“Inhabitants of rustic parts of the world”: John Locke’s collection of drawings and the Dutch Empire in ethnographic types

This article analyses a collection of 26 watercolour drawings which portray ethnographic types from the Americas, Asia, and Africa. These drawings, presently kept at the British Library, were made for John Locke by his servant Sylvester Brounower during Locke’s exile in the Netherlands in the 1680s.     

西安钟楼建筑彩画样品材质分析

为了研究西安钟楼建筑彩画的制作材料,本工作采用超景深显微镜、X射线荧光分析仪、X射线衍射仪和气相色谱质谱联用仪对西安钟楼建筑彩画样品进行了分析。结果表明,该彩画样品地仗层采用单披灰制作工艺,两层红色颜料都是土红,绿色颜料使用了近代人工合成颜料——巴黎绿,胶粘剂含有动物胶。该研究成果对西安钟楼彩画后期修复保护材料和工艺的选择具有指导意义。     

Picturing knowledge: Chinese brushwork illustrations of Western natural history in a late Qing periodical, 1907–1911

In recent years, a number of studies have examined the introduction of Western learning into China after the late nineteenth century. Many of these works discuss how Chinese scholarship might have been reshaped by Western classification and structure of knowledge, and ask how it absorbed and adopted the vocabulary and language of Western learning. While defining the newly emerged idea of “national essence”, late Qing Chinese literati, notably the members of the Society for Preserving National Learning, also tried to incorporate Western scientific knowledge, as they understood and perceived it, into the framework of Chinese learning. From 1907–1911, more than a hundred botanical and zoological illustrations, drawn more or less according to Western scientific norm, appeared in Guocui xuebao, a journal published by the Society for Preserving National Learning. These pictures are an indication of the attempts made by late Qing Chinese literati to integrate Chinese and Western scholarship. Focusing on these drawings, this paper examines how the painter Cai Shou might have adopted and applied the natural history knowledge and the drawing techniques he acquired through various means. It also asks with what ideal late Qing and early Republican Chinese literati might have identified themselves.     

古建油饰彩画的制作技术分析研究

为了对中国特有的古建油饰彩画制作技术加深了解,促进古建油饰彩画传统工艺科学化,采用X射线衍射仪、X射线荧光光谱仪、扫描电镜、体视显微镜等仪器对采自蒙古博格达汗宫博物馆、北京颐和园、甘肃嘉峪关、山西太符观等古代建筑的油饰彩画样品的制作技术进行了分析研究。结果表明,测试的样品分别采用了一麻五灰、一布四灰、单披灰等多种工艺制作地仗;麻纤维广泛应用于样品纤维层中,仅样品YHY-22使用了棉布;颐和园和博格达汉宫博物馆的样品以砖灰作为地仗无机填料,嘉峪关样品使用了白土粉,而山西古建样品则可能使用当地的土壤。可以得出结论:几个地区古建油饰彩画的制作材料和技术是有所不同的。     

古代壁画、彩绘显现剂应用机理和性能研究

针对粘结硬质、钙化土锈的壁画和彩绘在保护修复中使用的去除剂和显现加固剂复合应用后对其性能进行了研究测试。从光学角度对明胶膜和加样后膜折射率进行测试,对土锈剩余层粒径与厚度进行测试,又从耐久性、柔韧性等方面对两种试剂复合用的模拟壁画进行了系统评价。结果表明:两种膜的折射率几乎相同,当土锈剩余层粒径在120μm以内,厚度在70μm内的土粒都可以通过显现加固剂进行显现,恢复其古朴原貌,且不触及颜料层。复合应用后对模拟样板老化后性能测试,数据显示各方面性能良好。     

Spain’s Military Campaigns in Sardinia and Sicily (1717–1720) According to Jaime Miguel de Guzmán-Dávalos,Marquis of la Mina

The Colección de cuadros y planos sobre de Cerdeña y Sicilia en los anõs 1717, 1720 is an archive of military maps complementing the Memorias written by Jaime Miguel de Guzmán-Dávalos, second marquis of la Mina, who had participated in these campaigns. The Colección illustrates some of the most important events of the Italian campaigns against the Quadruple Alliance of Britain, France, Austria and the Dutch Republic (1717–1720). Comparison of the maps and other drawings with details in la Mina’s Memorias allows us to clarify his main objective in compiling the text, which was to record the operations faithfully for use in military education.     

Nationality and children's drawings — pictures ‘about Scotland’ by primary school children in Edinburgh,Scotland and Syracuse,New York State

The way that children perceive and understand places and locations is an area of geographical research that had an intermittent history until the 1990s saw a sustained interest in ‘children's geographies’. Here I build upon these studies and those of spatial cognition, developmental psychology, constructions of nation and nationality, by asking children to draw pictures about a nation. I review this methodology and analyse drawings collected from work with children in Edinburgh, Scotland, and Syracuse, New York State. I obtained 127 pictures ‘about Scotland’ drawn by six to nine year olds. These drawings reveal a range of stereotypical images of Scotland that are learned, both nationally and internationally, by this early age. They also suggest that knowledge and experience of Scotland varies by school district in each location and that these children often intertwine personal and national narratives when representing Scotland.     

Historical Ship Graffiti on the Walls of San Juan's Spanish Defence System: an Interim Report

This project intends to document graffiti identified on the walls of the defence system of San Juan, Puerto Rico, in a collaborative effort between the author and the National Park Service. The initial proposal envisaged a maximum of 8 or 9 ship drawings previously identified by the Park's personnel. Fieldwork has hugely expanded that number—so far over 400. Preliminary evaluation of the ship-types identified suggests the presence of a visual representation of ship-type evolution, at least from the 18th to the first half of the 20th centuries.
© 2006 The Author     

塔尔寺嘉木央活佛府邸油饰彩画传统工艺调查初探

油饰彩画作为中国古建筑传统艺术的外在表现形式之一,在古建筑艺术宝库中,占有重要的历史地位,具有保护、装饰和说明建筑木构件等作用。油饰彩画对古建筑尤为重要,针对近年来油饰彩画面临传统工艺的传承和文化遗存的保护,必须对塔尔寺嘉木央活佛府邸油饰彩画进行全面的调查。为此,本工作在塔尔寺嘉木央活佛府邸油饰彩画进行全面调查的基础上,结合塔尔寺活佛府邸建筑彩画的艺术风格和特点,归纳总结了该府邸彩画的题材内容、纹饰纹样、工艺技法及地方性结构特征。基于塔尔寺藏传佛教寺院活佛府邸建筑彩画的传统工艺和结构特点,阐述油饰彩画保护修复过程的调查方法与重点。本调查结果可为塔尔寺嘉木央活佛府邸油饰彩画及类似彩画的修复保护提供参考。