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Articoli di riviste sul tema "Bronze dragon"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2025

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1

Antipenko, Anna. "Dragon Mirror from the South-Western Crimea." Materials in Archaeology, History and Ethnography of Tauria, no. XXIX (December 27, 2024): 209–15. https://doi.org/10.29039/2413-189x.2024.29.209-215.

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This article publishes a metal mirror found in the southwestern Crimea. Similar to a significant part of the finds of this category, the mirror under study finds no context or monument to be reliably associated with. This circumstance, however, does not diminish the value of the artefact, since the find is distinguished by high artistic performance and a number of authentic features allowing the one to determine its chronology and cultural and historical period. The mirror under analysis is a figured “disk” with an eight-petal festooned edge, the front side of which is smoothly polished. On th

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2

Jacques, Wesley. "Stronger than a Bronze Dragon by Mary Fan." Bulletin of the Center for Children's Books 72, no. 10 (2019): 429–30. http://dx.doi.org/10.1353/bcc.2019.0393.

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3

Greig, Moira Kennedy, Colvin Greig, Ian Basham, et al. "Remains of a 12th-century structure and other medieval features on the Knoll of Castle Point, Troup (Cullykhan), Banff and Buchan." Proceedings of the Society of Antiquaries of Scotland 119 (November 30, 1990): 279–96. http://dx.doi.org/10.9750/psas.119.279.296.

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A possible circular timber building on a stone foundation dated to the late 12th century by coins and other artefacts including a bronze buckle-plate decorated with a dragon. Occupation on the site may have continued into the 14th century. AR

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4

Borgmann, Nicola. "Pegasus & Dragon - Die größte Pferdestatue der Welt aus Bronze." Stahlbau 85, no. 1 (2016): 65–70. http://dx.doi.org/10.1002/stab.201620353.

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5

Kang, Minjeong, Hyunsang Lee, and Kwangyong Chung. "A Study of the Transition Process of Baekje Gilt-Bronze Shoes and the Restoration of Their Production Technology." Hoseo Archaeological Society 59 (October 31, 2024): 33–53. http://dx.doi.org/10.34268/hskk.2024.59.33.

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This paper aims to understand the development of Baekje gilt-bronze shoes through gilt-bronze shoes, one of the funerary ritual items that appeared in the 5th and 6th centuries, and to examine the Baekje goldsmithing technology applied to gilt-bronze shoes. The authors have studied the restoration of the original Baekje gilt-bronze shoes and comprehensively reviewed the results of the actual restoration process. Chapter Ⅱ outlined the transition process of gilt-bronze shoes based on previous research. Baekje gilt-bronze shoes were produced from around the 5th century, the late Hansung period,

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6

Demandt, Michèle H. S. "Tracking Proto-Porcelain Production and Consumption in the Dongjiang Valley of Bronze Age Lingnan." Cambridge Archaeological Journal 29, no. 4 (2019): 671–89. http://dx.doi.org/10.1017/s0959774319000246.

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During the Early-Middle Bronze Age, a new package of technological knowledge, including high-fired ‘proto-porcelain’ products and specialized ‘dragon’ kilns, entered Lingnan in South China from neighbouring cultures. This enabled the first local production of proto-porcelain in Bronze Age communities of Guangdong province that later became concentrated in ceramic workshops in the Dongjiang valley. Through a holistic approach towards ceramic production and consumption that integrates elements of functionalist and social perspectives, this study will explore the technological and socio-political

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陈, 佳欣. "A Brief Analysis of the Design and Aesthetic Characteristics of Bronze Dragon Patterns." Design 08, no. 03 (2023): 2045–50. http://dx.doi.org/10.12677/design.2023.83244.

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8

Vinokurov, Sergei Ye, and Ludmila A. Budrina. "Japanese Dragon from Paris Collection in Russian Art of Coloured Stone Cutting Art Nouveau Period." Vestnik of Saint Petersburg University. Arts 14, no. 4 (2024): 737–48. https://doi.org/10.21638/spbu15.2024.407.

