《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。     

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。     

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。     

南越王墓玉器分布状况及其内涵研究

广州西汉第二代南越王赵眜(胡)墓出土了240余件玉器,其中多数玉器造型独特,琢刻工艺精湛,是研究当时玉器使用制度、时代风格的珍贵实物资料。研究发现,该墓中墓主和殉人都有属于自己的玉器,属于墓主的是葬玉,用玉目的除了彰显权贵更重视护尸升仙;属于殉人的是装饰玉,注重身份高下而忽略了升仙功能。推测其目的是为了营造墓葬等级,而...