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陈家昌 《文物保护与考古科学》2004,16(3):40-45
为阐明保留一定厚度壁画原“地仗层”的必要性,通过对“干涉层”和“地仗层”在壁画揭取保护中昕起作用的分析,认为保留一定厚度的“地仗层”不仅可最大程度上保持壁画的原貌,且壁画原“地仗层”经加固处理后可起到“干涉层”的作用。 相似文献
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周海宽 《文物保护与考古科学》2011,23(1):79-83
《明人仿李龙眠绢本人物卷》是国内一家博物馆收藏的中国古代书画作品。由于原件破损较重,画心残裂绢质酥脆并且遭到虫蛀,该画因卷舒失宜,保存不善,致使画面全面受损。修复难点包括清洗、揭褙、拼对与复原、全色等各个方面。通过逐一揭出原破洞重新补配,对折条断裂遂一加固,精细全色,原磨损模糊失神的画意已清晰可见,也充分体现了现代科学原理和传统工艺的有机结合。 相似文献
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Mauro Sassu Juris Zarins Linda Giresini Lynne Newton 《Conservation and Management of Archaeological Sites》2017,19(2):106-125
The ‘Triple R’ approach on the restoration of dry stone walls, using recognizable, reversible and respectful constructive techniques is here illustrated. A set of restoration procedures are explained and applied to a UNESCO World Heritage site in Al-Baleed (Salalah, Sultanate of Oman) in the ‘Land of Frankincense’. The procedures were adapted in an innovative way to take into account the climate features of the Indian Ocean area (specifically, the effects of the monsoon season). All the restoration procedures aimed at conserving the site’s original architectural features by using only suitable stones and materials found on-site. Specific procedures have been adopted to consolidate walls, gates, foundations and sloping surfaces. Simple on-site mechanical tests and evaluation methods have been developed for a quick assessment of the safety level of the restored walls to ease future archaeological excavations. The application is related to a waterfront side of the ancient city built around the ninth century and added to over the next five centuries. These restoration procedures allowed for further archaeological excavations with new findings is here described. 相似文献
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ABSTRACTThis paper examines an unusual type of ‘cultural theme park’, one that is not based on simulating existing cultural diversity or historical places, but based in some senses on a ‘double simulation’. The theme park is based on an historical painting assumed to represent the North Song Dynasty period in Kaifeng, China; however, it is a representation that historians argue may never have existed. Utilising on-site interviews and participant observation, this paper traces the connections between the classic painting (清明上河图) and the actual historical landscape of Bianjing (the first simulation), and in so doing, unravels the links between the painting and the theme park (the second simulation) and the simulacra that are envisioned to form within the spaces of the theme park as a result of the interplay of simulations during theme park visits. The simulations and intended simulacra are ‘consumed’ to various degrees, suggesting that the representations of Kaifeng's historical past and culture have been impactful and (in)authenticity has not been an issue. Moreover, the theme park has served to entertain and, in some cases, inspire through playful appropriations of Kaifeng's past and culture. The resultant simulacra and its double simulations (in simulating both the real Bianjing and the neo-real landscape painting) contrast and simultaneously connect with rampant replications of the Occident in contemporary Chinese residential landscapes, townships and themed spaces. 相似文献
77.
The persistence of the black colour in magnetite‐containing paints in polychrome ceramics of the Argentine North‐West processed under conditions considered as oxidant has generated questions about ancient production technologies. In this work, the thermal oxidation reaction of magnetite to hematite under different temperatures, atmospheres and physicochemical characteristics of the materials is experimentally evaluated. The causes of this behaviour are elucidated, and it is concluded that in the archaeological context, a double‐firing process was not necessary to achieve the coexistence of different colours. 相似文献
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Nancy Rose Marshall 《Journal of Victorian Culture》2016,21(4):514-547
Taking Pre-Raphaelite painter John Everett Millais’s The Rescue (1855) as a case study of shifting aesthetic and moral frameworks, the essay investigates the ways in which mid-century British debates regarding the proper representation of light effects illuminate anxieties about a physically embodied viewer, one who encountered pictures in individualized ways that required regulation and guidance. Represented light, as an element that had a measurable effect on the senses, clearly stimulated a physical response and therefore brought the body to the fore in the art encounter. Types of painting that forcefully engaged the somatic self could become suspect and consequently subject to a process by which they were designated as ‘sensation’, a category in fraught relation with the disappearing ‘sublime’. Combining close visual analysis, a discussion of The Rescue’s novel subject matter, remarks by its first beholders, and nineteenth-century aesthetic theory, the article reflects on the ways in which discourses of art revealed anxieties about the formation of the modern subject and argues that The Rescue is a node in which the death of the sublime meets the birth of sensation. 相似文献
79.
以传统的笔墨程式来表达山水意象,显然已经不是当下有胆魄、有思想的画家应有的艺术态度和文化担当了,因为中国画在现代文化境遇下一定要寻求自身的突破,无论是观念上还是技法的表现上,特别是面对我国不同境域山水(非传统意义上江南或北方)审美对象时,如何突破原有笔墨语言局限和惯常模式的束缚?如何在新的艺术情境下进行合理的“语言”转换时,有革新的画家更会直面历史与现实,在探索中披荆斩棘、奋然前行。而刘知白先生就是这么一位重要的画家,他晚年的破墨山水画在现当代山水画语言的开拓和图式革新等方面功不可没。而在他晚年的泼墨山水中,除了晴空下正常的山水之外,极具黔地山水特点的雨景、云景、雾景、月景等意象也尤为值得关注,本文正是结合这些意象,进一步探讨刘知白先生泼墨绘画的意象的丰富性和表现力。 相似文献
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