简·艾伦·哈里森（Jane Ellen Harrison，1850-1928），西方古典学历史上里程碑式的人物，剑桥学派“神话一仪式”学说的创立者；英国维多利亚时代的文坛女杰，同时也是现代女权主义的学术奠基人之。她广涉古典学、考古学、人类学、语言学、美学、神话学、历史学等诸多学科，掌握了包括德语、拉丁语、希腊语、希伯来语、波斯语、俄语等在内的十六种语言。著述宏富，已翻译成中文的有：《希腊宗教研究导论》（Prolegomena to the Study of Greek Religion,1903）、《古希腊宗教的社会起源》（Themis:A Study of the Social Origins of the Greek Religion，1912）等。

A leading scholar in the United States on Chinese archaeology challenges long-standing conceptions of the rise of political authority in ancient China. Questioning Marx’s concept of an “Asiatic” mode of production, Wittfogel’s “hydraulic hypothesis,” and cultural-materialist theories on the importance of technology, K. C. Chang builds an impressive counterargument, one which ra...(展开全部)

A leading scholar in the United States on Chinese archaeology challenges long-standing conceptions of the rise of political authority in ancient China. Questioning Marx’s concept of an “Asiatic” mode of production, Wittfogel’s “hydraulic hypothesis,” and cultural-materialist theories on the importance of technology, K. C. Chang builds an impressive counterargument, one which ra...(展开全部)

In Five Volumes. Volume 1, Ancient Art; Volume 2, Mediaeval Art; Volume 3, Renaissance Art; Volume 4, Modern Art; Volume 5, The Spirit Of The Forms.

"Buddhist Manuscript Cultures" explores how religious and cultural practices in premodern Asia were shaped by literary and artistic traditions as well as by Buddhist material culture. This study of Buddhist texts focuses on the significance of their material forms rather than their doctrinal contents, and examines how and why they were made. Collectively, the book offers cross-...(展开全部)

"Buddhist Manuscript Cultures" explores how religious and cultural practices in premodern Asia were shaped by literary and artistic traditions as well as by Buddhist material culture. This study of Buddhist texts focuses on the significance of their material forms rather than their doctrinal contents, and examines how and why they were made. Collectively, the book offers cross-...(展开全部)

这项历时十年的古代中国艺术研究，考察了从新石器晚期（公元前第四千纪）到战国末期（前三世纪）的玉器、陶器、丝绸、漆器、铜器和展示性文字的历史。本书两位学者聚焦于艺术史研究的根本问题：艺术史学家必须依靠考古学，也必须依赖从物品本身所能攫取的信息。 要想阐述艺术品的历史——要想解释它们——势必要找到通向个人思维的途径，无论他们的名字是否为人所知。当我们能找到一件作品的可信的前身时，这些前期作品就为我们提供了途径来理解作品背后所蕴含的思考，因为作品背离其前身之处，反映出了有意识或无意识做出的决定。半个世纪以来，中国考古学家从年代确切或者信息丰富的遗迹中所揭示的材料之丰富让人难以想象，极大地改善了此等研究的前景。 本书图版里的大部分作品在1970年时仍然深藏地下，那一年写的书决不可能做出贝格利和王海城在本书中的尝试。由于考古发掘仍在高速进行，现在写的书也决不可...(展开全部)

In this book, Jaś Elsner presents a fresh perspective on the rich visual culture of ancient South Asia, connecting the stupa’s artistic innovations with advancements in Buddhist philosophy and practice. He offers new insights into early Buddhist art in South India, as well as a new understanding of the relationship between early Buddhism and its material culture. The photograph...(展开全部)

In this book, Jaś Elsner presents a fresh perspective on the rich visual culture of ancient South Asia, connecting the stupa’s artistic innovations with advancements in Buddhist philosophy and practice. He offers new insights into early Buddhist art in South India, as well as a new understanding of the relationship between early Buddhism and its material culture. The photograph...(展开全部)