bluuebunny/crossref_metadata_2025_split huggingface dataset:
Sculptures of Indapaigarh
Authors: Asher Frederick M. 
Published: July 2010

Les sculptures d'lndapaigarh
Le monastère bouddhique du site appelé de nos jours Indapaigarh, à trois kilomètres au sud de Jamui, dans le district de Munger (Bihar), fut remarqué pour la première fois en 1811, mais n'a jamais été fouillé. Le vaste site, clos de murs, révèle les fondations de plusieurs constructions en brique et d'un grand stûpa, également en brique, situé à l'extrémité sud, comme à Nâlandâ. Quelques fouilles sauvages pratiquées par les habitants des villages voisins ont mis au jour douze sculptures toutes conservées dans le nouveau musée de Jamui. Parmi celles-ci neuf sont en pierre et représentent le Buddha ; on peut les dater du VIIe siècle. Aucune sculpture ne représente un Bodhisattva, ce qui est à noter, puisqu'à Bodhgayâ, dont les sculptures de même époque ont stylistiquement beaucoup de points communs avec celles d'lndapaigarh, parmi les nombreuses statues retrouvées, il y a peu de statues de Bodhisattva. Le site d'lndapaigarh a aussi révélé une très belle tête en terre cuite, probablement celle d'un Buddha, que l'on peut dater plus tôt. Deux autres sculptures en pierre sont nettement plus tardives et datent probablement du XIe siècle. L'une est le socle d'un personnage debout, l'autre une image de Bhairava proche des représentations habituellement recontrées dans d'autres sites voisins.
Le monastère de bSam-yas : sources architecturales
Authors: Chayet Anne 
Published: July 2010

bSam-yas monastery : architectural sources.
bSam-yas is considered as the oldest Buddhist monastery in Tibet, built by King Khri-srong Ide-btsan at the end of the Vlllth century. The Records of the Tang dynasty do not mention the monastery and there are but a very few references to it in the ancient Tibetan sources before Xllth century.
The basic figure of the plan is the square : the central temple being included in a square divided into nine, and both the plan and the elevation are organized on the base of number three and multiples. The central temple is three stories high, square shaped
and surrounded by two cross-shaped buildings. The monastery, including twelve minor temples and various buildings, is enclosed within a circular wall.
bSam-yas is traditionaly considered as a manrfala, and as a representation of the Sumeru. The architectural model is often proposed as Indian, but square and cross-shaped patterns existed in Tibet before the coming of Buddhism and Indian influence. Plans found as far as Iran or China can be compared with those of the mawdala and of bSam-yas.
Les traditions Longshan de la région du cours moyen du fleuve Jaune
Authors: Xizhang Yang 
Published: July 2010

The Middle Yellow River Valley Longshan Cultures.
Translated from Chinese, this article presents certain neolithic cultures in China that, as of yet, are not too well known in the West. This general survey of the Middle Yellow River Valley Longshan cultures, made by Yang Xizhang, a member of the Institute of Archaeology of the Chinese Academy of Social Sciences, first appeared in 1984 (in Xin Zhongguo de kaogu faxian he yanjiu — Archaeological Excavation and Researches in New China, 1984, p. 68-85).
After mentioning the main archaeological achievements which have taken place in this vast area since the Liberation, the author makes a detailed presentation of its principal cultures and sites. Their datations stretch between ca. 2800 and 2000 B.C., and the cultures belong to two successive phases. The first one, the so-called Miaodigou II culture, has been identified as a transitional phase between Yangshao and Longshanoid types. The second phase has been subdivided into three cultures : the Henan Longshan Culture, the Shaanxi Longshan Culture and the Taosi Culture. The major sites of Miaodigou II Culture are densely located in two areas, one centered on Tongguan district, the other one around Luoyang-Zhengzhou. Thanks to the many stone implements and animal skeletons which have been discovered, it now becomes possible to have a firm knowledge of agriculture, domestication (pig, dog and possibly cattle and sheep), and economical basis of that culture.
Ceramics are manufactured mainly by the coiling technique and occasionally retouched by rotation. A majority of them are gray, coarse and sandy ; some are fine gray. They are decorated principally by basket impressions or by appliqué, while some others are painted.
Five different cultures belong to the Henan Longshanoid type : they are the Wangwan Culture, the Hougang Culture, the Wangyoufang Culture, the Sanliqiao Culture and the Xiawang- gang Culture. Differences between these five cultures — some of them are occasionally grouped together — are mostly based on ceramic types. The Shaanxi Longshanoid type, identified for the first time in Kexingzhuang, is sometimes called Kexingzhuang II Culture. Many remains of semisubterranean houses with one or two rooms, of pocket-shaped storage pits, stone and bone implements and so on have been found on this site and other sites along the Wei-shui River. Some of the ceramic vessels are related to the Qijia Culture's ceramics, but others to Henan Longshanoid type. Because of their specific characteristics, the remains of the Taosi type seem to be limited to the Fen River Valley sites and have to be set apart from the two other types mentioned before. The last part of the article is devoted to society and economics of the Middle Yellow River Valley Longshan cultures.
Sacrificial pits of the Shang period at Sanxingdui in Guanghan county, Sichuan Province
Authors: Bagley Robert W. 
Published: July 2010

