本书在传统金文学视域内，分析了金文学作为一门专门学问兴起于宋代的原因，探讨了宋代金文考释的基本方法，总结了宋人对金文构形特点的认识，梳理了宋人对青铜器物和铭文的搜集与著录，评价了宋代金文学的学术价值与影响，作者依据一手资料，对宋代金文学进行深入研究，为文字学通史的研究提供断代研究的资料。

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself.
These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years—sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists.
From this emerges a materialist theory—an embodied, erotic relationship to art and to the world. Marks’s approach leads to an appreciation of the works’ mortal bodies: film’s volatile emulsion, video’s fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.

This lavishly illustrated volume is the first major global history of ornament from the Middle Ages to today. Crossing historical and geographical boundaries in unprecedented ways and considering the role of ornament in both art and architecture, Histories of Ornament offers a nuanced examination that integrates medieval, Renaissance, baroque, and modern Euroamerican traditions with their Islamic, Indian, Chinese, and Mesoamerican counterparts. At a time when ornament has re-emerged in architectural practice and is a topic of growing interest to art and architectural historians, the book reveals how the long history of ornament illuminates its global resurgence today.
Organized by thematic sections on the significance, influence, and role of ornament, the book addresses ornament's current revival in architecture, its historiography and theories, its transcontinental mobility in medieval and early modern Europe and the Middle East, and its place in the context of industrialization and modernism. Throughout, Histories of Ornament emphasizes the portability and politics of ornament, figuration versus abstraction, cross-cultural dialogues, and the constant negotiation of local and global traditions.
Featuring original essays by more than two dozen scholars from around the world, this authoritative and wide-ranging book provides an indispensable reference on the histories of ornament in a global context.
Contributors include: Michele Bacci (Fribourg University); Anna Contadini (University of London); Thomas B. F. Cummins (Harvard); Chanchal Dadlani (Wake Forest); Daniela del Pesco (Universita degli Studi Roma Tre); Vittoria Di Palma (USC); Anne Dunlop (University of Melbourne); Marzia Faietti (University of Bologna); María Judith Feliciano (independent scholar); Finbarr Barry Flood (NYU); Jonathan Hay (NYU); Christopher P. Heuer (Clark Art); Rémi Labrusse (Université Paris Ouest Nanterre la Défense); Gülru Necipoğlu (Harvard); Marco Rosario Nobile (University of Palermo); Oya Pancaroğlu (Bosphorus University); Spyros Papapetros (Princeton); Alina Payne (Harvard); Antoine Picon (Harvard); David Pullins (Harvard); Jennifer L. Roberts (Harvard); David J. Roxburgh (Harvard); Hashim Sarkis (MIT); Robin Schuldenfrei (Courtauld); Avinoam Shalem (Columbia); and Gerhard Wolf (KHI, Florence).

这是一部暴露官僚贪污，衙门积弊，监狱黑暗的谴责小说。书中写十五个惊心动魄的故事。涉及全国大部地区，所发生的事件复杂、残酷，令人发指。其间有县官、知事、县吏无所不用的逼供，想入非非的酷刑；胥吏对讼家两面挑拨，敲诈欺骗的伎俩；衙役去乡间打秋风、强奸妇女不成，便陷人入狱的行径，而所谓的清官其实是个专制造刑具的虐待狂。由于官吏酷，讼师右恶，政府糊涂，致使无辜人家有飞来之祸，党狱横生。社会公害也趁机出笼。发生了泰安知县置匪不问，致匪徒入城，害民二十九条事；天长县捕头与盗匪串通抢劫、坐地分赃；砀山县大盗用钱买得官做，手下匪徒一应高升事。凡此种种，搞得风声鹤唳，民不聊生。是书借用章回写短篇故事，是中国描写监狱黑暗，惨毒酷刑的第一部书。被称为中国的监狱史。

From Neolithic times to the present day, the Yellow River and its watershed have both shaped and been shaped by human society. Using the Yellow River as a case study in understanding the long-term effects of environmentally significant human activity, Ruth Mostern unravels the long history of the human relationship with water and soil and the consequences, at times disastrous, of ecological transformations that resulted from human decisions.
As she follows the Yellow River through three millennia of history, Mostern underlines how governments consistently ignored dynamic interrelationships among the river’s varied ecosystems—grasslands, riparian forests, wetlands, and deserts—and the ecological and cultural impact of their policies. With an interdisciplinary approach informed by archival research and GIS (geographical information system) records, this groundbreaking volume provides unique insight into patterns, transformations, and devastating ruptures throughout ecological history and offers profound conclusions about the way we continue to affect the natural systems upon which we depend.

