Method

王國維先生所提倡的「二重證據法」是整個二十世紀中國古代文化史上最有名的研究方法。然而，1982年饒宗頤先生又提出了「三重證據法」，就是在王國維「紙上之材料」和「地下之材料」以外，再加上物質文化證據。在2003年，饒先生又談了學術方法，又增加了兩種「間接史料」，即「民族學資料」和「異邦古史資料」。甚麼叫做證據，要怎樣利用證據，要怎樣判斷證據的輕重都是歷史學家的先決問題。王國維和饒宗頤的觀點可以算是現

The field of transnational American studies is going through a paradigm shift from the transatlantic to the transpacific. This volume demonstrates a critical method of engaging the Asia Pacific: the c

Since the beginning of the new century, Professor Jao has been furthering his techniques of lotus painting with modulation through brush method, coloration and even composition, many of which has not

Ikat Textiles of the Indonesian Archipelago offers a comprehensive overview of the profusion of ikat styles found across Indonesia, and is the first detailed reference book on the subject. Assessing Peter ten Hoopen’s Pusaka Collection from a scholarly point of view, it is worth acknowledging how it illustrates the concept of ‘unity in diversity’, which the young state of Indonesia chose as its motto upon independence. Here, the interwoven-ness of styles from neighbouring island regions matter, as do their marked individuality and idiosyncrasies. Moreover, it allows for the study not just of the people’s finery, but of their everyday clothing. An ironic illustration of the effect of this collecting method comes from Ili Mandiri on Flores. As its dark red bridewealth sarongs have been prized and venerated by the local population, this is what most sophisticated collections have aimed to obtain. The simple but lovely indigo sarongs for everyday use have been almost entirely ignored by co

The University Museum and Art Gallery collaborates with Chen Xi on the exhibition Chen Xi: So We Remember. This catalogue accompanies the exhibition. The paintings illustrate important events that have shaped our modern world. The artist created this series of contemporary images to commemorate, to document and to provoke thought. The show presents her preliminary pen and watercolour drawings along with the finished oil paintings. Meticulous in her research and true to both the documented incident and the domestic details, Chen Xi creates historical paintings for our present and future generations. Her method directly relates to contemporary life and to a society that is informed and influenced by modern-day media. Interestingly, the painter does not simply depict a historic event, but frames within a TV screen each episode of her sequential and international narrative. By presenting the paintings within the TV’s glass, they become screen shots linked to a specific moment in time and s