元代天主教在华物质遗存:两块扬州拉丁文墓碑图像探析

上个世纪50年代在扬州发现的两块拉丁文墓碑,是元代天主教在华活动的重要物质遗存。本文认为,两块墓碑在形制方面借鉴了同时期在华有着活跃商贸活动的伊斯兰教和景教的墓碑;在主题和图像方面,则在方济各会修士的指导下遵循了欧洲中世纪天主教的宗教题材图像传统。两块拉丁文墓碑上的图像,不仅为远在异国他乡的天主教徒提供了灵魂归宿的精神慰藉,同时也凸显了罗马天主教与景教所遵循的教义方面的差异,并成为宣扬天主教和进行传教的有力手段。本文还提出图像中融合了大量中国本土艺术元素,体现了元代中西跨文化的艺术交流与互动。     

西安通远坊天主教会建筑群的历史沿革及其艺术特征初探

通远坊天主教会建筑群位于西安市高陵县,是清代西北地区天主教总堂,现存的四座建筑天主堂、修女堂、圣心小修道院和育婴堂均建于清末民初,地域特征显著,建造做法肖似,作为一个整体清晰地反映出了当地的匠作传统。本文通过梳理其历史沿革,分析其艺术特征,希望将这一珍贵的内陆天主教文化遗产展示于世人面前。     

Individualism and Christianity.

Comments on E. Sampson's (see record 2001-16333-002) linking individualism and collectivism to religious origins. The author comments on Sampson's overgeneralization of Protestant individualism to all branches of Christianity, and describes similarities between Roman Catholicism and rabbinic Judaism. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

建筑与城市之间——法兰克福Haus am Dom公共空间

该文详细介绍了位于德国法兰克福大教堂附近的林堡教区集会和办公中心Haus am Dom（大教堂边的房屋）的设计文脉,方案概念和空间布局,并剖析其核心——玻璃大厅的设计,对此方案的城市性进行分析。     

The rise and fall of the Belgian Forestry Museum and Geographic Arboretum (1900–1980): A political origin and a winning opportunity for science?

This paper recounts the genesis and further developments of two devices that were created in Brussels and nearby around 1900: the Forestry Museum and the Geographic Arboretum in Tervuren. Both the Museum and the Arboretum were designed to serve botanical science, national industry, and agriculture, but also became instrumental in carrying philosophical and political messages and even in achieving down‐to‐earth political aims. The Museum, imposed upon the State Botanic Garden by a Catholic ministry, carried out messages for social pacification, while also taking to the battlefield in the fight between what were then called pure science and applied science. For its part, the Geographic Arboretum had long broken its ties with the State Botanic Garden and even with its own scientific claims by the time the Forestry Museum disappeared in the early 1980s. However, the Forestry Museum had increasingly lost its vocation as a research tool, eventually and solely becoming a tool of communication toward an ever‐widening public, following Belgian society's expanding democratization in the late 19th Century. The lives and fortunes of both devices reveal most of the tensions that rhythmed the history of museums and the political history of a European country.     

Transgressing religious boundaries: the power of aesthetics in tamil catholic and hindu worship

ABSTRACT

This article discusses shared material culture and sensorial practices in prayer among Hindu and Catholic Sri Lankan Tamils living in Paris, such as the clockwise circling of incense, the use of flower garlands, and the worship of Mother Mary. Rather than classifying these practices into religious categories, I argue for a need to examine how such practices come to be shared. By employing a material approach to religious aesthetics which recognizes that objects or “things” are active and have agency and affect how we sense and thus experience our world, I suggest that common aesthetic elements are able to produce feelings of religiosity and, particularly for people who share a common aesthetic in everyday life, to bridge the levels between humans and the divine.     

Altars of Ammo: Catholic Materiality and the Visual Culture of World War II

Abstract

During World War II, US photographers, government censors, and publishers—Catholic and non-Catholic alike—were attracted to images depicting the intersection of Roman Catholic ritual forms and military equipment such as Jeeps, ammunition boxes, cannons, and artillery shells. The motif was seductive in the environment of wartime propaganda for reasons beyond its ideological affirmation of American religious pluralism. Catholic objects—including especially Eucharistic hosts, altars, priestly vestments and bodies, and crucifixes—offered an aesthetically compelling visual match for the objects of war. The spectacle of Catholic materiality also tapped into longstanding fascination with Catholic forms as a quasi-forbidden expression of and invitation to an alternate modernity. The wartime depiction of Catholic forms in martial settings offered a way to signal distance from the logics of modern war without at the same time abandoning the war and the wider US projects to which it contributed. The images thus helped advance a form of Catholic secularism.     

贵阳北天主堂建筑考察及其历史研究

建于1876年的贵阳北天主堂作为早期出现在中国西南地区的外来宗教建筑,是体现中外文化交流的典型实例,是“文化承续”的产物。本文探究其历史演变,考察其建筑现状及特征,分析其历史文化价值。     

Roman Catholic Background and Psychoanalysis.

The author's Roman Catholic background prepared her to become a psychoanalyst. Biblical words and Christ, God's personal Word, gave the author respect for the meaning of words. The Church's sacraments, suggesting that liturgical actions affect nonvisible levels of reality, pointed to the transformative power of certain symbolic actions and words. The Church helped the author to grasp that in words, actions, and objects there are meanings that transcend ordinary perceptions, which also led her to "converse" with angels, saints, and God as the nonvisible objects matching those of daily life. Discernment of sinful intentions facilitated self-exploration. The uncovering of ulterior motives led to later acceptance of the unconscious. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Muslim Prayer on Picture Postcards of French Algeria, 1900–1960

From 1900 to 1960 French soldiers and visitors to North Africa sent home striking postcards showing Muslims in prayer. As inscribed objects they linked separated family and friends, and were collected, compiled and stored. Based on 2500 of these cards offered on an Internet auction site, this study examines the senders, the receivers, and the attitudes to the prayers in the messages. The latter range from indifference, apprehension, and ridicule to respect and a profound fascination that points to a desire to imagine a shared humanity (“union in prayer”). Like the widely popular Angelus images in France at the time, the Muslim prayer images fed a sustained interest in piety in the natural, public space and offered a visual counterpoint to France’s emergent secularism.