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The art of Far East countries, namely China and Japan, was an important source for the forms and features of Art Nouveau. However, original works were not the only sources of inspiration. Vivid images of mythical animals, such as two impressive forms of Japanese dragons, penetrated the practices of European craftsmen. This article follows the route of a specific form, and examines the nature of its interpretations, using the example of two stone-cut works by Russian Imperial Lapidary Factories (Peterhof and Ekaterinburg ones). The starting point for these works was an illustration representing

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9

Tolpeko, Irina V. "V.I. Matyushenko's Latest Excavations at the Okunevo VII Burial Ground (2003): An Early Medieval Burial Mound." Herald of Omsk University. Series: Historical studies 10, no. 3 (39) (2023): 134–41. http://dx.doi.org/10.24147/2312-1300.2023.10(3).134-141.

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The Okunevo VII burial ground is located in the Muromtsevsky district of the Omsk region, on the left bank of the Tara River, on the Tatarsky Uval outlier. This is the confluence of the floodplains of the Tara and Irtysh. V. I. Matyushchenko has been excavating on this monument since 1985 (with interruptions). In 2003, the burial ground was examined by the scientist for the last time. The materials remained unpublished. A small looted mound was located on the excavation area. Its diameter was about 10 m, height - about 1 m. According to the planography and inventory characteristics, part of th

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10

Koroleva, Vera V., and Alina R. Pritomskaya. "ALCHEMICAL SYMBOLISM OF THE NOVELLA “THE GOLDEN POT: A MODERN FAIRY TALE” BY E. T. A. HOFFMANN." Vestnik of Kostroma State University 29, no. 3 (2023): 127–34. http://dx.doi.org/10.34216/1998-0817-2023-29-3-127-134.

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The aim of this study is to analyse the symbolism of E.T.A. Hoffman’s novella “The Golden Pot” within the framework of the alchemical discourse. The researchers employed historical-genetic, structural-semantic methods and the method of motivic analysis to explore the elements of medieval alchemical symbolism in the novella, namely: the motif of the hero’s initiation and his subsequent spiritual transformation, the symbols of snake, elemental spirits (salamander and dragon), manuscripts, blood, apples, garden, four elements, palm and cypress, as well as the symbolism of colour – red, black, whi

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Zorin, Artem N. "LITTLE BIG MAN. CONTEXTS AND INTERTEXTS OF THE IRON HORSEMAN BY ALEXEY ZHITKOVSKY." Челябинский гуманитарий 66, no. 1 (2024): 41–49. http://dx.doi.org/10.47475/1999-5407-2024-66-1-41-49.

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The analysis of a contemporary dramatic text involves deconstructing the intertextual references embedded within it, which are defined by a situation of total play with the meanings of aesthetic models and sociocultural paradigms of preceding eras. Plays by post-Soviet playwrights are increasingly analyzed from the perspectives of post- or metamodernism. In this context, the importance of reconstructing the intertextual connections of authorial statements and their interpretations within a cohesive artistic context is particularly emphasized. Alexey Zhitkovsky’s play The Iron Horseman (2022) a

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12

Lee, Jae Sung, and Mi Hyun Kim. "Material Characteristics and Gilding Technique of Gilt-Bronze Miniature Pagoda Excavated from Odeung-dong Site, Jeju." Journal of Conservation Science 40, no. 4 (2024): 525–34. https://doi.org/10.12654/jcs.2024.40.4.13.

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The Gilt-Bronze Miniature Pagoda excavated from the Jeju Odeung-dong(250-8) Site, a Goryeo-era temple, is the first of its kind discovered on Jeju Island. The pagoda was unearthed alongside three types of Chinese coins from the Northern Song Dynasty, indicating its historical significance. Although heavily damaged with only two levels remaining, key architectural features such as dragon-head finials, roof tiles, and railings provide critical insights for reconstructing Goryeo-era wooden pagodas or buildings. Scientific preservation was conducted to stabilize the fragile state of the artifact.

