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This article is about the contribution of rock art to current studies on the social geography of European Paleolithic populations. The socio-cultural function of the Roc-aux-Sorciers decorated and occupied rock-shelter is considered through its monumental sculpted frieze. This approach is based on the intended audience, analyzed through the perception of this rock art and the archaeological context of the associated occupations. The site is also considered with regard to the other local decorated sites dated to the Middle Magdalenian with which it shares strong similarities (La Marche, Les Fadets, Réseau Guy Martin). 相似文献
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名人效应是我国历代书画艺术领域中引人关注的重要现象,这一现象反映在艺术市场上,是书画价格的高低不在于其作品质量如何,而主要取决于其作名气的大小;这种艺术价值与市场价格的错位,成为中国书画艺术及其市场发展的“瓶颈”。为此,本对这种“瓶颈”的现象、成因及其对策做了深入的探讨和论述。 相似文献
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博物馆策展人的素质与能力是博物馆陈列展览特别是专题展览成功的关键因素之一.美国大都会艺术博物馆亚洲艺术部主任、国际著名博物馆策展人屈志仁先生以"忽必烈的时代"展为例指出:博物馆策展人应同时具备学者、艺术鉴赏家与展览组织者的素质与能力,通晓与展览有关的历史学、艺术史、文化史及文物与博物馆学等学科知识,组织、协调从研究策划... 相似文献
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探索和研究表明,岩画断代问题仍然是困扰岩画研究的难题之一,其主要原因是岩画本身不能够提供可供断代的直接依据。本文综述了目前岩画断代研究中经常使用的自然科学和考古学方法及其存在的问题,提出应用AMS14C是今后研究我国岩绘画断代问题的首选方法,解决岩刻画的断代问题则主要有赖于微腐蚀方法。 相似文献
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Therese Martin 《Journal of Medieval History》2016,42(1):1-25
ABSTRACTOne of the challenges faced by medieval art historians is to recognise the diverse roles women played in matters of medieval art, while seeing also the impact of society on their artistic choices. By tracing how one work of art can open new critical insights into another, and how disparate objects and buildings – if thought through together – can illuminate our understanding of the Middle Ages overall, we can discern the multi-layered stages of the creative process. The term ‘makers of art’ is proposed as a shift away from the commonly used words – artist, patron, recipient – and the preconceived notions about the individuals who fulfilled those roles. The paper also lays out a framework – ‘the margin to act’ – for the investigation of the multi-levelled interactions of women with medieval art and, ultimately, the writing of history. 相似文献
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吴正光 《中国文物科学研究》2013,(1):23-28
引言：最近,受清华大学陈志华、李秋香两教授的邀请,我参与《中华古村落》大系的编撰工作。每省一卷,我承担贵州卷。每卷收录20个古村落,每个村落3000字,20幅照片。另外,写一篇一万字的《分卷序》。在此基础上,我撰写了《领略贵州古村落风韵》一文,主要介绍贵州古村落的自然环境、历史流年、地域特点、民族特色、美丽外观、鲜明个性、丰富的内涵等等。 相似文献
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王震 《古籍整理研究学刊》2007,19(6):87-89
《司马法》旧题"司马穰苴撰",根据《史记》和《左传》的相关材料可以基本认定,司马穰苴是陈完的后裔,其军事生涯大约在周景王十三年(公元前532年)至周敬王三十年(公元前490年)之间的某一段时期,今本《司马法》5篇应该是齐威王时齐国大夫追述的古司马兵法和穰苴军事思想的混合体,它来自宋代刊定的《武经七书》,有三卷本和一卷本两个版本系统。 相似文献
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Alex Miller 《Social & Cultural Geography》2017,18(2):245-267
This paper argues for a conception of art as an embodied and creative material practice. It draws on research conducted with seven professional ceramic artists who deal with landscape in their work to explore their processes of art-making through interview and (filmed) observation. It demonstrates the distributed range of embodied and relational more-than-artistic practices which inform how landscape is encountered, known and ultimately represented. It argues that artists’ self-expression in art is based upon material, social and political knowledges which interweave in artists’ lives. By studying ceramicists’ making this paper demonstrates both the non-conscious skill and the conscious technical knowledge needed to make art. It shows chance to have a triple role in practices of making, as something to work alongside, to work against and to draw on as a creative resource. This paper both argues for and demonstrates the value of an approach to art-making that frames it as a complex of both conscious, socio-cultural, technical knowledges and non-conscious skills which together (in)form works of (ceramic) art. 相似文献
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A. Bonneau J. Moyle K. Dufourmentelle D. Arsenault C. Dagneau M. Lamothe 《Archaeometry》2017,59(5):834-851
Dating is perhaps the most frequently asked question in rock art studies, but still one of the most difficult to answer. However, chronology is vital in order to understand and interpret rock art sites. Unfortunately, attempts at dating the Mikinak site, at Lake Wapizagonke, Quebec, Canada were unsuccessful. But a multi‐instrumental protocol applied to characterize paintings shows that at least three different paint recipes were employed to create the site. These may reflect three different phases of paintings, and that at least three different artists contributed to the production of this site. 相似文献