![唐风吹拂撤马尔罕 粟特艺术与中国波斯印度拜占庭 [意]康马泰 毛铭 【正版书】](http://img3m3.ddimg.cn/25/20/11752298143-1_b_1716261882.jpg)
唐风吹拂撤马尔罕 粟特艺术与中国波斯印度拜占庭 [意]康马泰 毛铭 【正版书】 【店主推荐，正版书放心购买，可开发票】
中国古籍中的“康国”，即指撒丶马尔罕 欧洲的粟特学家都希望能以“康”为姓，事实上唯独康马泰因其名为Compareti而独享此荣耀，而年轻的康马泰也确实与撒丶马尔罕有着不解之缘。《唐风吹拂撒丶马尔罕》正是作者康马泰结合主持中亚布哈拉古城考古的挖掘实践及多年研究的心血之作。全书分为四卷——《粟特艺术与中国》《粟特艺术与》《粟特艺术与印度》《粟特艺术与拜占庭》，关于撒丶马尔罕大使厅壁画上的唐代端午节，中国北朝墓葬中的粟特艺术，粟特信仰与佛教、印度教神祇的关系等，书中都有精彩论述。尤其值得一提的是，康马泰于989年首先考证出的撒丶马尔罕大使厅壁画西墙内涵，本书对撒丶马尔罕大使厅壁画中考证出的新关于唐高宗、武则天以及佛教内容所做的分析研究，为揭示整个壁画主题以及更多相关领域的研究提供了珍贵的资料和思路
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1491 is not so much the story of a year, as of whatthat year stands for: the long-debated (and often-dismissed)question of what human civilization in the Americas was like beforethe Europeans crashed the party. The history books most Americanswere (and still are) raised on describe the continents beforeColumbus as a vast, underused territory, sparsely populated byprimitives whose cultures would inevitably bow before the advancedtechnologies of the Europeans. For decades, though, among thearchaeologists, anthropologists, paleolinguists, and others whosediscoveries Charles C. Mann brings together in 1491 ,different stories have been emerging. Among the revelations: thefirst Americans may not have come over the Bering land bridgearound 12,000 B.C. but by boat along the Pacific coast 10 or even20 thousand years earlier; the Americas were a far more urban, morepopulated, and more technologically advanced region than generallyassumed; and the Indians, rather than living in static harmony withnature, radic
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Review 'Two things give Kitto's classic book its enduring freshness: hepioneered the approach to Greek drama through internal artistry andthematic form, and he always wrote in lively and readable English.'- Oliver Taplin, University of Oxford, UK Product De*ion With a new foreword by Edith Hall 'Two things give Kitto's classic book its enduring freshness: hepioneered the approach to Greek drama through internal artistry andthematic form, and he always wrote in lively and readable English.'- Oliver Taplin, University of Oxford, UK Why did Aeschylus characterize differently from Sophocles? Whydid Sophocles introduce the third actor? Why did Euripides not makebetter plots? So asks H.D.F Kitto in his acclaimed study of Greektragedy, available for the first time in Routledge Classics. Kitto argues that in spite of dealing with big moral andintellectual questions, the Greek dramatist is above all an artistand the key to understanding classical Greek drama is to try andunders
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