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13

Ho, Chao Hsi, Li-Chun Huang, and Pen-Yi Chang. "Studying from the Bronze Ware of Change of Dragon Patterns to Authenticate the Pre-Chin Dynasty Design Aesthetic Proposition." International Journal of the Humanities: Annual Review 7, no. 3 (2009): 165–78. http://dx.doi.org/10.18848/1447-9508/cgp/v07i03/42645.

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14

Stashenkov, Dmitriy, Anna Kochkina, Mikhail Turetskiy, Ilgizar Gazimzyanov, Viatcheslav Gasilin, and Alexander Khokhlov. "Elite Burial of the Golden Horde Era in the Samara Volga Region: Man, Horses and Ritual Complex." Stratum plus. Archaeology and Cultural Anthropology, no. 5 (October 29, 2021): 309–33. http://dx.doi.org/10.55086/sp215309333.

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The article presents some preliminary results of a comprehensive study of a unique archaeological site of the Golden Horde time — a single burial mound Svetloe Pole III, excavated in the Samara region in 2020. In the only burial, despite the destruction, extraordinary objects have been preserved: a massive (gilded) bronze belt overlay with the image of a dragon, a horn pommel depicting a bird of prey gnawing at a large bird — possibly a bustard; gold earrings and stripes into clothes, coins, iron arrowheads (some of them gilded), etc. The sub-kurgan area was surrounded by a wooden ring structu

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15

Peng, Chengyue. "Research on the Characteristics of Figure Round Pattern in Qing Dynasty." Arts Studies and Criticism 5, no. 1 (2024): 20. http://dx.doi.org/10.32629/asc.v5i1.1858.

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Round pattern, also known as round nest pattern. It is one of the most common patterns in ancient China, that is, symmetrical radial or rotating round decorative patterns around. Such patterns are often found on ancient bronze ware, ceramics, weaving and embroidery products, and modern silk fabrics. Round pattern is an important part of the study of Chinese costume patterns, which contains the cultural concepts that Chinese people yearning for perfection, auspiciousness, reunion, harmony and beauty. Cloud bat pattern, rich and noble peony pattern, colorful cloud pattern, sitting dragon pattern

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Шаповалова, Светлана Николаевна. "Symbolism of decorative design of ancient Chinese bronzes." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 215–23. http://dx.doi.org/10.53598/2410-3489-2021-2-277-215-223.

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Статья является продолжением семиотического анализа декоративно - орнаментальных элементов, украшающих древнекитайские предметы искусства. Личина Тао-те (Tao-tie (饕餮) и входящие в ее состав фигуры дракона Куй до сих пор не имеет научного определения, так как ни в одном письменном источнике нет упоминания об изображенном иконостилистическом персонаже. Исследование опирается на анализ пиктографических изображений (иероглифических надписей) на бронзовых сосудах эпохи Шан, раскрывающих семантику некоторых специально подчеркнутых деталей узора. В результате исследования объясняется значение изображ

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Шаповалова, Светлана Николаевна. "The image of the first ancestor in the shape of mythological creature "Tao-te". The Bronze Age. China." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 4(287) (March 15, 2022): 79–85. http://dx.doi.org/10.53598/2410-3489-2021-4-287-79-85.

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Несмотря на значительный интерес исследователей в проблеме отождествления мифологического существа древнекитайского искусства «Тао-те» (饕餮), его образ, а также символика элементов декоративного оформления артефактов бронзового века Китая до настоящего времени остаются малоизученными и неразгаданными. Целью является рассмотрение вопросов, связанных со структурой образа «Тао-те», гетерогенным видом изображения в эпохи Ся, Шан-Инь и Чжоу, проблемой утраченного имени и идентификация иконостилистического персонажа эпохи металла. Анализ литературных источников позднего периода, содержащий описание б

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Starman, Terri W., Melissa C. Robinson, and Kristen L. Eixmann. "Efficacy of Ethephon on Vegetative Annuals." HortTechnology 14, no. 1 (2004): 83–87. http://dx.doi.org/10.21273/horttech.14.1.0083.

