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《万笏朝天图》是首幅以乾隆南巡为主题的清代绘画长卷,组织绘制者范瑶系范仲淹二十世孙。根据范瑶著《纪恩日录》所记,该图卷描绘的是乾隆帝首访天平山范氏园邸的情景。雍乾之际,范氏宗族发展每况愈下,危机重重。作为宗族领导者,范瑶力行改革,多措并举重振家风,并试图通过接驾、献图等重建家族与皇权的密切关系。《万笏朝天图》即为江南士人家族与皇权互动关系的见证。 相似文献
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青海瞿昙寺是中原地区至今保存较完整,集古建、雕刻彩绘和壁画于一体的明代早期官式建筑群。瞿昙寺瞿昙殿现存壁画约217.5 m2,是中原地区经典的明代早期藏传佛教壁画,具有珍贵的历史和学术研究价值。本研究通过显微镜(OM)、剖面分析(Cross-section)、扫描电镜-能谱(SEM-EDS)、X射线衍射(XRD)等多种分析方法,对瞿昙寺瞿昙殿壁画制作材料及工艺开展了初步调查分析。结果显示:瞿昙殿壁画以砖墙体为支撑体,地仗层由粗泥层和细泥层组成;地仗中粗细泥层含沙量不等,粗泥层含沙量约60%,细泥层含沙量较少,约为16%~25%;地仗层中总体纤维含量为3%左右;地仗土粒度级配良好,粒径多集中在1~100 μm之间;地仗中含少量硫酸钠和氯化钠;瞿昙殿壁画使用颜料主要为铅丹、朱砂、氯铜矿、副氯铜矿、石青等矿物颜料,颜料层厚度20~200 μm之间;铅丹颜料在瞿昙殿中出现“章丹打底银朱盖面”的分层应用以及铅丹变色的现象;瞿昙殿壁画中明代壁画无底色层,清代乾隆时期壁画有底色层。本次分析研究获得瞿昙殿壁画层位、地仗组成和颜料使用信息,为瞿昙殿壁画科学保护和深入研究提供重要的第一手资料。 相似文献
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范陶峰 《文物保护与考古科学》2023,35(5):142-149
金坛戴王府属于江苏省级文物保护单位,该遗址内有一建筑上存有大量清代太平天国彩画。因早期建筑失修,彩画保存状态岌岌可危,出现大量病害,主要包括彩画表面酥粉、污渍、开裂、脱落、滋生霉菌等。2014年,针对该建筑内的彩画状况制定了抢救性保护方案,并最终采用整体加固、清洗,局部修复等措施,完成了戴王府彩画的保护与修复工程。经过7年时间,目前彩画保护效果良好,取得了预期目标。此次在戴王府采用的彩画保护技术,可为同类型古建彩画的保护提供一定的借鉴作用。 相似文献
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为了研究公路的交通振动对彩塑损伤状况,对山西省晋祠圣母殿内彩塑进行了脉动和汽车振动测试。脉动测试与分析得到了彩塑基频自振周期、阻尼比及传递函数;单车公路汽车振动测试及利用传递函数进行的多车振动数值计算分析,得到了彩塑在单车行走下的最大位移为3.40×10-2μm,五车纵列行走振动最大位移为1.32×10-1μm,及在不同汽车流下的振动位移。根据彩塑残损情况和振动最大位移角2.24×10-7rad,提出了瞬时振动对晋祠泥质彩塑影响的判定等级和准则;根据疲劳损伤理论和振动测试结果,提出了持久振动对晋祠泥质彩塑损伤的判定准则;根据晋祠泥质彩塑的现状损伤和其在振动时的瞬时位移极限角,提出了不同等级公路应有的避让距离分别为3200m、2400m、1800m、1200m、800m,并对晋祠周围的公路状况进行了判定。 相似文献
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Tania Rossetto 《Social & Cultural Geography》2013,14(4):465-491
This article explores the connection between Cartography and Otherness, and intersects map and visual studies with the question of racial/ethnic identity. With the aim of making arguments through images, a visual/verbal text is staged to reflect on the ‘Map-Other’ connection in past and present times. Inspired by the epistemological turn from representation towards practice currently experienced within map theory, the article interrogates the various creative ways in which art, advertising, public communication and related fields enable post-representational ways of portraying maps. Public visual images of cartography can be read not only as an exposure of the firm, ideological meaning of maps, but also as illustrations of how maps work as shared, embodied and empowering objects. The treatment of maps as socialised, performed and relational thereby results in an involvement of Others as protagonists rather than subjects. 相似文献
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J. Matthew Gallman 《American Nineteenth Century History》2013,14(2):127-151
Abstract This article considers the intertwined impact of two very different developments that emerged during the era of the American Civil War. The first concerned the invention and dissemination of new photographic technology that made it possible for ordinary citizens to sit for portraits and come away with multiple copies of new cartes de visite. The second concerned the revolutionary decision by the federal government to recruit African American men into the Union Army. As a result, in the final two years of the war uniformed African American men were having their portraits taken, and those small images began circulating among friends and family members. This speculative essay considers how these small cultural artifacts might have reflected and shaped a world in transition. 相似文献
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Geoffrey N. Swinney 《Scottish Geographical Journal》2013,129(2):121-151
Published and archival sources are examined to elucidate the career of William Gordon Burn Murdoch, artist, bag‐piper, explorer, geographer, hunter, Scottish nationalist, traveller, whaler and writer. Burn Murdoch's diverse contributions to geography are discussed, as are the roles he played in the Royal Scottish Geographical Society and other Scottish scientific and literary societies. A preliminary list of his extant original works of art is included. 相似文献
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Lauren G. Kilroy-Ewbank 《Colonial Latin American Review》2014,23(3):320-359
In the eighteenth century, Novohispanic painters produced some of the most innovative and visually complex images of the Sacred Heart of Jesus. While they are based in part on European printed frontispieces of books about Christ's heart, the paintings are not mere copies or derivatives of European artworks. This article explores the reasons for the particular pictorial strategies of Novohispanic paintings of the Sacred Heart. I argue that the visual strategies employed by Novohispanic artists were intended to argue in support of the legitimacy and historicity of the cult of the Sacred Heart; the cult was under attack in the eighteenth century for, among other reasons, being too new and thus lacking historical roots, making it potentially heretical and apocryphal. Novohispanic depictions, like religious texts produced to defend the Sacred Heart, champion the cult, thereby attempting to shape perception through the power of the images. 相似文献