字画的纸张年代地域鉴定

在书画鉴定中,纸张检验成为非常重要和关键的部分,纸张的类型、年代和出现的一些特征等,都构成纸张检验的重要部分。     

关于珠宝玉石鉴定中的红外光谱技术应用

随着社会经济的不断发展,人们的生活品质得到了很大提升,所以人们越来越关注珠宝玉石,而随之产生的就是对珠宝玉石的真伪、优劣进行辨别的问题,目前红外光谱技术是现代社会中灵敏度较高的微量气体检测技术,在珠宝玉石鉴定中有效应用该类技术,不仅能够精准分辨出珠宝玉石的种类,同时也能鉴定珠宝玉石的真伪情况,具有较高的鉴定准确性,因此该文主要对珠宝玉石鉴定中红外光谱技术的应用进行了研究,希望能够为相关人员提供一定的参考。     

苦心探索中国书画科学鉴定之路——访中国艺术科技研究所书画鉴定研究中心主任尹毅

尹毅,享受国务院政府特殊津贴的美术创作研究专家,国家一级美术师,中国美术家协会会员。借助网络搜索可以了解到:尹毅是一位学者型画家。他一方面致力于中国画的现代笔墨创作,独创了一系列水墨新技法,使其作品形成了古今中外独此一家的创作风格,使他在当代画坛上逐步具有了独特的学术位置,他的雪域风光、山石云水之作中的"绝活",令人叹服,在国内外受到了广泛好评;另一方面他还是"为现代水墨艺术立说"的重要理论家,他以锲而不舍的敬业精神和严谨的学术态度,为学术梳理水墨艺术史、构建现代笔墨理论体系做出了贡献。其《水墨艺术裂变说》、《笔墨时空融合说》、《现代笔墨宣言》等论著,都是颇具学术价值和现实意义的美术理论文献。2008年以来,他于文化部中国艺术科技研究所负责书画鉴定研究中心工作,并主持了国家科研项目"书画真伪科学鉴定系统"。     

琥珀及其主要仿制品的红外光谱鉴定

通过常规宝石学和红外光谱测试方法对琥珀及其仿制品共26件实验样品进行观察和测试,并对实验结果进行分析和对比,得出除常规宝石学检测手段外,红外光谱方法是目前检验琥珀及其仿制品较为有效的方法。     

钻石的红外吸收光谱特征及其在钻石鉴定中的意义

对天然、合成和处理钻石进行红外光谱的测试,分别对这些样品的红外光谱特征进行描述并对其鉴定特征进行研究,红外光谱不仅可以鉴别钻石类型,还可揭示一些处理特征信息。根据红外光谱中的氮峰可以了解氮在钻石中的存在方式,从而鉴别部分合成钻石;1450cm-1(H1a)吸收峰的出现可作为钻石遭受辐照处理的判定依据之一;Ia型褐黄色钻石1422cm-1、1329cm-1、1010cm-1红外吸收组合谱带的出现可视为钻石经高温高压处理后塑性变形的一个重要识别标志。     

Product development for Chinese calligraphy using reverse engineering and rapid prototyping

Chinese calligraphy is considered to be one of the most beautiful and meaningful patterns in the world. Calligraphy is an art dating back to the earliest day of Chinese history, and widely practised throughout ancient China even to recent days. Owing to the passage of time, many old carvings of stamp characters have gradually faded. How to preserve these old Chinese cultural artifacts will be some crucial issues for today. Reverse engineering (RE) and rapid prototyping (RP) technology are considered effective tools for product development. This research combines RE, grey prediction theory in pattern processing, geometric modeling for constructing the characters of Chinese calligraphy and RP for model making. First, the written Chinese calligraphy is scanned by a scanner. By using image processing, the contours of the Chinese characters can be detected. The contours for the characters then turn out to be point data which can be easily processed in any computer aided design (CAD) software by using B-Spline curves to fit the points. An example is demonstrated by writing a Chinese compound word 'the fortune and treasure are coming' to show the process. Finally, a RP model is fabricated to show various applications for the products in Chinese calligraphy pattern. By this research, the gap between the Chinese calligraphy in handicraft and digital virtual design can be realized. More usefully, with this research the aesthetic aspects in the characters can be preserved.     

Product development for Chinese calligraphy using reverse engineering and rapid prototyping

Chinese calligraphy is considered to be one of the most beautiful and meaningful patterns in the world. Calligraphy is an art dating back to the earliest day of Chinese history, and widely practised throughout ancient China even to recent days. Owing to the passage of time, many old carvings of stamp characters have gradually faded. How to preserve these old Chinese cultural artifacts will be some crucial issues for today. Reverse engineering (RE) and rapid prototyping (RP) technology are considered effective tools for product development. This research combines RE, grey prediction theory in pattern processing, geometric modeling for constructing the characters of Chinese calligraphy and RP for model making. First, the written Chinese calligraphy is scanned by a scanner. By using image processing, the contours of the Chinese characters can be detected. The contours for the characters then turn out to be point data which can be easily processed in any computer aided design (CAD) software by using B-Spline curves to fit the points. An example is demonstrated by writing a Chinese compound word ‘the fortune and treasure are coming’ to show the process. Finally, a RP model is fabricated to show various applications for the products in Chinese calligraphy pattern. By this research, the gap between the Chinese calligraphy in handicraft and digital virtual design can be realized. More usefully, with this research the aesthetic aspects in the characters can be preserved.     