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Plant response to ethephon treatment was tested on 27 cultivars of vegetative annuals that have spreading and trailing growth habits. A control treatment was compared to 500 and 1000 mg·L-1 (ppm) foliar spray treatments of ethephon. Plant height and/or width index were significantly reduced for 81% of the cultivars tested. Responsive cultivars were alternanthera (Alternanthera dentata), brachyscome (Brachyscome iberidifolia) `Toucan Tango'; calibrachoa (Calibrachoa hybrids) `Colorburst Red', `Million Bells Cherry Pink', and `Trailing Pink'; diascia (Diascia × hybrida) `Sunchimes Rose' and `Red

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Mikhailova, Natal’ya V. "UGARITIC GOD ḤORĀN. POSSIBLE SYRO-CANAANITE ORIGINS OF THE SERPENT OF BRASS". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, № 2 (2023): 56–69. http://dx.doi.org/10.28995/2686-7249-2023-2-56-69.

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The article considers a variant for the origin of the Serpent of brass also known as Nehushtan. Following the hypothesis of the pre-monotheistic origin of the image, it can be assumed that the Serpent of brass was not originally an attribute of Yahve, but was an idol or votive of one of the Semitic deities associated with healing. The most appropriate god in terms of the worship time and common attributes is the Syro-Canaanite Ḥorān, whose veneration was widespread during the late Bronze Age. Being a deity representing the forces of primordial chaos, Ḥorān was considered the creator of poisono

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Yarygin, Sergey, and Nikolay Ilderyakov. "Petroglyphs of “Eastern” Appearance in the Kairakkol Mountains and the Aksu River Valley." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 1 (June 2022): 193–207. http://dx.doi.org/10.15688/nav.jvolsu.2022.1.10.

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The article is devoted to the publication of new monuments of rock art in the Kairakkol mountains and the Aksu river valley, located in the Aksu district of the Almaty region of the Republic of Kazakhstan. Geographically, the mountains are part of the Dzhungar Alatau system and are located in the eastern Semirechye. A description of three engravings and a group of three clusters of geometric signs is given. The drawings were discovered during exploration work in the vicinity of the Late Pazyryk burial ground of Tausamaly in 2020 and 2021 in the western spurs of the mountain Kairakkol, rocky ou

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21

Tao, Thomas. "14,000 Years Old Atlas of Heaven and Earth: Andean Panel in Inca Sun Temple of South America and Its Root in Paleolithic East Asia." Social Sciences 13, no. 5 (2024): 155–65. http://dx.doi.org/10.11648/j.ss.20241305.13.

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New findings indicated that the Andean panel in the Inca Sun Temple was a relic of an ancient drawing now dated 13,000–15,000 years old. The drawing was an Atlas of Heaven and Earth that contained astronomy, geography, weathering, calendars, and a stratified society. The atlas was seamlessly integrated with dualistic cosmology, religion, ideology, and philosophy. The atlas contained the “Five Divine Stars” of the Sun, the Moon, Rising Venus, Setting Venus, and Polar Star Vega in 12,000 BC. Its “Four Sacred Asterisms” on the ecliptic were the southern Bird, the northern Snake/Turtle, the wester

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К.Б., Фирсов, та Строков А.А. "НАВЕРШИЕ РИМСКОГО ВРЕМЕНИ В ВИДЕ ГОЛОВЫ КАБАНА ИЗ «ЗОЛОТОГО КЛАДБИЩА»: ИСТОРИЧЕСКИЙ КОНТЕКСТ И ЕСТЕСТВЕННОНАУЧНЫЕ ИССЛЕДОВАНИЯ". Краткие сообщения Института археологии (КСИА), № 275 (13 листопада 2024): 242–56. http://dx.doi.org/10.25681/iaras.0130-2620.275.242-256.