Fosses sacrificielles de l'époque Shang à Sanxingdui dans le district de Guanghan, Sichuan.
En juillet et en août 1986, les archéologues de la province du Sichuan ont fouillé deux remarquables fosses sacrificielles en un lieu appelé Sanxingdui dans le district de Guanghan. Les fouilleurs ont attribué les deux fosses au XIIIe ou au XIIe siècle avant notre ère (la première moitié de l'époque d'Anyang) ; la fosse n° 1 serait antérieure d'environ une génération à la fosse n° 2. Les fosses paraissent contenir les vestiges de cérémonies au cours desquelles les offrandes sacrificielles ont été d'abord brûlées puis enterrées. Plus de trois cents objets ont été mis au jour dans la fosse n° 1, plus de quatre cents dans la fosse n° 2. La fosse n° 1 contenait des objets en or, en bronze et en jade et de nombreux cauris, treize défenses d'éléphants, et plus de trois m3 d'ossements d'animaux carbonisés ; parmi les bronzes, on a trouvé un certain nombre d'extraordinaires têtes humaines grandeur nature. Le contenu de la fosse n° 2 était similaire, mais plus riche : le rapport mentionne soixante-dix défenses d'éléphants, plus de quarante têtes en bronze, plus de dix visages en bronze (certains fort étranges), et un personnage grandeur nature en bronze debout sur un piédestal en bronze. Il semble
bien que les têtes en bronze aient été fondues sur place ; mais les autres objets provenant des deux fosses font penser que les habitants de Sanxingdui étaient en contact avec des régions situées loin à l'Est, en aval du Yangzi et aussi avec l'État des Shang dans la vallée du cours moyen du fleuve Jaune (et les découvertes faites sur d'autres sites proches de Sanxingdui révèlent également l'existence de contacts avec les populations Zhou de la vallée de la Wei). Les deux fosses sacrificielles ne représentent que les vestiges les plus spectaculaires d'un site ancien très étendu à Sanxingdui dont les restes couvriraient dix km2 et comprennent les remparts massifs d'une ville. En outre, les fouilles conduites à Sanxingdui et sur un site à une quarantaine de kilomètres de là, à Chengdu, ont révélé une succession ininterrompue de cultures locales dans le bassin du Sichuan depuis la période néolithique jusqu'à la dynastie Han. Comme la culture Shang de Sanxingdui paraît l'ancêtre de la culture Shu bien connue de l'époque des Zhou orientaux, les archéologues la désignent sous le terme de « culture proto- Shu ».
La céramique chinoise de Qalʽat al Ṣuḥâr
Authors: Pirazzoli-t'Serstevens Michèle 
Published: July 2010

