulted in his detention and exile, the other in 2010 for the official inauguration of the Museum of Memory and Human Rights (MM) – to explore their relationships to memory production in Chile four decades after the military coup. In the first, Núñez offered a pointed critique of the repressive post-coup context through a series of caged and netted objects; the second reconstructed the first as a memory gesture, framed within the ultra-modern, state-sponsored MM, in its designated art space, at once included and physically separated from the historical narrative of the Museum. How do the politics, aesthetics and design of the MM work to complement, complicate, or contradict Núñez’s – and, perhaps, any – artistic proposal? What challenges might the aesthetic of memory in Núñez’s work pose to the Museum’s narrative frame? Examining Núñez’s ‘exculturas’ (and, briefly, Gonzalo Díaz’s reconstructed Lonquén) reveals several tensions – around politics of inclusion and exclusion, the state’s role in memorysites, and the relationships between human rights concerns and museological and artistic strategies – marking the social production of memory in Chile today.     

‘Rocking the nation’: the popular culture of neo‐nationalism

The aim of this paper is to understand contemporary forms of nationalism in a socio‐political context in which neo‐nationalism has obtained a dominant role not just in politics but in public discourse and in the cultural field as well. It investigates the emergence of a particular music scene in the beginning of the 21^st century, shaped by rock bands and performers and supported by far‐right political actors, which has made the ‘national’ imagination emotionally and ideologically appealing to a considerable part of Hungarian society and first of all to young people.     

Cultural nationalism of the interwar period: Latvian visual art and folklore

The interwar period in Europe marks a tendency towards authoritarian leaders in politics as well as the classicizing practices of the visual arts. However, the extent and modality of both tendencies vary from state to state: mapping differences and similarities leads towards greater understanding of each national history. The particularity of Latvian art life is a comparatively substantial use of folklore motifs and representation of pagan mythology, going hand in hand with overall ethnolinguistic nationalism agenda and related state cultural policy. Despite the coexistence of various artistic styles, in regard to content and intentions of artworks, the interwar period can be characterized by the turn from National Romanticism to Romantic Nationalism. The historical outline and theoretical discussion of folklore representations are illustrated by three case studies, analysing the biographies, ideas, and works of Latvian artists Ansis Cīrulis, Jēkabs Bīne, and Niklāvs Strunke.     

‘Startling; Nay,Almost Repulsive’: Light Effects and Nascent Sensation in John Everett Millais’s The Rescue

Taking Pre-Raphaelite painter John Everett Millais’s The Rescue (1855) as a case study of shifting aesthetic and moral frameworks, the essay investigates the ways in which mid-century British debates regarding the proper representation of light effects illuminate anxieties about a physically embodied viewer, one who encountered pictures in individualized ways that required regulation and guidance. Represented light, as an element that had a measurable effect on the senses, clearly stimulated a physical response and therefore brought the body to the fore in the art encounter. Types of painting that forcefully engaged the somatic self could become suspect and consequently subject to a process by which they were designated as ‘sensation’, a category in fraught relation with the disappearing ‘sublime’. Combining close visual analysis, a discussion of The Rescue’s novel subject matter, remarks by its first beholders, and nineteenth-century aesthetic theory, the article reflects on the ways in which discourses of art revealed anxieties about the formation of the modern subject and argues that The Rescue is a node in which the death of the sublime meets the birth of sensation.     

Rock art on Socotra,Yemen: the discovery of a petroglyph site on the island's south coast.

Recent fieldwork on the south coast of the island of Socotra, Yemen, has revealed a hitherto unknown petroglyph site. This site represents the first rock art to have been recorded on the south coast, an area generally regarded as being unpopulated up until the recent past. The corpus of recorded petroglyphs includes feet, cupules, anthropomorphic figures and geometric motifs, whose designs parallel those from known rock‐art sites on the north coast. The importance of this site is that it provides us with the first glimpse into the religious and socio‐political lives of the inhabitants of the previously unknown southern half of Socotra. Placing these petroglyphs within the broader context of rock‐art studies on the island of Socotra has also allowed us to begin to disentangle the skewed view of Socotra's inhabitants.     

Fluid chemistry in the Solitaire and Dodo hydrothermal fields of the Central Indian Ridge

Fluid chemistry and microbial community patterns in chimney habitats were investigated in two hydrothermal fields located at the Central Indian Ridge. Endmember hydrothermal fluid of the Solitaire field, located ~3 km away from the spreading center, was characterized by moderately high temperature (307°C), Cl depletion (489 mm ), mildly acidic pH (≥4.40), and low metal concentrations (Fe ≤ 105 μm and Mn = 78 μm ). Chloride depletion indicates that the subseafloor source fluid had undergone phase separation at temperatures higher than ~390°C while the metal depletion was likely attributable to fluid alteration occurring at a venting temperature of around 307°C. These different temperature conditions suggested from fluid chemistry might be associated with an off‐spreading center location of the field that allows subseafloor fluid cooling prior to seafloor discharge. The microbial community in the chimney habitat seemed comparable to previously known patterns in typical basalt‐hosted hydrothermal systems. Endmember hydrothermal fluid of the Dodo field, standing on center of the spreading axis, was characterized by high H₂ concentration of 2.7 mm . The H₂ enrichment was likely attributable to fresh basalt–fluid interaction, as suggested by the nondeformed sheet lava flow expansion around the vents. Thermodynamic calculation of the reducing pyrite–pyrrhotite–magnetite (PPM) redox buffer indeed reproduced the H₂ enrichment. The quantitative cultivation test revealed that the microbial community associated with the hydrothermal fluid hosted abundant populations of (hyper)thermophilic hydrogenotrophic chemolithoautotrophs such as methanogens. The function of subseafloor hydrogenotrophic methanogenic populations dwelling around the H₂‐enriched hydrothermal fluid flows was also inferred from the ¹³C‐ and D‐depleted signature of CH₄ in the collected fluids. It was observed that the hydrothermal activity of the Dodo field had ceased until 2013.