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В статье впервые публикуется и подробно изучается уникальная на ходка сарматского времени – бронзовое литое навершие в виде головы кабана из кургана 15 у станицы Тифлисская в Прикубанье («Золотое кладбище», раскопки Н. И. Веселовского, 1902 г.), хранящееся в Государственном историческом музее в Москве (рис. 1; 2). Рассматриваются вопросы культурно–исторической атрибуции и происхождения предмета. Считается, что это навершие являлось римским военным штандартом, однако сравнительный анализ со многими известными изображениями и находками (прежде всего знаменами в виде головы дракона) показал, что

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Petrosyan, Armen Ye. "The Earliest Armenian Thunder God, Hurro-Urartian Teššub/Teišeba and the Greek Theseus: Image and Name." Вопросы Ономастики 20, no. 1 (2023): 9–28. http://dx.doi.org/10.15826/vopr_onom.2023.20.1.001.

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The most outstanding monuments of ancient Armenia are the huge stone steles vishaps (“dragons”), the first samples of which date back to the beginning of the Middle Bronze Age (14th c. BC). A detailed analysis shows that the vishaps were attributes of the cult of the Indo-European thunder god, and before the Iranian word višap was borrowed, they were called by an Indo-European name of the mythological Serpent (geɫ < *wel-), the adversary of the god. Echoes of this Indo-European myth are also found in other archaeological artifacts of pre-Urartian Armenia. The most interesting of them, the s

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Mastykova, Anna. "About Bracelets with Zoomorphic Ends from Dzhurga-Oba Necropolis in Eastern Crimea (Great Migration Period)." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 169–80. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.11.

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The paper considers burial 40 of Dzhurga Oba necropolis in the Eastern Crimea. Two bracelets, elements of a prestigious female costume of the second half of the 5th century and weapons (sword elements) were found in the catacomb. It is possible that there were two inhumations – male and female ones. Two bronze gilded bracelets from this burial have gold zoomorphic endings in the form of heads, usually interpreted as dragons, and a hinged lock in the form of a disk. The origins of this type of bracelets should be sought in the traditions of Mediterranean jewelry art. Bracelets with a lock in th

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Bobrov, L. A., and K. S. Khaidakov. "A “Timurid” Saber from Samarkand." Archaeology and Ethnography 18, no. 5 (2019): 125–45. http://dx.doi.org/10.25205/1818-7919-2019-18-5-125-145.

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Purpose. We describe an original saber discovered in Samarkand in 1969 during construction work in an old building. Presently, the saber is stored in a private collection. We determine the attribution and the time period for this sample of a long-blade weapon based on its features and available examples. Results. The saber features a sharp-triangle blade made of welded bulat “damask” and a bronze handle with a short C-style guard crowned with images of “dragons” and pommels in the form of the head of a bird of prey (possibly a falcon). The full length of the saber measures 91.0 cm with the len

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Blecic-Kavur, Martina, and Boris Kavur. "Grave 22 of the Belgrade necropolis in Karaburma: Retrospective and perspective." Starinar, no. 60 (2010): 57–84. http://dx.doi.org/10.2298/sta1060057b.

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Almost four decades after its discovery was initially announced, the Celtic necropolis in Karaburma, a suburb of Belgrade, is still one of the most important archaeological sites for the interpretation of the historical, economic, and cultural processes taking place in the central Balkans from the 4th to the end of the 1st centuries B.C. Most of all, it represents a wide-ranging source for explaining the chronology of the oldest Celtic presence in this area, also illustrating cultural exchanges in the network in which they were included. In this necropolis, belonging to the regional military e

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Pagh, Lars. "Tamdrup – Kongsgård og mindekirke i nyt lys." Kuml 65, no. 65 (2016): 81–129. http://dx.doi.org/10.7146/kuml.v65i65.24843.

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TamdrupRoyal residence and memorial church in a new light Tamdrup has been shrouded in a degree of mystery in recent times. The solitary church located on a moraine hill west of Horsens is visible from afar and has attracted attention for centuries. On the face of it, it resembles an ordinary parish church, but on closer examination it is found to be unusually large, and on entering one discovers that hidden beneath one roof is a three-aisled construction, which originally was a Romanesque basilica. Why was such a large church built in this particular place? What were the prevailing circ

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Bian, Zhuo, and Shichang Su. "Research on the Contemporary Value and Innovative Transformation of Bronze Patterns in the Central Plains." February 12, 2025. https://doi.org/10.5281/zenodo.14854068.

