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排序方式: 共有234条查询结果,搜索用时 15 毫秒
111.
周口关帝庙建筑彩画是河南省内保存较为完整的一处清中期文物建筑彩画遗存,具有一定的历史和艺术价值.文章系统描述了庙内各建筑的彩画构成,进而分析了它的制作年代、结构特征和工艺做法. 相似文献
112.
113.
六朝刘宋宗炳的《画山水序》,是一篇创作感悟山水画的心得,也是一篇认识自然,阐述艺术创作的方法论。其影响至今,在山水画创作形态中,仍不乏启示的意义。 相似文献
114.
Nicole Klasen Max Engel Helmut Brückner Arnulf Hausleiter Andrea Intilia Ricardo Eichmann Mohammed H. al-Najem Said F. al-Said 《Journal of archaeological science》2011
In addition to a series of chronological markers (artefacts, pottery) in the archaeological contexts of ancient Tayma (NW Saudi Arabia), optically stimulated luminescence (OSL) and radiocarbon dating techniques were applied to generate reliable ages for the city wall system of the oasis. A massive aeolian sand deposit burying the oldest part of the outer wall of Tayma was sampled to obtain a minimum age for the construction of this wall. The sequence of OSL ages from the inactive dune (ID) (4900 ± 300 a, 5100 ± 400 a, 4400 ± 300 a, 3900 ± 200 a, 4000 ± 200 a) is in full accordance with 14C-AMS ages of charcoal embedded into the same dune (4190–4420 cal BP, 3870–4080 cal BP). Underlying alluvial samples from the inactive gravel sheet (IGS) in contrast give maximum ages for the construction which scatter between 6600 ± 300 a and 4900 ± 400 a. The new dating sequence provides evidence that the oldest part of the ancient city wall system already existed in the 2nd half of the 3rd mill. BC which is earlier than expected thus far from archaeological and architectural interpretation. 相似文献
115.
诸品芳 《文物保护与考古科学》2007,19(2):51-53
中国具有两千多年历史的书画艺术,载体一般均为缎本、绫本、绢本和纸本,由于年代久远,绢、纸老化,以及人为和自然因素,疲破成为客观趋势,然而在书画艺术的继承和保护中,形成了中国书画修复装裱的特殊工艺技术。本工作通过探索、研究和实践,总结在中国古旧绢本书画修复中,对画芯的清洗、揭芯、补洞、托芯、全色接笔等五大工序和工艺技术操作的认识体会,通过两幅画和书法作品的修复前后的对比,说明五大工艺和工艺技术操作是成功的。通过总结使感性经验提升为科学理论,可更有效地指导古旧绢本书画的修复实践。 相似文献
116.
《Conservation and Management of Archaeological Sites》2013,15(1-4):249-262
AbstractThis paper reports on the conservation measures taken to protect and display the remains of a pre-Islamic Christian monastic complex on Sir Bani Yas Island, Abu Dhabi, UAE, and the reasoning behind the decisions. The excavated areas of the site are now partly sheltered, and partly reburied. Observations are made on the effectiveness of the shelter building, and the reburial system used between 1996 and 2010, and on the measures currently being used to preserve plaster floors and faced standing walls in aggressive environmental conditions. Work has been carried out to ?nd ways to make the site as legible as possible while also conserving it. Methods of site monitoring are also discussed. 相似文献
117.
Historical landscape paintings are widely used to reconstruct past environments. However, artists did not necessarily fully depict reality, many exercising license to relocate and remould features. This paper applies photogrammetric techniques to the problem of determining the accuracy of artistic depictions of landscapes. Four 19th century paintings of Hobart, Tasmania, Australia by different artists were used to test the methods. The artists varied in their accuracy, with Frankland, the surveyor, being the most accurate, and Glover, the romantic professional artist, being the least accurate. This variation suggests that the use of paintings for historical reconstructions and measurements of historic features should be preceded by an accuracy assessment. 相似文献
118.
Marcus R. Létourneau Paul Schauerte 《Imago Mundi: The International Journal for the History of Cartography》2013,65(2)
A comparison of Giuseppe Bagetti's landscape sketches, watercolours, oil paintings and engravings with contemporary maps and the existing landscape reveals that in the creation of Bagetti's landscapes, narrative played a role that differed in cartographic and artistic representations. The comparison also demonstrates that his images were powerful constructions that were more successful in reflecting a narrative of glorious conquest than was possible through cartography. This paper offers a critical examination of Bagetti's representations of Napoleon's northern Italian campaign, which he sketched and painted between 1802 and 1809. Bagetti's paintings were neither pacifist nor an expression of Piedmontese patriotism but instead were inspired by, and constructed according to, a narrative about the conquest that reflected the views of the French authorities. The narrative found expression in formal written instructions from the central cartographical office in the Dépôt de la guerre, Paris, in verbal and written instructions from Bagetti's immediate superior, Jean François Martinel, and in letters personally addressed to Bagetti from the officer commanding the Dépôt. It is clear from a careful reading of the correspondence and from a comparison of Bagetti's paintings with both the present landscape and maps made at the time that Bagetti's disputes with his supervisors revolved around protecting his artistic integrity and reputation rather than resisting the authority of a foreign regime. 相似文献
119.
两宋宫廷储藏书画之主要机构为肇建于端拱元年(988年)之“秘阁”。学界目前对两宋秘阁之宫廷书画鉴藏机构鲜少涉及;然而在两宋历史的渐变进[1]程中,秘阁院址几经迁徙,其省舍建筑、规模设备、储藏库房、职事权限呈现阶段性之异动,凡此异动,微妙波及两宋宫廷书画创作机构之权力。审谛秘阁内部的发展变化,北宋初期的秘阁仅为书库,秘阁藏品搁置混乱;南宋秘阁以秘书省“经籍案”专掌藏品储藏管理,制订出一套科学管理方案及定期查验制度。南宋秘阁设备完善,功能亦由储藏至鉴藏,并进而取代、接掌了原归画院行使的六项职权,这指涉南宋秘府职事增多,被赋予之权限相对扩大,画师职事则反遭萎缩。以上变化有特定的历史背景暨赖以支撑之外在条件,承载并推动了两宋秘阁职制地位之流变。北宋初期秘阁地位低落,然而一入南宋,华阁飞升,秘书省于皇朝政治体系中岿然杰出。南宋秘阁仰载皇权,书画藏品开放对象转为朝中官僚集团,鉴藏制度吸纳入庞大的官僚机构运作体系。作为官制的一环,当皇权集中,政局稳定,或出于帝王强烈的赞助意愿,秘府权限向上攀升,秘阁收藏之规模力度亦随势攀升,于是秘阁有效率地发挥其外搜、内藏之双向功能。 相似文献
120.