《山西寺观壁画》特点为：一 此书是系统记录山西古代寺观壁画现状的资料性图集。全书以实地调查和文献考证后获得的文字资料为主，配有反映各个时代壁画风貌的彩色图版。
二 文字部分由全面论叙山西古代寺观壁画演变的总论、按时代论叙历代寺观壁画的分论和具体论叙每个时代典型作品的专论组成。同时，还配有记录有关数据的图表，以资参照。
三 彩色图版精选每个时代的典型作品，用以展示其艺术风格和绘画技巧。为配合读者欣赏，还配有翔实的图版说明。
四 文、图的编排在基本框架上以时代的先后为序，每个时代的作品又根据其艺术价值、保存状况的优劣进行编排。
五 图版说明中标注的画面尺寸，是此书经过剪裁后画面的实际尺寸。

Typically, in the Western philosophical tradition, the presence of paradox and contradictions is taken to signal the failure or refutation of a theory or line of thinking. This aversion to paradox rests on the commitment-whether implicit or explicit-to the view that reality must be consistent.
In What Can't be Said, Yasuo Deguchi, Jay L. Garfield, Graham Priest, and Robert H. Sharf extend their earlier arguments that the discovery of paradox and contradiction can deepen rather than disprove a philosophical position, and confirm these ideas in the context of East Asian philosophy. They claim that, unlike most Western philosophers, many East Asian philosophers embraced paradox, and provide textual evidence for this claim. Examining two classical Daoist texts, the Daodejing and the Zhaungzi, as well as the trajectory of Buddhism in East Asia, including works from the Sanlun, Tiantai, Chan, and Zen traditions and culminating with the Kyoto school of philosophy, they argue that these philosophers' commitment to paradox reflects an understanding of reality as inherently paradoxical, revealing significant philosophical insights.

This is a study of the earliest and finest collated inscription in the history of Chinese calligraphy, the Ji Wang shengjiao xu 集王聖教序 (Preface to the Sacred Teaching Scriptures Translated by Xuanzang in Wang Xizhi’s Collated Characters), which was erected on January 1, 673. The stele records the two texts written by the Tang emperors Taizong (599–649) and Gaozong (628–683) in honor of the monk Xuanzang (d. 664) and the Buddhist scripture Xin jing (Heart Sutra), collated in the semi-cursive characters of the great master of Chinese calligraphy, Wang Xizhi (303–361). It is thus a Buddhist inscription that combines Buddhist authority, political power, and artistic charm in one single monument. The present book reconstructs the multifaceted context in which the stele was devised, aiming at highlighting the specific role calligraphy played in the propagation and protection of Buddhism in medieval China.

本书是对20世纪20年代流出海外的一批元明两代晋南寺观壁画，和现存于晋南寺庙宫观中的壁画遗存所作的综合研究。通过对前辈学者的考察笔记和研究成果进行严谨的梳理和分析，结合相关的文献典籍，考释或纠正了壁画中人物的身份、壁画画家和成画年代。重构了兴化寺寺院的结构、壁画的配置和礼佛的图像程序；揭示出广胜寺下寺的壁画配置与元代平阳大地震后国家祭祀活动的关系。
此外，通过对壁画中现存画工题记的分析，及将晋南有关寺观壁画与永乐宫三清殿壁画进行比对，认为它们参照使用了同一套粉本或壁画小样；同时推断壁画创作者应为元代晋南著名壁画师朱好古的画工班子，为中国美术史提供了修正的依据。元代晋南寺观壁画群反映出以朱好古为首的晋南画派高超的艺术水平，他们应该在中国美术史中占有重要的一页。