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In order to explore the contemporary value of the Central Plains bronze patterns and the innovative transformation of the ware, this paper takes the bronzes of the Shang Dynasty (1600~1046 BC) as the research object and analyzes them. Collect data on pre-Qin bronzes through the Internet, and use a microscope to observe the patterns, materials, shapes, and ingredient content of bronzes. The thermal condition of the bronzes, as well as the overall mechanical equilibrium, are measured by infrared observation instruments. The results show that the material of pre-Qin bronzes is mainly bronze, cont

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Datong Municipal Institute of Archa. "The mural tomb of the Northern Wei Dynasty at Yunboli in Datong City, Shanxi." Chinese Archaeology 13, no. 1 (2013). http://dx.doi.org/10.1515/char-2013-0014.

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AbstractIn April 2009, Datong Municipal Institute of Archaeology excavated a mural tomb of the Northern Wei Dynasty at Yunboli Neighborhood in the south of urban Datong City. This tomb was a single-chamber tomb comprising the long ramp passageway, the sealing wall, the entrance, the corridor and the chamber built in the popular style of the Pingcheng period of the Northern Wei Dynasty. The grave goods unearthed from this tomb included glazed potteries, stone implements, silver and bronze wares, iron implements and bone objects; the motifs of the murals were feasting and hunting scenes, honeysu

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Ruiliang, Liu. "Religion at Erlitou." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573514.

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The site of Erlitou is one of the most important sites for the study of the Bronze Age in central China (1800 BCE – 206 BCE). It was discovered by the well-known archaeologist Xu Xusheng in 1959, who led a team in search of the Xia capitals based on the later historical texts. Decades of excavations have yielded tremendously rich amounts of material remains, offering first-hand data for the analysis of the early development of technology, religion, social evolution, long-distance cultural communication and other key aspects of the Central Plains of China. It is often regarded as the beginning

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"The archaeological survey and excavation of walls and passes of the Hailong Tun site in Zunyi City, Guizhou." Chinese Archaeology 17, no. 1 (2017): 89–102. http://dx.doi.org/10.1515/char-2017-0007.

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AbstractIn 2013 and 2014, Guizhou Provincial Institute of Cultural Relics and Archaeology and other institutions conducted comprehensive survey, mapping and trial excavation to the walls and passes of the Hailong Tun Site. These archaeological activities identified the walls and passes of two phases belonging to the Song and Ming Dynasties respectively and generally made clear the full layout and evolution of the relevant remains through these periods. The extant Bronze Pillar Pass, Iron Pillar Pass, Flying Dragon Pass, Flying Tiger Pass, Chaoqian Pass, Flying Phoenix Pass, Wan’an Pass, West P

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Ruiliang, Liu. "Erlitou (Ritual/Ceremonial/Palatial Districts)." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12575071.

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The site of Erlitou is one of the most important sites for the study of the Bronze Age in central China (1800 BCE – 206 BCE). It was discovered by the well-known archaeologist Xu Xusheng in 1959, who led a team in search of the Xia capitals based on the later historical texts. Decades of excavations have yielded tremendously rich amounts of material remains, offering first-hand data for the analysis of the early development of technology, religion, social evolution, long-distance cultural communication and other key aspects of the Central Plains of China. It is often regarded as the beginning

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Francesca, Puglia. "Western Zhou Bronze Inscriptions (Xi Zhou jinwen 西周金文)". Database of Religious History, 27 червня 2024. https://doi.org/10.5281/zenodo.12574551.

