南宋绘画风格探析——从团扇面与花鸟画谈起

在中国绘画史上,团扇扇面形制和花鸟绘画题材同时在宋代兴盛开来,两者之间具有相互促进发展的作用,又共同促进了南宋“边角之景”绘画图式的形成。而且北宋画家便具备了“以小观大”艺术思想和表现能力,”边角之景”的出现可谓水到渠成。“边角之景”又带来了“大斧劈皴”,形成完整的南宋山水画风貌。这种绘画风格并不是特殊的时代产物,更不是“残山剩水”的政治写照。     

略论中国山水画理论体系之嬗变

山水画的发展本身就是中国传统文化发展的组成部分,没有传统文化的引导,不可能产生独具特色的山水画艺术。研究山水画创作过程中追求空灵、意境等表现动机,研究画面构成中的虚与实等的真正内涵,无不从传统文化谈起,尤其是山水画的创作进入我国经济文化空前发展的二十一世纪之后,梳理山水画发展的理论体系,将有十分重要的指导意义。     

汉代城墙浅议

我国的城墙从原始聚落时代的壕沟发展而来,目前考古发现我国最早的城墙出现在大溪文化一期。至汉代,继新石器时代晚期和春秋战国时代两次筑城高峰之后,出现了我国历史上第三次筑城高峰,筑城活动十分活跃,城墙的修筑规模亦不断扩大,形成了较为严密的城墙防御体系,为以后各代城墙防御体系的发展奠定了基础。     

唐韩休墓玄武图颜料表面特征及加固材料对其色度的影响

韩休墓壁画作为典型的唐代墓葬壁画,其颜料表征及加固剂对色度的影响亟待研究。使用基恩士VHX-5000超景深三维显微系统、X-rite VS450色度仪等检测仪器对韩休墓出土的玄武图残块进行了表面观察,同时分析了两种加固剂对其色度的影响。研究发现玄武图中黄色颜料为钒铅矿与铅丹混合使用,铅丹氧化产生的碳酸铅在实验室环境下被进一步氧化为氧化铅。色度方面,研究表明实验室目前使用的两种加固剂对壁画中出现的5种颜色色度影响ΔE值不超过4.33,符合良好标准。     

四川广汉龙居寺中殿建筑热湿环境特征研究

为了解广汉龙居寺中殿建筑热湿环境特征,采用基于物联网技术的环境温湿度监测系统对建筑空间温度和相对湿度进行监测,分析建筑空间温湿度时空变化规律,评估建筑热湿环境特征,探讨热湿环境对文物保存的影响。结果表明,该建筑对外界环境温湿度变化具有较好的缓冲和隔离作用,建筑内部热湿环境对文物保存不利,主要体现在相对湿度高、波动大,湿度调控将是文物预防性保护的关键。建筑热湿环境为壁画酥碱和霉斑病害主要成因,同时促进了编竹夹泥墙体结构安全问题的发生。研究成果不仅丰富了对四川地区明代编竹夹泥墙木结构古建筑热湿环境特征的认识,而且为该建筑壁画病害和墙体结构安全问题的成因分析提供了依据。     

Experimental analysis of rubble stone masonry walls strengthened by transverse confinement under compression and compression-shear loadings

Stone masonry walls of ancient buildings have reasonable resistance to vertical loads but lower resistance to shear forces and reduced tensile strength. However, to achieve such compressive strength the masonry must not disaggregate when subjected to loading. This can be achieved if during the construction of the walls larger stones, usually referred as “through stones”, are used, spanning the thickness of the wall, making it possible to improve the transverse confinement of the masonry. For rehabilitation projects and structural reinforcement of such buildings, the transverse confinement can be achieved by fixing steel elements perpendicular to the wall. This confinement technique is often part of a more comprehensive rehabilitation solution, which includes the application of mortar or concrete reinforced layers applied to the wall surface.

This article presents results of an experimental research on material properties and mechanical characterisation of stone masonry specimens strengthened by two transverse confinement solutions (independent steel reinforcing rods and continuous steel ribbons wrapping the specimen). Specimens were tested under compression and compression and shear loadings.

This experimental work is part of a major research project to study the mechanical behavior of URM and strengthened walls, and the characteristics of the building materials of such specimens.     

Frontier Landscape – Lapland in the Tradition of Finnish Landscape Painting

Abstract

Finnish artists depicted Lapland as a frontier. The position of the Lappish landscape as a part of the Finnish landscape painting tradition is explored through a framework based on art and cultural history as well as humanistic and cultural geography. Paintings from three historical periods are analyzed: the early and later period of Finland as an autonomous Russian Grand Duchy (1809–1917), the first decades after the independence of Finland (1917–1939) and the Second World War (1939–1945). Lapland is today the borderline of leisure and work and the frontier of Finnish and Sámi cultures. Earlier Lappish landscapes were places of Sámi nomadism and Finnish farming, which can be seen in the Lappish landscape paintings from the 1890s to 1920s. Finnish art tradition, however, was not ready to accept Lapland, the northern frontier, as a part of Finland. During the 1920s, 1930s and 1940s the meaning of the northern borderline grew and Lapponism, the golden years of Lappish landscape and tourism, began. During the Lapponism period there were few paintings depicting Sámi culture, because the Sámi were thought to be primitive or Mongolian, and were not accepted as part of Finnish culture.     

Reclaiming the Land,Reclaiming the Indian: The La Salle Series of George Catlin

In 1847, American painter George Catlin completed a series of paintings depicting La Salle's travels through North America, ostensibly at the request of King Louis-Philippe. This article argues that the La Salle series is an unusually coherent statement by Catlin about the value of the American wilderness and Native American culture for white America. A close examination of the paintings and Catlin's writing exposes the La Salle series as a reclamation project in which Catlin sought to rescue an imagined “pure” past at contact and preserve it in paint in order to make it available and useful to the present.     

Roman double-layered crucibles from Autun/France: a petrological and geochemical approach

Eighteen double-layered crucible fragments found in an archaeological excavation site of the Lycée militaire (Autun/France), which dates to the Gallo-Roman period, were analysed with a series of classical mineralogical techniques in order to obtain knowledge about the raw materials of the individual layers. This work focuses on the usage of the crucibles as well as technical aspects of their production. The crucible fragments were studied by using petrographical (optical microscopy), elemental (SEM-EDS, EMPA, XRF-WDS) and mineralogical (XRD) techniques.     

Performance of Wall to Diaphragm Anchors for Use in Seismic Upgrade of Heritage Masonry Buildings

Performance of wall to diaphragm (WD) anchors in heritage unreinforced masonry (URM) buildings during the recent New Zealand earthquake series is commented on, detailing typical failure modes. Current building code provisions for the design of masonry anchors are discussed and overview of an associated experimental program investigating the effectiveness of a relatively new type of retrofit WD anchors is presented. A total of 40 anchors were tested for pull out capacity (POC), of which 30 were installed in salvaged heritage material assemblages and 10 were tested in-situ at a heritage URM building. The POC of anchors ranged from 13.01 kN to 23.12 kN when installed in a heritage URM wall and between 9.54 kN and 12.16 kN when driven from side into two consecutive floor joists of a heritage timber diaphragm. Investigated also were the effects of embedment length, installation quality, anchor location, condition of masonry, and condition of substrate materials on anchor performance.