The Chinese ceramics from Qal'at al- Suhâr
The site of Qal'at al-Suhâr on the coast of the Sultanate of Oman, has been excavated by the French archaeological team in Bahrain and Oman conducted by Monique Kervran from 1980 to 1982. The fortress was built in the 13th-14th century above a residential quarter of 9th- 1 1 th century Suhâr. The fort was later constantly altered and partly rebuilt right up until the present century.
The Chinese material presented here comes from surveys (1980), the excavation of the fort itself, stratigraphie soundings made perpendicular to the outside of the wall. The sherds have been grouped in series and only some pieces, representatives of each series, are illustrated and described in the catalogue. A
study of the Chinese ceramics excavated shows that the Chinese sherds are very abundant, varied and of a rather high quality (white and qingbai wares, Yue ware, Changsha, Xicun...) for the period of the second half of the 9th century until the beginning of the 12th century, which corresponds to the most flourishing period of Suhâr, when the port, like Sîrâf, traded with China, India and the Oriental coast of Africa. Very few specimens were found from the 14th century (celadon and qingbai) to the beginning of 17th century (kraakporselein) . The site yielded a huge quantity of coarse export ware, mainly 19th century. The gap (12th- 18th century) noted in the Chinese material could correspond to the decline of Suhâr's international status.
Démons et merveilles : vision de la nature dans une peinture liturgique du XVe siècle
Authors: Gyss-Vermande Caroline 
Published: July 2010

Démons et merveilles : the Vision of Nature in a fifteenth Century Painting.
The Musée Guimet has in its possession an important collection of Chinese paintings (150 items), purchased in Peking in 1900 by Paul Pelliot for the École Française d'Extrême-Orient. These paintings were deposited in the Louvre in 1904. They include three sets of liturgical scrolls which despite being incomplete, are of the greatest importance. First, there is a set of thirty three paintings dated 1454 (Series A). A second set of seventy four paintings dates apparently from the nineteenth century (Series B). The third series is composed of seven scrolls (out of an original set of ten), depicting the ten courts of hell (Series C).
None of these paintings were intended for purely " decorative " uses. On the contrary, they were meant to be hung in a prescribed sequence, in a ritual context. This fact has hitherto not been noted, since the religious paintings kept in western museums are usually detached from the liturgical series of which they originally formed part. Thus, even incomplete
sequences of religious paintings are invaluable in the work of reconstructing the true function of liturgical art.
The scrolls in sets A and B were created in conjunction with one of the largest of modern Chinese rituals, the Fast of Water and Earth (shuilu zhai) : a comprehensive, seven-day liturgy of universal salvation.
In the present article, I study one painting from Series A, (N° EO 684 in the Pelliot collection), representing the " Deities of Nature ". In this scroll we find figures of the most diverse origins in close association : The " General of Desert Places " (an Indian god co-opted by Tantric Buddhism), spirits from ancient Chinese religion, and local deities of modern China. This composition is of great iconographie richness and stylistic magnificence. It illustrates in striking fashion the vast theological work of harmonization and synthesis undertaken by liturgists in concert with painters, in the all-embracing context of the Fast of Water and Earth.
Restitution des palais européens du Yuanmingyuan
Authors: Durand Antoine 
Published: July 2010

The European Palaces of the Yuanmingyuan ideal restored.
Built for the most part between 1747 and 1759 by Jesuits working for the Qianlong Emperor, the European Palaces of the Yuanmingyuan, burnt in 1860, are now the object of an extensive study undertaken in Paris by the Mission Palais d'Été. An important part of the work consists in a restoration of the site, based on 18th century engravings, early 20th century architectural studies, and old photographs. This article presents the method used for the restorations, and the results obtained at this point.
Une tête angkorienne de Harihara
Authors: Boisselier Jean 
Published: July 2010