引頸期盼的震撼巨作
首刷量打破十年內詩集紀錄
全書收錄詩作436首
談感情、論社會，大膽揭露現代生活的真實樣貌
幽默且犀利，厭世又深情
每翻開一頁都是一次對大腦的重擊
吳芬用直白、露骨的文字，結合他獨特的幽默感，描寫強烈深刻的愛情體驗、備受壓抑的同性戀處境、政治現況的批判與關懷，與現代都市中荒謬冰冷的人際相處，題材或輕或重，卻處處充滿智趣機鋒，彌漫著嘲諷（或自嘲）式的冷酷況味，玩心與反叛性兼具，令人時而捧腹大笑、時而義憤填膺，時而又黯然神傷。
◎ 現代人
對著電腦
手淫
對著手機
露下體
對著鏡子
拍照片
對著愛人
一語不發
◎ 我養的貓經常像是我的前任男友
喜歡吃
不太理人
毛還一大堆
◎ 生日願望
希望下輩子是一支高端手機
這樣就可以被你保護得很好並且
能夠讓你一直盯著我看還能
使用超過兩年半
◎ 我們的愛
——寫給男同性戀與自己
我們能夠射精
射進比陰道
比任何湖泊
都還要更深的地方
我們不能夠
像異性戀一樣
利用精子來奉子成婚
一輩子幸福快樂
（即使是假裝）
我們能夠將愛
輕鬆地做
如兒戲般地做
每當要談
卻總是困難
我們不能夠締結成為連理
無論是以何種高潮
從這個奶頭越過另外一座山頭
鳥就是沒有鳥用
屁眼也不會有任何屁用

北宋时期，中国传统哲学正处于由三教鼎立到理学独尊之间的过渡阶段．儒、佛、道三教之间的会通与冲突达到了新的阶段、各派新儒学蜂起并就儒家学派内部的道统、经学、义理展开论争，呈现出媲美先秦诸子百家争鸣的学术格局。对北宋哲学思潮的发展脉络加以梳理，有助于深入了解中国传统哲学的发展历程，也可以为我们今天的哲学创新提供历史借鉴。本书以学术史为基础，从整体上对北朱哲学思潮作了梳理，但限于个人学殖和悟性，其中还有很多粗疏之处，现将写作的基本情况作一概述，敬请方家教正。

Since the dawn of history people have used charms and spells to try to control their environment, and forms of divination to try to foresee the otherwise unpredictable chances of life. Many of these techniques were called 'superstitious' by educated elites. For centuries religious believers used 'superstition' as a term of abuse to denounce another religion that they thought inferior, or to criticize their fellow-believers for practising their faith 'wrongly'. From the Middle Ages to the Enlightenment, scholars argued over what 'superstition' was, how to identify it, and how to persuade people to avoid it. Learned believers in demons and witchcraft, in their treatises and sermons, tried to make 'rational' sense of popular superstitions by blaming them on the deceptive tricks of seductive demons. Every major movement in Christian thought, from rival schools of medieval theology through to the Renaissance, the Reformation, and the Enlightenment, added new twists to the debates over superstition. Protestants saw Catholics as superstitious, and vice versa. Enlightened philosophers mocked traditional cults as superstitions. Eventually, the learned lost their worry about popular belief, and turned instead to chronicling and preserving 'superstitious' customs as folklore and ethnic heritage. Enchanted Europe is the first comprehensive, integrated account of western Europe's long, complex dialogue with its own folklore and popular beliefs. Drawing on many little-known and rarely used texts, Euan Cameron constructs a compelling narrative of the rise, diversification, and decline of popular 'superstition' in the European mind.

Tracing how the color blue has shaped human perception from our deep evolutionary past to our digital age, Pamela Rosenkranz's multilayered works activate historical references to art, culture, and religion. Alien Blue Light, an intervention in the Fraumünster cloister in Zurich as part of the city's five-hundred-year anniversary celebrations of the Reformation, reflects on historical shifts in religion. In the immersive installation, which at once evokes the supernatural and the artificial, the historical architecture of the cloister collides with a posthuman future. Similarly, in the preceding exhibition Alien Culture at GAMeC, a former monastery in Bergamo that has been converted into a museum, overpainted digital reproductions of Gentile Bellini's Renaissance painting Miracolo della reliquia della Croce al ponte di San Lorenzo (1500) link ancient religious practices with contemporary visual culture. Published as part of the Reformation celebrations “500 Years of Zurich Reformation.”

