跨文化美術(shù)史年鑒1：一個(gè)故事的兩種講法

導(dǎo)論：為什么故事總是可以有兩種講法？李軍
Introduction: Why Could a Story Always be Told in Two Ways?
方法論視野 Methodological Perspective
17 從圖像的重影看跨文化美術(shù)史 李軍
Understanding Transcultural History of Art from the Perspective of Image's
Doubles 43 “從東方升起的天使”：一個(gè)故事的兩種講法 李軍
“The Angel Rising from the Orient”: A Story Told in Two Ways 81 褻瀆還是承恩：14 世紀(jì)《耶穌受難圖》中的蒙古人形象再議 鄭伊看
Blaspheming or Receiving Grace: Revisiting the Image of the Mongol in a 14th
Century Crucifixion 97 “史實(shí)為體 , 西圖為用”：《平定準(zhǔn)噶爾回部得勝圖》新探 楊迪
Historical Text Aided with Western Painting Technique: A Further Study on
Conquêtes de l'Empereur de la Chine
跨文化美術(shù)史研究
2
裝飾、器物與物質(zhì)文化 Ornament, Object, and Material Culture
125 從中國(guó)蓮花到石榴型圖案：15 世紀(jì)意大利紡織品設(shè)計(jì)的東方來(lái)源 石榴
From Chinese Lotus to“Pomegranate Motif”: The Oriental Origin of Italian
Textile Design in the 15th Century 169 麥森瓷“藍(lán)色洋蔥”圖案的前世今生 李璠
Past and Present of the“Blue Onion”P(pán)attern of Meissen Porcelain 205 印度花卉？德國(guó)花卉？——18 世紀(jì)麥森瓷器花卉圖案研究 王婧博
Indian Flower? German Flower? —A Study of the Floral Patterns of Meissen
Porcelain in the 18th Century 253 跨文化視野下看“繪畫(huà)中的裝飾性”：龐薰琹眼中的波提切利 楊肖
Viewing“the Décoratif in Painting”in a Transcultural Perspective: Botticelli
in Pang Xunqin's Eye
大書(shū)小書(shū) Book Reviews
263 貼近細(xì)節(jié)的美術(shù)史——評(píng)《伊斯蘭中國(guó)風(fēng) : 蒙古伊朗的藝術(shù)》 吳天躍
An Art History Scrutinizing the Details: A Book Review of I slamic Chinoiserie:
The Art of Mongol Iran 273 《伊斯蘭中國(guó)風(fēng)：蒙古伊朗的藝術(shù)》內(nèi)容概覽 李璠
An Overview of Islamic Chinoiserie: The Art of Mongol Iran
目 錄
3
291 中國(guó)的犁耕皇帝：歐洲啟蒙運(yùn)動(dòng)中新統(tǒng)治思想的示范 [ 德 ] 蘇珊·里希特／文、
趙娟／譯
The Plowing Emperors of China: Examples of a New Conception of Rule in the
Enlightenment in Europe
舊典新文 Translated Articles
313 中國(guó)繪畫(huà)之于 14 世紀(jì)意大利繪畫(huà)的影響 [ 俄 ] 普辛納／文、劉爽／譯
The Chinese Influence on the Trecento Italian Painting 341 元朝時(shí)期中亞絲綢設(shè)計(jì)的本土元素及其對(duì)意大利哥特式絲綢的影響 [美] 安妮·沃
德維爾／文、石榴／譯
Indigenous Elements in Central Asian Silk Designs of the Mongol Period, and
Their Impact on Italian Gothic Silks 355 斯亞·加拉姆與龔開(kāi)：一位伊斯坦布爾的冊(cè)頁(yè)畫(huà)師與一位元代的中國(guó)畫(huà)家 [美] 夏
南悉／文、潘桑柔／譯
Siyah Qalem and Gong Kai: An Istanbul Album Painter and a Chinese Painter
of the Mongolian Period 371 尋找失樂(lè)園：論喜龍仁的中國(guó)園林藝術(shù)研究 [ 瑞典 ] 米娜·托瑪／文、李璠／譯
In Search of Paradise Lost: Osvald Sirén's Scholarship on Garden Art
現(xiàn)場(chǎng) Dialogues and Reports

387 學(xué)術(shù)轉(zhuǎn)化為藝術(shù) ——獨(dú)家解讀湘博展“在最遙遠(yuǎn)的地方尋找故鄉(xiāng)：13-16 世紀(jì)中
國(guó)與意大利的跨文化交流” 李軍 潘桑柔
Transforming Knowledge into Art—An Exclusive Interpretation of the
Exhibition Finding a Homeland at the End of the World: The Trans-cultural
Exchanges and Interactions Between China and Italy from the 13th to the
16th Century Hosted by Hunan Museum 405 解讀國(guó)博展“無(wú)問(wèn)西東：從絲綢之路到文藝復(fù)興”的三把鑰匙 李軍 潘桑柔
Three Keys for Interpreting the Exhibition Embracing the Orient and the
Occident: When the Silk Road Meets the Renaissance Hosted by National
Museum of China