ELASTIC EARTH PRESSURES ON RIGID WALLS UNDER EARTHQUAKE LOADING

Elastic dynamic earth pressures induced by earthquakes are computed by analyzing a wall-foundation-backfill system. Both foundation and backfill are considered viscoelastic; the foundation is a semi-infinite space and the backfill, a uniform layer of constant thickness. A simple analytical solution is developed by assuming an approximate backfill-foundation interface condition and adopting the least squares method. The response functions computed indicate the large influence of the various system parameters on earth pressure, including the foundation characteristics,as well as wall geometry and mass. The transient response of the system is also studied by obtaining spectra for base shear. A large number of seismic records are analyzed to obtain average spectra and a total of three correction functions are used to take into account the foundation stiffness and density as well as wall inertia. A simple design method is proposed to estimate the maximum base shear.     

南宋宫廷绘画中的“谍画”之谜

本文根据宋代的文献材料,从大量的宋人册页中甄别出一些在军事上具有特殊功用的绘画。据考,在南宋出使金国的使团人员中,潜藏有擅长山水画、人马画的画院画家,他们奉命描绘金国的山川地形和女真人的军事活动,笔者称此类带有间谍用途的南宋宫廷绘画为“谍画”。本文阐述了“谍画”的发展历史,特别是南宋出现”谍画“的政治、军事等方面的历史原因,对此类“谍画“进行了详细的剖析,发现宇文虚中、萧照和陈居中等是可知的南宋”谍画“的作者。此种从军事角度认识某些宫廷绘画,尚属尝试。     

郎世宁与中国十八世纪帝王肖像画的复兴

本文探讨了中国18世纪帝王肖像画复兴的历史背景,强调了郎世宁在清内廷供职期间所起的重要作用,揭示了郎世宁独特画风的形成缘由,特别是对欧洲袖珍画的借鉴作用。同时论及此画风在宫廷绘画中消长的历程和对18世纪文人肖像画的影响。     

Micro‐Raman And Micro‐Stratigraphic Analysis Of The Painting Materials In The Rock‐Hewn Church Of The Forty Martyrs In Şahinefendi,Cappadocia (Turkey)

This paper presents the results of analyses carried out on the paintings on the rock‐hewn walls of the Forty Martyrs church at ?ahinefendi in Cappadocia (a UNESCO World Heritage Site), a central region of Turkey, performed during conservation work from 2007 to 2012. The micro‐samples were investigated by spectroscopic, micro‐stratigraphic and scanning electron microscopy analysis in order to study the painting technique, the materials and the degradation products. The micro‐stratigraphic analysis showed a white, sometimes pinkish, plaster. Micro‐Raman analysis, performed on cross‐sections of the mortars, enabled the detection of calcite, gypsum, anhydrite and calcium oxalate. Scanning electron microscopy and energy‐dispersive spectroscopy revealed a similar composition among all investigated phases, aside from minor differences such as the presence of diatoms in the second and third phases and of biotite, lime lumps and plants fragments in the fourth one. Apart from traditional pigments of medieval wall paintings, micro‐Raman analysis revealed the presence of lead‐based compounds and jarosite.     

Wall Paintings from the Roman Emona (Ljubljana,Slovenia): Characterization of Mortar Layers and Pigments

This study concerns the investigation of mortar layers and pigments of wall paintings from the Roman town of Emona (Ljubljana, Slovenia). Fragments of wall paintings consist of up to three preserved mortar layers. The mineralogical–petrographic compositions of the mortars were determined by means of optical microscopy and FT–IR spectroscopy. The investigated samples were divided into several groups based on similar thicknesses of the mortar layer, the binder colour and the composition of an aggregate. Furthermore, the results of mercury intrusion porosimetry showed that mortar layers consisting of carbonate grains exhibited lower porosity with respect to layers with mainly silicate grains, which is attributed to the angular shapes of carbonate aggregate. This is in accordance with the drilling resistance measurement system test (DRMS), confirming that layers with angular carbonate grains are harder than those with addition of rounded silicate ones, due to the good packing effect. The wall paintings were mainly executed using the fresco technique, while for some details secco was used. The identified pigments were red and yellow ochre, green earth, Egyptian blue, carbon black and lime white; all of them belonged to the so‐called austere pigment, which is quite common in Roman wall paintings.     

传统西藏壁画表面涂层材质与工艺研究

在前期对甘肃拉卜楞寺壁画表面涂层结构分析基础上,以桐油、亚麻油、胡麻油等干性油为基础材料,试验重现了制作西藏壁画表面涂层的"古法"清漆熬制方法和工艺。同时,提出了一种源于"古法",吸收现代油基树脂漆优点,具有良好材料结构且组成可知、可控、兼容等特点的清漆材料及其工艺("新古法")。研究表征了"古法""新古法"清漆的结构,评价了清漆涂层的颜色、外观、光学性质、艺术效果、耐候性等,并与现代合成的醇酸清漆、氟碳清漆、酚醛清漆等做了对比。结果表明,"古法""新古法"清漆在达到与合成清漆相同化学稳定性、耐候性的同时,具有更好的兼容性和表现效果,可用于今后西藏壁画表面涂层材料的修复。     

略论石涛山水画之精神

本文试图通过考察石涛底层体验对其艺术诉求和艺术品格的决定及传统庄禅观念对其艺术精神的影响,进而揭示石涛山水画之精神实质——在艺术审美观照中以逃避、超脱的方式而进行的一次次主体人格的生成努力。     

中国画谱与绘画

中国画谱是中国绘画教学的重要教材,也是中国画家艺术创作的一种样式。画谱的启蒙作用和艺术价值以及在中国画史中的地位不容忽视。     

必出于己——析笔墨风格在古画鉴定中的作用

认识和掌握不同画家的笔墨风格,是古画鉴定工作中的一个重要方面。深入了解和把握画家所在的时代、师承、自身的禀性气质、早、中、晚期不同的艺术风格等,对古画鉴定具有十分重要的意义。