The importance of Harihara worship in pre-Angkorean Cambodia is well known. As far as Angkorean Period is concerned, in spite of several epigraphical testimonies, two images of that god only were known up to a recent date. The head which we are presenting here allows us to contribute to fill that gap. Datable from the third quarter of the tenth century (Pré Rup style) , it is to be placed chronologically in between the two already known images. While being a very good sample of Pré Rup style, it shows however an obvious faithfulness to the previous iconographie tradition.
The exact origin of the image is unknown. We have tried to ascertain it, using the few scanty clues which were at our disposal. The head has been found in the years 1883-1885, which correspond to a dark and agitated period, it would appear that it came from Oudong, where are known ancient royal palaces as well as numerous buddhist temples ; there, until now, are found quite a number of Khmer images from various periods.
Going through epigraphy to look for some more information, we have discovered that a Prasat Komphus inscription contemporary with the head we are publishing and written by a brahmine of Indian stock, could add usefully to our knowledge of Pré Rup style Harihara-s : thus the god attributes listed here are the same than those held by the Bakong Harihara (dated AD 881).
Chu Influences on the Development of Han bronze vessels
Authors: Rawson Jessica 
Published: July 2010

On a souvent remarqué que des changements sont intervenus dans le répertoire des vases en bronze au début des Han. Dans cet article sont étudiés certains de ces changements vus sous l'angle de l'influence que l'ancien royaume de Chu exerçait encore à l'époque Han.
Un certain nombre de types de vases parmi les plus importants dérivent de laques méridionaux, y compris les coupes à oreilles pour le vin et les vases cylindriques connus sous les noms de zun et de zhi. Ces laques furent adoptés par Qin après qu'il eut conquis Chu, et progressivement englobés dans les répertoires des dynasties Qin et Han des régions métropolitaines.
Trois types de vases trouvés dans les tombes Han de Mancheng, le boshanlu, le vase hu à haute encolure munie d'une anse en forme de chaîne, et des coupes jumelles cylindriques que supporte un oiseau perché sur un félin, trouvent tous une source directe à Chu. Il n'y a que peu de raisons, sinon aucune raison, de penser que ces bronzes étaient populaires à Qin. Au contraire, ils semblent avoir été adoptés par les Han, s'essayant à imiter les coutumes de Chu.
En plus de ces catégories de vases, les Han semblent avoir tiré de Chu une part de l'intérêt qu'ils portèrent aux figures à caractère sculptural et servant de supports de vases, à l'usage des incrustations d'or et d'argent, à la dorure. Ces techniques qui semblent réservées au décor des vases appartenant aux types les plus importants, ont servi à distinguer ces bronzes de pièces décorées moins somptueusement. La distinction de plusieurs catégories différentes dans le répertoire même des vases en bronze reflète des soucis d'ordre religieux et social.
Pétroglyphes archaïques du Ladakh et du Zanskar
Authors: Francfort Henri-Paul , Klodzinski Daniel , Mascle Georges 
Published: July 2010

The authors have collected a number of rock engravings in Ladakh and Zanskar. A selection is published here, dating from Bronze and Iron Age. Beside the expected parallels engraved in Upper Indus Valley (Karakorum Highway) and Western Tibet there is also evidence for relations with Central Asia (Kazakhstan, Altai, Mongolia). The images of the Bronze Age cultures of Okunevo (2nd mill.), Karasuk (end of 2nd mill.) and of the Iron Age Saka animal style ("Early Nomads") are clearly represented. Unexpectedly, some petroglyphs exhibit specific analogies with particular material from China: a Western Zhou burial and a number of figures on bronzes of pictorial style. The petroglyphs of the upper reaches of the Indus include therefore representations inspired by Achaemenid, Central Asiatic and Chinese arts.
The historical reasons and mechanisms for such links cannot be completely explained; further field research is necessary towards the elaboration of a corpus of petroglyphs from Central Asia.
Note sur des sculptures sur bois de Luang Prabang représentant des scènes du Rāmāyaṇa
Authors: Giteau Madeleine 
Published: July 2010

