Practices of Photography: Circulation and Mobility in the Nineteenth-Century Mediterranean

Recent theoretical work on the Mediterranean has emphasised the sea as an agent of ‘connectivity’ over a highly fragmented space, bringing peoples, goods, languages, and ideas into contact. Early photography in the Mediterranean manifests this connectivity and mixedness across the whole field of its practice: among photographers, sitters, printers, dealers, consumers, patrons, and even the photographs themselves. Focusing on the eastern Mediterranean, this article treats early photography in its ‘Mediterranean’ context: located within a space of multiple languages, ethnicities, and religions, of personal and commercial networks between cities and across borders, and of spatial and social circulation and exchange. Such an approach complicates the two prevailing scholarly narratives of Mediterranean photography: one based on place, nationality, or ethnicity; the other on Orientalism. Seen in this light, the early history of photography in the Mediterranean may have implications for understanding the ways in which modernisation took hold and operated in the region.     

粤北瑶族服饰现状及装饰特点

粤北瑶族服饰是广东省非常重要的文化遗产之一,以粤北排瑶和过山瑶为例,简述了瑶族服饰的现状,并从服饰细节和装饰特点入手,分析了平装和盛装服饰的细节特点,归纳出粤北瑶族服饰装饰的3种主要形式和2种装饰内容,以期得到保护和挖掘.     

陕西民俗家具——戏箱之剖析

笔者通过对陕西民俗家具的现场调查、搜集和实地测量,叙述了陕西民俗家具——戏箱的地域特征、产生的文化背景,剖析了戏箱的造型、结构特点、色彩、用材以及蕴藏的文化内涵。     

景宁畲族宗教服装的形制及特征

以浙江景宁畲族宗教服装为主要研究对象,运用调查分析、典型例证和史料对比等方法,对景宁畲族宗教体系及相应服装构成特征和宗教文化内涵作了分析和总结.畲族宗教服饰中蕴藏着各种物质与精神的文化因素,蕴藏着深层审美心理与历史传承遗迹.     

莫高窟第281窟大都督王文通供养像补正——兼论敦煌服饰研究中的一些问题

本文通过考察莫高窟第281窟的所有供养人像,认为“大都督王文通供养像”应该是窟内南壁现存隋代供养人像东起第二身,而非一直被学界认为的西壁南侧较大一身男子像。由此提出敦煌服饰研究中所使用的出版物图片或壁画临摹品等存在的一些问题,认为研究应基于对壁画本体的反复辨识,将图像置于洞窟的原生语境中进行考察,以得到更加真实而全面的结论。     

中国古代额头装饰的类型及演变特点

额头是中国古人的一个装饰重点,历史上曾出现多种额头装饰形式,经历了漫长的发展过程。根据装饰手法的不同,把中国古代额饰分为涂敷式额饰、裹扎式额饰、插戴式额饰3种类型,分别阐述了它们的发展演变过程,并从装饰重心、表现手法、制作工艺等方面探讨了中国古代额饰的演变规律,为现代服饰设计提供借鉴。