旋子彩画小议

旋子彩画以旋子花的变形图案为基础单元,分布在梁枋藻头位置。本文就其类型、适用范围和时代特征等问题作了简要论述,并对清式旋子彩画严格的等级制度作了初步探讨。     

元明清瓷器纹饰“番莲花”研究

本文通过对中国古代文献中"西番莲"记载的梳理,释义了纹饰上"西番莲"和"番莲花"的异同,指出元明清瓷器上的番莲花图案是一种非具象的"文化寓意型"纹饰,具有兼及外来与本土两种文化的特征。在中国其与植物学意义上的西番莲的结合要晚至清代初期之后。     

陕南出土的摇钱树佛教图像

陕西南部城固和汉中的东汉砖室墓中出土的摇钱树枝和树干上面分别发现佛像以及莲花图案,这是陕西省目前发现的最早的佛像,也是我国发现的最早的佛像之一,对于探讨陕西省佛教艺术的起源具有重要意义.     

Machiavelli’s passions

In his years as Florentine Secretary, Machiavelli repeatedly faced the problem of interpreting the gestures and words of statesmen that were masters of deception. The strategy he developed to uncover these statesmen’s intentions was based on the analysis of human passions, on uncovering the fundamental trait that defined a man’s character. I apply Machiavelli’s strategy of interpretation to Machiavelli himself and uncover the irreconcilable disconnect which shaped his personal tragedy. On one hand, he related to his objects of desire by entirely abandoning himself to them, regardless of how unachievable they were. On the other, to obtain these objects of desire his analytical mind developed strategies which took pride in their adherence to what he called the “effectual truth of the matter.” His incapacity to reconsider his objectives in light of the means at his disposal and his tendency to transfer all of himself into his objectives determined Machiavelli’s successes and failures. He repeatedly failed when he had to set his own goals, or when he approached a problem with empathy. He succeeded when he was given precise and limited objectives and when he understood that he did not share the goals of those he was studying.     

塔尔寺及其藏艺“三绝”

青海塔尔寺建筑宏伟,气势磅礴,蕴含着博大精深的藏文化。它完好地保存着许多稀世国宝,还有为世人瞩目的“三绝”:壁画(唐卡)、堆绣、酥油花。     

“六朝瓦当”研究回顾及对若干问题的探讨

20世纪40年代,六朝瓦当已有零星出土,但直到20世纪90年代,学术界才真正建立起六朝瓦当的学术体系。迄今,六朝瓦当已成为东亚地区多个国家考古学者关注的话题,其造型、类别、年代、特征、技艺、分区、分期、传播、地位等一系列问题得到了广泛的讨论,从而建构了一个跨文化的学术话语体系。总结六朝瓦当的发现和研究过程,有助于推动这...     

宋徽宗墨笔花鸟画初探

一个画家艺术风格的形成离不开他所处的时代环境及其本人的气质。作者认为,宋徽宗墨笔花鸟画的渊源,一为五代兴起的以徐熙为代表的江南花鸟画派,一为宋代中叶兴起的文人士大夫画风。因此,宋徽宗以特有的文人情怀致力于其他文人画家所追求的江湖之思、林泉之趣,但又因其特定的帝王身份,其墨笔花鸟作品仍带有雍容的气貌而缺少荒远之境。值得注意的是,徽宗将文人情趣引入宫廷绘画,改变了宫廷绘画历来的富丽倾向,其墨花开元代之先河。     

‘A rancour and a passion would be introduced into politics’: Perceptions of the Woman MP in Late 19th and Early 20th Century Britain*

On 21 November 1918, the Parliament (Qualification of Women) Act was passed, which enabled women over the age of 21 to stand for parliamentary election. Unlike women's suffrage, there was no sustained campaign to allow women to sit in parliament. However, this does not mean that the issue was ignored in the late 19th and early 20th centuries. This article traces perceptions of the woman MP in the pre-1918 period and offers the first detailed exploration of the topic. It argues that although discussions on the matter were not widespread like women's suffrage, there is value in examining these lesser-known debates. This article studies the parliamentary candidacy of Helen Taylor in the 1885 General Election, in addition to how male politicians, the press, suffrage, and anti-suffrage organisations engaged with the idea of women sitting in parliament. Women's supposedly emotional nature played an integral role in how contemporaries approached the subject of women MPs. Indeed, women's emotions, and more specifically their passionate temperament, were often used to discredit their political capabilities and portray women as emotionally, intellectually and physically inferior to men.     

The Ulster Women's Declaration and the Passion of Women in the Campaign against Home Rule,c.1886–1912*

On Ulster Day, 28 September 1912, Unionist leaders orchestrated the mass signing of the Ulster Covenant and the Women's Declaration against Irish home rule. These were highly emotive documents and the ‘passion’ expressed by women contrasted with the men, as the Covenant implied a pact with God while the Women's Declaration promised to support their male counterparts. The Declaration, with 234,046 signatures, was one of the largest petitions ever organised by Irish (and British women) in this period and expressed the desire of many Ulsterwomen to defend their identities as Unionists and Protestants. This article breaks new ground by examining the Declaration as a form of petitioning culture. It will analyse Unionist women's petitioning through the lens of ‘passion’ and argue that petitioning offered women a way to express their feelings on this important issue. This will be done by analysing the Declaration and the Unionist women's earlier petitioning campaigns to reveal what motivated Unionist women to protest and their political practice. Another perspective is provided by the contemporary criticisms of the Declaration made by suffrage activists. This shows that while ‘passion’ could mobilise women, it could also cause friction. This article will also consider the gendered coverage of Ulsterwomen's political participation by the press. Overall, this article reappraises the political activism of Ulsterwomen from the perspective of petitioning and the power of ideological passion in politics.     

故宫博物院藏“铜镀金嵌石花觚”的修复研究

故宫博物院收藏的铜镀金嵌石五供仅有一套，造型优美，工艺精湛，但其中的一对花觚伤况严重，缺失大量嵌件。修复前，采用X射线CT扫描仪、激光拉曼、X射线荧光光谱仪和红外光谱等方法对花觚结构、嵌件材质和粘接材料进行了检测分析。分析表明，花觚以清宫失传“粘蜡胶”为粘接材料，使用的绿色嵌件为绿松石，靛蓝色嵌件是以钴为着色剂、铅为助熔剂的钾钙玻璃。修复时，结合检测结果选用了传统“粘蜡胶”的现代替代品、绿松石和无铅钴蓝玻璃作为修复材料。同时以“精细分区”“先集中-再慢雕”的方式，准确快捷、有序地完成了700余件嵌件的复原补配。本工作可为大型镶嵌类文物修复提供典型案例。