浅谈现代首饰艺术的发展与基本特征

现代首饰艺术指的是一种形式和风格,即,在现代设计艺术思潮中受现代艺术流派表现特征影响而产生的、具有现代形式和风格的首饰艺术。现代首饰艺术的特征是比较多元的,归结为三,其一,现代首饰艺术的观念性;其二,现代首饰艺术的形式美;其三,现代首饰艺术材质与搭配的自由性。     

环境艺术设计专业表达能力的培养

环境艺术设计由于专业性质的特点 ,需要学生有良好的口头、文字、图面表达能力 ,这也是环境艺术设计师的基本素质。结合我们教师队伍的构成和课程设置的特点 ,借鉴了日本国立筑波大学环境设计专业的教学经验 ,我们在主干设计课、设计理论课、毕业论文、毕业设计等课程中贯穿了这种改革思路。     

牙轮钻头轴承表面织构三种加工方法对比分析

目的研究牙轮钻头轴承上润滑减磨的有效织构加工方法,从而进一步深入牙轮钻头轴承上仿生表面织构的研究。方法开展精密雕刻、纳秒激光和飞秒激光三种加工方式在牙轮钻头轴承上加工织构的实验,观察加工织构底部形貌,从织构加工尺寸、加工精度、加工对象三个方面对比分析三种织构加工方式的优缺点。结果精密雕刻技术可获得较规则的织构三维形貌,但不适用加工熔点高的材料,且仅适用于直径大于400?m的织构。纳秒激光由于金属熔融堆积效应,织构加工质量较差。飞秒激光技术的加工质量高且不受材料限制,能获得较好的织构轮廓,合理织构直径应小于300μm。结论为织构化牙轮钻头滑动轴承的加工方法提供依据。综合织构加工尺寸范围、加工对象和加工精度,飞秒激光加工技术在牙轮钻头轴承上具有良好的应用前景,精密雕刻技术仅在织构尺寸较大时可采用。     

十八世纪俄罗斯建筑艺术中的“中国”情调

17至18世纪,在欧洲及俄罗斯掀起了一股崇尚中国情调和仿效中国艺术的热潮,谓之"中国风"。文中考察了俄罗斯建筑艺术和造型艺术中出现中国形象的文化历史背景;用历史资料和图片展示了圣彼得堡及其郊区部分建筑艺术的中国风格;比较了俄罗斯建筑中的中式风格与中国传统建筑风格的差异,并分析研究了产生其差异的原因。研究成果丰富了中俄建筑艺术、文化、美学史的内容,有利于巩固和扩大俄中俄两国文化合作方面的友好联系。     

基于特征综合的植物建模方法

研究顾基于推理创建植物三维模型的方法,选择了一种很典型的植物－－树,研究面向特征综合的集成形状和语义的树表达模型,提供了综合形状和语义的三维树模的生成方法,以及相应的模拟树四季形状变化的模型,同时,将上述方法和模型在树的综合生成实验系统中予以实现。     

篆刻艺术章法形式语言在标志设计中的应用

目的 探讨在现代标志设计中,如何使设计作品既具有浓厚的民族传统内涵又不失时代气息。方法 借鉴篆刻艺术中典型的朱白文的布局、印面空间的疏密对比、空间排叠布局等形式语言。结论 汉字作为元素设计出的作品与篆刻艺术在设计构思、空间构成上有着极大的相似性,都是在“方寸之间”进行创意构思,因而,标志设计可以借鉴篆刻艺术的形式法则进行有效设计。     

Fame of Thrones: Seats,Sights, and Sanctity among the Inka

Abstract

The Inka of Andean South America regarded as sacred those seats reserved for the divine head of state. The most famous of such seats was known to the Inka as the Sapaqurinka; today it is more commonly known as the Throne of the Inka. It was hewn from a rock outcrop located atop a promontory overlooking the Inka’s capital city of Cuzco. Attending closely to its specific parts, as well as to its overall aspect, location, and medium, this paper elucidates the principles evoked when the Inka ruler sat on stone, saw what was there to be seen, and assumed the role of divine overseer. The petrous materiality of the Throne, its fixed location, and the ways in which it was carved, combined to enable the deific leader of the Inka state to become simultaneously a living ruler and an extension of the sacred landscape. By sitting, the Inka ruler not only inhabited a sacred topography, but merged with it, his body composed of vital but impermanent flesh and also – in deliberate complementarity – petrous fixity and permanence.     

Religious expression in senegalese weavers' work

ABSTRACT

Using ethnographic interviews with weavers in Thiès, Senegal, this article argues that artists make processes of weaving practices of their faith. Weavers discursively associate their work with their personal faith and with socially circulated tenets of Sufism and indigenous systems of belief. I focus on a tacitly expressed analogy that weavers make between their work and faith: the divinely inspired knowledge needed for personal spiritual transformation, and the technical knowledge needed for artistic innovation. Because weavers adapt their work to new techniques and styles, the ways they express their beliefs through their work also varies and develops. I use pragmatics, or the relationship between beliefs and the ways people implement them, as a framework to explore how weavers express their faith through techniques and imagery.     

State-of-the-art review of backfill practices for sublevel stoping system

Backfilling is one of the most critical tasks for sublevel stoping mining methods with delayed backfill. Selection of the type of backfill is a significant component of backfill design at preliminary stage of mine development. This paper presents a state-of-the-art review of backfill practices with focus on backfill operations in North America. Major difficulties and solutions in backfill practice have been laid down in this review. Preliminary recommendations are made for the case study mine based on the knowledge gained from the literature review and in situ observations.     

Ansel Adams and Georgia O'Keeffe: On the Intangible in Art and Nature

Ansel Adams and Georgia O'Keeffe, although committed realist artists using straightforward photographic technique and an objective style of painting, transfigured the natural scene artistically to express profoundly metaphysical responses to nature. Both Adams and O'Keeffe were aware of manifold currents of mystical thought in the 1930s through personal contact with the theosophical teachers A. R. Orage and Jean Toomer. Treating landscape features as psychological and spiritual phenomena, they shared a lifelong quest for creative development and self‐discovery through the forms of nature.