The sceneries of Ramayana sculpted on the wooden parts of the monasteries in Luang Prabang, do not depict the real Lao version of the Ramayana, the Phra Lak Phra Lam, but either the Valmiki Ramayana or the Ramakerti "Glory of Rama" (Khmer Reamker of the 16th or 17th century, more recently the Thai Ramakian). A sculpted beam in Vat May temple in Luang Prabang, describes the first episodes of the Ramakian; through very altered interpretations of the Indian myths, the artist told about the origin of the main characters in the epic.
In Vat Xieng Thong monastery, a chapel erected by the last Laotian king to shelter the royal funeral furniture, is decorated with wall panels and wooden sculpted and guilded corbels. The panels depict the heroic exploits of Rama and are close to the Valmiki tradition whereas on the corbels, the sculptor was inspired by the Ramakerti. Isolated episodes ornament the folding panels and flash-screens of the lighting brackets of several sanctuaries. The pictures thus represented must glorify Rama but they often give the leading role to his allied, his brother Laksmana or the monkeys, especially Hanuman.
The sculptor of Vat May is an image-carver who retained mostly the anecdotical side of the legends which he told with the animation of a story-teller. In Vat Xieng Thong, the artist, rejecting all realistic scenery, sought to adapt his compositions -to the surfaces he had to decorate and to the texts which inspired him; that is why he knew how to impregnate his heroes with the buddhistic atmosphere that is proper to the Ramakerti.
Quelques caractéristiques de la peinture des lettrés en Corée, comparées à la Chine
Authors: Ann-Baron Ok-sung 
Published: July 2010

The XVIIIth century during which deep social cultural changes took place in the Korean society, reaches the apogee of the Korean literati painting. The art of that time is to be particularly distinguished by its remarkable originality with regard to the other periods of its long pictural history. In opposition to the points of view, traditionnally Chinese in the literati painting, the Korean art saw its evolution in ite own cultural conditions, through its purely Korean, artistical conceptions and languages.
In the field of the literati painting, the artistic creation of the professional painters is as important as the one of the literati, which is not the case in China.
In order to give a better description of the Korean painting of the time, I used the distinction between the Southern and Northern schools in an historical comparison with China. Whereas in China the development of both schools was parallel although being opposed to each other, in Korea, the evolution was different — both styles instead of being opposed were going to interpenetrate themselves, an eclectic style followed to reach an extreme wealth.
I tried too to make you discover the Korean painting theories through eminent art critics. The supreme value of beauty pursued by the literati painters as well as by the professionals, was connected to the aesthetics of the literati according the ideal of neo-confucianism. This part of my work (lid part) together with the properly comparative one (IVth part) was focussed on aesthetics (through various theories) and on the pictural analysis of the "painting" itself.
As a matter of fact, nothing but a thematic analysis can reveal the characteristics proper to each painting. The composition, the combination laws, the preferences of some motives, the patterns were analysed in a comparative perspective. We tried to support the comparison, using two systems of representations recommended by the Korean and Chinese painters. Always object of reference, China, equally in the scope of this painting, holds an outstanding position, but owing to the contribution of the literati in the XVIIIth century, the Korean painting succeeds to free itself and to make its own conceptions evolve, conceptions where the cultural particularisms of Korea are reflected.
Les Messagers divins et leur iconographie
Authors: Gyss-Vermande Caroline 
Published: July 2010

The Messengers (shizhe) constitute a category of divinities represented in all the liturgical compositions connected with the Fast of Water and Earth (Shuilu zhai). This important syncretic ritual of universal salvation, which developed in China during the Sung period (10th- 13th century), is still practised to-day. On this occasion, large sets of vertical scrolls are hung around the sacred area. These scrolls illustrate an oecumenical pantheon which associates buddhist and taoist divinities, spirits of ancient china, and gods imported from faraway countries. The representations of all strata of human society complete this image of a universe hierarchically structured.
The Divine Messengers, while not constituting a central theme in the iconography of the Shuilu zhai, nevertheless present a particular interest. Dressed as imperial couriers, these young soldiers come and go carrying messages to the numerous administrations of Heaven and Hell. We again find these divinities in the very heart of the ritual activities where paper statues representing the messengers riding horses are loaded with documents and then burnt during the course of the Shuilu zhai. The Divine Messengers play a major role in highlighting the link between liturgical action and iconographie canon. Furthermore, archeology and textual sources testify to the deep roots of the theme of the Divine Messengers in Chinese cultural History.