The Western Han dynasty (202 BCE–9 CE) was a foundational period for the artistic culture of ancient China, a fact particularly visible in the era’s funerary art. Iconic forms of Chinese art such as dazzling suits of jade; cavernous, rock-cut mountain tombs; fancifully ornate wall paintings; and armies of miniature terracotta warriors were prepared for the tombs of the elite during this period. Many of the finest objects of the Western Han have been excavated from the tombs of kings, who administered local provinces on behalf of the emperors.
Allison R. Miller paints a new picture of elite art production by revealing the contributions of the kings to Western Han artistic culture. She demonstrates that the kings were not mere imitators of the imperial court but rather innovators, employing local materials and workshops and experimenting with new techniques to challenge the artistic hegemony of the imperial house. Tombs and funerary art, Miller contends, functioned as an important vehicle of political expression as kings strove to persuade the population and other elites of their legitimacy. Through case studies of five genres of royal art, Miller argues that the political structure of the early Western Han, with the emperor as one ruler among peers, benefited artistic production and innovation. Kingly Splendor brings together close readings of funerary art and architecture with nuanced analyses of political and institutional dynamics to provide an interdisciplinary revisionist history of the early Western Han.

☀内容简介
本书为日本文化学者、翻译家涩泽龙彦的博物随笔集。作者自如地游走于古今东西秘闻的纵深沟壑中，在幻想与现实的错位间穿梭延展，于不同的学科分野间恣意跳跃，引经据典，凭借过人的想象力与敏锐的感观，探讨了机关人偶、怪物、天使等各种趣味话题，以物的历史讲述社会文化史。
☀名人推荐
要是没有了这个人，日本会是一个多么寂寞的国家啊。
——三岛由纪夫
我在六十年代出版的作品里，个人最喜欢的是这本《梦的宇宙志》。通过写这本书，我找到了自己的随笔风格。——涩泽龙彦
☀编辑推荐
1.涩泽龙彦自承，在六十年代出版的作品里，《梦的宇宙志》是他个人最喜欢的。通过写这本书，这位美的异端分子、神秘主义的收藏家找到了自己的随笔风格。所以本书堪称他的关键之作。
2.这本书的核心主题是人的变形。作者以其令人眼花缭乱的博学，写到机关人偶、怪物、雌雄双性体、天使等具象，以展示人所做的“超越身为人类的局限”的永恒之梦。
3.在方法论或者表达的道德上，涩泽龙彦将形而上学视为“交给仆人去办的玩意儿”，强调用形象思考，用肉体表现精神性，于是情色主义、性学和末日论等原本抽象的问题，变成了观念的圆形运动。
4.本书的每一页都是经过设计师精心的、创造性的排版，使涩泽龙彦独特的风格和趣味具象可见。

The Therīgāthā, composed more than two millennia ago, is an anthology of poems in the Pali language by and about the first Buddhist women. These women were therīs, the senior ones, among ordained Buddhist women, and they bore that epithet because of their religious achievements. The poems they left behind are arguably among the most ancient examples of women’s writing in the world and they are unmatched for their quality of personal expression and the extraordinary insight they offer into the lives of women in the ancient Indian past―and indeed, into the lives of women as such.
This new version of the Therīgāthā, based on a careful reassessment of the major editions of the work and printed in the Roman script common for modern editions of Pali texts, offers the most powerful and the most readable translation ever achieved in English.
The Murty Classical Library of India makes available original texts and modern English translations of the masterpieces of literature and thought from across the whole spectrum of Indic languages over the past two millennia in the most authoritative and accessible formats on offer anywhere.

就像慕布里奇在一百多年前独自面对一个裸女、一位骑手、一个婴儿或是一只手，一次次按下快门线，写下一首首轻盈的循环短诗，影像写作者将以自己的孤独还“光体”最初的纯洁。在巴赞的“完整的电影”梦想破灭之处，时代将重新出发，走向“完整的世界之影”。它不再试图实施对世界的完整模拟，而是要在众多偏面的、受局限的个人的无限写作中求得语言与面目的完整。它既不完全嵌入世界，也不在意替代世界，它将自成世界。
出现在我们眼前的光体不再只由反光与阴影织成，更多地，将是发光粒子本身，它的单位亮度紧追着太阳。在我们直视太阳之后，我们眼前会漂满黑斑。人类或许能够克服直视人造光源对于眼睛的伤害，但将难以避免直视更为强大的孤独巨人创造的影像对我们内心那双眼睛的刺痛。那些我们无法直视的瞬间，我们无法直视的他人命运，将变成一束束细小尖锐的光直接刺入我们内心那双眼睛，在它们的视网膜上留下飘动黑斑。
电影已经终结，影像写作刚刚被发明。日出之时，“世界之影”已初现其动人的轮廓。走近它，需要的不是勇气，而是对独行之乐永不枯竭的热情。