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The name Western Zhou 西周 bronze inscriptions (jinwen 金文) refers to a variety of texts inscribed on bronze vessels and bells, primarily for ritual purposes, during the Western Zhou dynasty, over a time span of less than 300 years, ranging from 1046 to 771 BCE. Most of the ritual bronzes that came down to us, both inscribed and uninscribed, were found inside burials or, alternatively, in underground hoards, where families who possessed such goods (exclusively noble families) hid them to prevent them from being stolen by their enemies. The bronze inscriptions themselves represent the main source

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Jin, Shu, and Gangqiang Zheng. "Analysis of the Artistic Healing Effect and Installation Value of Bronzes Unearthed in the State of Chu." October 17, 2023. https://doi.org/10.5281/zenodo.13703588.

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Bronzes unearthed in the State of Chu are the most numerous in archaeology, and there are significant differences in the production process, shape and material of bronzes in the early and late stages of the State of Chu. Therefore, this paper analyzes the characteristics of bronzes in Chu State, compares and analyzes the dings and prohibitions, and studies the dragon pattern devices, mechanical balance, metallurgical materials, and the artistic healing effect and decorative art value of bronzes. The results show that the decorative patterns of bronzes unearthed in Chu are balanced and counterm

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Second Inner Mongolian Archaeologic, Ia, Cass, and Inner Mongolian Institute Of Cultur. "The “Black Dragon Gate” site and Architectural Foundation No. 4 of Zuling Mausoleum precinct of the Liao Dynasty." Chinese Archaeology 12, no. 1 (2012). http://dx.doi.org/10.1515/char-2012-0012.

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AbstractIn 2010, the Gate No. 1 and Architectural Foundation No. 4 of the Zuling Mausoleum precinct of the Liao Dynasty in Bairin Left Banner, Inner Mongolia are excavated. The excavation revealed that Gate No. 1 was composed of gateways, precinct walls, ramps, culverts and the lofty gate tower; it would be the “Heilong Men (Black Dragon Gate)” in the historic literature. Architectural Foundation No. 4 is in a roughly square plan and facing east; six column bases are found on each side, which means that the main body of the original architecture was composed of five bays both longitudinally an

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Rothschild, N. Harry. "Severing Grandma’s Phallus." Left History: An Interdisciplinary Journal of Historical Inquiry and Debate 21, no. 2 (2019). http://dx.doi.org/10.25071/1913-9632.39376.

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Abstract (sommario):

In 695, at the peak of her Zhou 周 dynasty (690-705), Wu Zhao 武曌 (624-705), China’s first and only female emperor, erected the Axis of the Sky (Tianshu 天樞), a hundred-foot tall octagonal Buddhist pillar topped with a quartet of dragons holding aloft a scintillating fire pearl, a monument that, according to Song Confucians “exalted the Zhou and disparaged the Tang.” In 714, her grandson Li Longji 李隆基 (685-762), emperor Tang Xuanzong 唐玄宗 (r.712-56), ordered this phallic pillar razed, and smelted its bronze and iron into weapons. This reactionary public political act played an important symbolic r

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Պետրոսյան, Արմեն. "Խուռաուրարտական Թեշուբ/Թեյշեբայի և հունական Թեսևսի հայկական ծագումը". Herald of Social Sciences, 6 червня 2024, 239–59. http://dx.doi.org/10.53548/0320-8117-2024.1-239.

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Հայաստանի հնագույն հուշարձաններից առավել աչքի ընկնողներն են հսկայական վիշապաքարերը, որոնց առաջին օրինակները թվագրվում են միջին բրոնզի դարի սկզբով (մ.թ.ա. XXIV դ.): Մանրամասն քննարկումը ցույց է տալիս, դրանք եղել են հնդեվրոպական ամպրոպային առասպելի ատրիբուտներ և մինչև իրանական վիշապ բառի փոխառումը կոչվել են ամպրոպի աստծու հակառակորդ առասպելական օձվիշապի հնդեվրոպական անունով (գեղ < *wel-): Այդ առասպելի արձագանքներն ի հայտ են գալիս նաև Հայաստանի նախաուրարտական դարաշրջանի այլ հնագիտական հուշարձաններում: Հնդեվրոպական ամպրոպի աստվածը եղել է ռազմական գործառության կրող և մարմնավորել է արխաիկ ռազմիկի

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