中国(传统)绘画透视的科学验证

中国传统绘画透视超出西方(绘画)裸视透视范围。其透视效应,从意识上加大透视反向畸变。依据"龟纹图"从透视效应分析,人眼裸视透视至轴测透视(WMY)之间是相关、连续的。用科学方法对中国传统绘画透视效应按视距分段剖析、研究,同时对中国人文文化等方面因素影响进行分析。用新视角和新方法解读中国传统绘画透视,并按新观念、新理论构建科学的中国传统绘画透视。     

基于笔法模型的国画一笔多色模拟

为了完善“一笔多色”国画技法效果的计算机模拟,提出了基于笔法的多色效果仿真.通过建立笔锋模型,改变子笔道的粗细(中锋)或将多个子笔道偏移一定位置(侧锋)进行叠加,避免了逐点计算笔道中的颜色的复杂过程,提高了运算速度.中锋、侧锋是根据笔杆与纸面的夹角进行判断的,计算机智能笔法就是通过中锋和侧锋的转换来实现的,从而产生两种不同笔法的一笔多色模拟效果.     

Life painting and light painting: Photography and the early Russian avant-garde

Abstract

‘At worst a colour photograph, at best a graveyard on the edge of town’.1 Kazimir Malevich, ‘Posledniaia glava ncokonchennoi avtobiografii’, in Vasilii Rakitin and Andrei Sarab'anov, eds., N. I. Khardzhiev. Stat'i ob avangarde, Moscow: RA 1997, vol. I, 130. Malevich may well have made this remark after looking through the journal Solntse Rossii (Petrograd), No. 293 (September 1915), which ran an obituary and extensive photographic tribute to Konstantin Makovskii. That is how Kazimir Malevich once described nineteenth-century Realism and the stylization of the fin de siecte that had preceded his establishment of Suprematism in 1915. He emphasized further that for him there was no cardinal difference between ‘naturalism’ (his generic denotation of all pre-Suprematist painting) and ‘photography’. Yet only a decade later Aleksandr Rodchenko was exhorting the new society to dismiss painting and to ‘photograph and be photographed’,² replacing his paintbrush with a handcamera — and zhivopis' with svetopis'— to produce some of the most remarkable photographs of the twentieth century.3 ‘hivopis’ (‘life painting’), while an early, indigenous word for ‘photography’ was ‘svetopis’ (‘light painting’); soon, however, replaced by fotografia.      

中国画在当今非物质包装设计中的应用

随着电脑的普及、网络的建立以及网络的迅速发展,电脑作为设计工具,虚拟的、数字化的设计使包装设计进入了非物质设计.中国画可以通过电脑这一设计工具,应用于非物质包装设计领域中.本文主要研究在非物质包装设计过程中应充分应用和吸取中国画的精华,以构建一个既有民族性,又有时代性的国画包装设计,使中国绘画在非物质包装设计中得以更好的应用与发展.     

Nondestructive identification of natural and synthetic organic colorants in works of art by surface enhanced Raman scattering

We present a new method based on surface-enhanced Raman scattering (SERS) for the nondestructive identification of organic colorants in objects whose value or function precludes sampling, such as drawings, prints, historic and archeological textiles, handwritten or printed documents, and forensic evidence. A bead of a polymer hydrogel loaded with a solution containing water, an organic solvent, and a chelating agent is used to extract minimal amounts of the colorants from the work of art for SERS analysis. Using a gel as a medium for the solvent mixture confines its action only to the areas of the work of art covered by the gel bead. The gel bead is then removed from the work of art, covered with a drop of Ag colloid, and examined with a Raman microscope. Transfer of the dye from the substrate to the gel does not require removing a sample from the work of art, therefore preserving the physical integrity of the object. Spectrophotometric color measurements confirm that color change is below the limit perceivable by a human observer. Finally, the size of the polymer bead can be reduced to a fraction of a millimeter in order to further minimize any impact on the work of art, without detriment to the effectiveness of the method. The technique has been successfully used for the analysis of a mordant dye on the 15th century Netherlandish tapestry, "The Hunt for the Unicorn", and of a synthetic lake pigment on a Meiji period Japanese woodblock print.     

Pigment identification by spectroscopic means: evidence consistent with the attribution of the painting Young Woman Seated at a Virginal to Vermeer

Technical examination of the painting Young Woman Seated at a Virginal by cross section and polarized light microscopy, chemical tests, surface microscopy, energy-dispersive X-ray analysis, and Raman microscopy has led to the identification of the pigments lead tin yellow (type I), lazurite, vermilion, calcite, lead white, red and yellow iron oxides, umber, lamp black, and green earth on the canvas. These pigments are entirely typical of Vermeer's palette and are consistent with a large body of other technical and art historical findings on paintings by Vermeer and other Dutch 17th century artists. While not authenticating the painting as being by Vermeer, the results provide further critical material that is consistent with this attribution. This case study also provides an opportunity to outline the role of analytical and forensic sciences in the examination and attribution of art objects.