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201.
Fernando F. S. Pinho Válter J. G. Lúcio Manuel F. C. Baião 《International Journal of Architectural Heritage》2018,12(1):91-113
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. 相似文献
202.
Najif Ismail 《International Journal of Architectural Heritage》2016,10(7):829-840
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. 相似文献
203.
M. D. Robador L. De Viguerie J. L. Pérez‐Rodríguez P. Walter J. Castaing 《Archaeometry》2016,58(2):255-270
Wall paintings from the Islamic epoch (10th to 12th centuries) and the Christian monarchy (14th to 16th centuries) have been recovered in discarded materials and on walls after reconstruction works in the Seville Alcazar. These paintings have spent centuries underground or under a plaster coat. Portable X‐ray fluorescence (XRF) and combined XRF/X‐ray diffraction (XRD) were employed in situ, as well as scanning electron microscopy (SEM–EDX), grazing angle incidence XRD and micro‐Raman spectroscopy, on cross‐section samples to fully characterize the materials in the wall paintings. Using these methods, the fresco technique was demonstrated, and many kinds of pigments were identified in accordance with the various periods of the history of the Alcazar, thus assessing the authenticity of all the wall paintings studied here. 相似文献
204.
傅抱石画作,无论是山水画还是人物画,均能以其独到的审美意境和独特的绘画表现方法给观者以震憾。其存世山水画《平沙落雁》、仕女画《擘阮图》等,充分展示了大师寓意境于景物的审美情趣,精于点墨的笔墨技法,极富感染力的雨景以及融合了日本绘画技法和风格的独特的表现手法。 相似文献
205.
自19世纪末关野贞、伊东忠太等日本学者开始研究东亚美术史以来,在中日两国学者的努力探索下,日本古代建筑直接或间接受中国古代建筑影响而发展演变的观点,已成为中、日两国学术界的共识,通过对比研究中、日古代建筑扶壁棋形制的流变,可以揭示不同时期中、日古代建筑的具体渊源关系,以微观窥全局之一斑,补证既往。 相似文献
206.
新疆草原文化区域系统研究 总被引:8,自引:4,他引:8
新疆草原文化是古代新疆草原游牧民族创造的一种游牧文化,其活动区域主要分布在天山及其以北的地区。本文试图从新疆草原文化形成的过程入手,探讨新疆草原文化系统的内涵、基本特征、草原文化的形成与地理环境的关系。 相似文献
207.
为研究清代外销油画《镇海楼》颜料成分及颜料层状况,利用数码显微镜、傅立叶红外光谱、X射线荧光光谱并结合扫描电镜能谱技术对其进行观察和检测。研究表明,此幅清代油画中红色颜料分别为朱砂和赭石,蓝色颜料为普鲁士蓝,黄色颜料则为雄黄和铁黄,白色颜料为铅白。通过显微镜观察发现画中部分颜料层有开裂和局部剥落现象。本研究分析为中国清代油画的材料技法、保护修复及美术史研究提供了极具价值的信息。 相似文献
208.
由徐建融《扬州八怪批判》引发的争论,是近20年扬州八怪研究中最值得引起重视的争论。归纳起来,这些争论和分歧主要集中在扬州八怪成员的人品、画品、绘画商品化、师承、在中国绘画史上的地位几方面。 相似文献
209.
明清之际,中国绘画批评史上曾有过“闽才”与“闽派”的提法。本文通过文献与史实的相互参证,认为“闽习”是福建绘画的泛传统,“闽派”是黄慎之后的一个地方流派;并对“闽习”和“闽派”的文化特征给予界说,探讨“闽派”问题为什么在中国绘画批评史上没有引起足够注意的原因。 相似文献
210.