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We propose a general framework to study the relationship between the price of a painting and its color‐related attributes. To this end we focus on four key aspects: dominant colors, features of the color palette, color harmony, and color emotions. We demonstrate the usefulness of this approach with an example based on Mark Rothko's post‐1950 paintings (the “rectangular” series), and auction data from the 1994 to 2018 period. We identify two distinct price‐color regimes in Rothko's market: (a) [1994‐2005], a period in which prices are explained mainly by the growing popularity of the artist regardless of the color attributes of the paintings sold; and (b) [2006‐2018], a period in which color‐related attributes explain most of the prices. Furthermore, we find that in this second period, the dominant colors and the diversity of the color palette, are by far the most relevant attributes that influence the price; color harmony and color emotions hold almost no explanatory power during this period. Finally, we propose a new metric based on the Herfindahl Index to describe color diversity; this metric seems to be promising at characterizing the effect of the color palette on the price of a painting. 相似文献
3.
张云丽 《数码设计:surface》2010,(3):256-258
中国的山水画题诗源远流长,内涵丰富,美学价值高,覆盖面广,现实意义深刻,影响力大。而且诗画一体,独具艺术特色。本文从山水画题诗的内容及其审美特征二个方面进行了初步探索,以领略其思想的深刻性和"诗中有画,画中有诗"的审美形式及情趣。 相似文献
4.
We have performed a computational color analysis of images of paintings for six master painters: Titian, Rubens, El Greco, Velázquez, Rembrandt, and Vermeer. These painters show the evolution from the renaissance to the baroque style. Different first and second‐order statistical parameters have been obtained and analyzed in order to fix which of them can be common for the different artists and which of them can be representative of a certain period of time or the evolution of the art. The firsts include the orientation and semi‐axes ratio of the ellipses that define the gamut in the chromaticity diagram and the dependencies with the frequency of the power of the Fourier transforms. Most differences among artists can be found in the volume and area of the gamut, the number of discernible colors which is greater for Titian, El Greco and Rubens, compared to Velázquez, Rembrandt and Vermeer, the average value of L* and the number of dark pixels. 相似文献
5.
Three different cases of deterioration were identified in a single natural shelter containing prehistoric paintings. The microbial communities induced by run-off water, a black crust covering a portion of the shelter, and a cryptoendolithic microbial community, were studied. Molecular analyses based both on DNA and RNA were performed to identify the major components of these microbial communities present and metabolically active, respectively, at the studied location. While similar microbial communities were expected due to the proximity of the studied sites, clearly different communities were detected suggesting that specific microorganisms adapt to different micro-environments. Phototrophic microorganisms represented the major portion of total RNA and DNA in the studied microbial communities. Run-off water induced the presence of a large proportion of putative photosynthetic bacteria belonging to Chloroflexi. Different groups of bacteria were associated to phototrophs and were represented by Alpha, Beta, Delta, and Gammaproteobacteria, Acidobacteria, Actinobacteria, Bacteroidetes, and Planctomycetes. The present study confirms a need for careful monitoring of microbial communities associated to distinct cases of deterioration even within a single location, underlining the interest of phototrophic microorganisms as indicators of colonization on cultural heritage at natural shelters. 相似文献
6.
薛晔 《浙江工业大学学报》2013,(1):35-38,47
关良是中国近现代画坛上一位不可或缺的大师,也是最早将西方绘画艺术介绍到我国的先行者之一。从关良留下的作品看,他酷爱传统戏剧,对戏剧表现语言深有体味。他不仅将西方现代派的绘画理念引入中国传统的水墨画之中,也在油画中表现了许多传统中国画的元素,在他的灵魂里,东西方艺术已经融为一体。重新审视其独特艺术语言,希望能为当代画坛提供一些启示。 相似文献
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Abstract: Numerical modelling was used to follow the moisture movement and strain in a composite system – an unrestrained, single wood panel coated with a layer of gesso, in response to cyclic sinusoidal variations in relative humidity (RH). The allowable magnitude of the variations, below which physical damage of the gesso layer on the wood does not occur over a selected time of exposure, was derived as a function of cycle duration, panel thickness and moisture diffusion configuration. The dimensional response of wood substrate becomes subject to restraint by the applied layer of gesso. The panels do not respond significantly to diurnal fluctuations or shorter irrespectively of the panel thickness. The panels respond more and more significantly when the duration of the fluctuations increases until a certain critical period at which the panel fully responds to each cycle. The analysis of the data obtained indicates that moderate RH variations within the approximate range 50 ± 15% are safe. This safe range was derived using the extremes of conservative criteria of the gesso’s fatigue fracture and assumption of worst‐case wooden substrate response. The reduction of allowable amplitude of RH cycles because of decrease in the gesso’s modulus of elasticity and thickness is discussed. 相似文献
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The novel Structural Chemical Analyser (hyphenated Raman spectroscopy and scanning electron microscopy equipped with an X‐ray detector) is gaining popularity since it allows 3‐D morphological studies and elemental, molecular, structural and electronic analyses of a single complex micro‐sized sample without transfer between instruments. However, its full potential remains unexploited in painting heritage where simultaneous identification of inorganic and organic materials in paintings is critically yet unresolved. Despite benefits and drawbacks shown in literature, new challenges have to be faced analysing multifaceted paint specimens. SEM?Structural Chemical Analyser systems differ since they are fabricated ad hoc by request. As configuration influences the procedure to optimize analyses, likewise analytical protocols have to be designed ad hoc. This paper deals with the optimization of the analytical procedure of a Variable Pressure Field Emission scanning electron microscopy equipped with an X‐ray detector Raman spectroscopy system to analyse historical paint samples. We address essential parameters, technical challenges and limitations raised from analysing paint stratigraphies, archaeological samples and loose pigments. We show that accurate data interpretation requires comprehensive knowledge of factors affecting Raman spectra. We tackled: (i) the in‐FESEM?Raman spectroscopy analytical sequence, (ii) correlations between FESEM and Structural Chemical Analyser/laser analytical position, (iii) Raman signal intensity under different VP‐FESEM vacuum modes, (iv) carbon deposition on samples under FESEM low‐vacuum mode, (v) crystal nature and morphology, (vi) depth of focus and (vii) surface‐enhanced Raman scattering effect. We recommend careful planning of analysis strategies prior to research which, although time consuming, guarantees reliable results. The ultimate goal of this paper is to help to guide future users of a FESEM‐Structural Chemical Analyser system in order to increase applications. 相似文献
10.
以中国文人山水画的形成以及所包含的美学思想为启示,分析了文人山水画中以少胜多的格调、\"度\"的把握、暗示性、节奏性等几方面的特点,以及这些特点所能带给当代工业设计发展的积极影响为启示。同时通过了解中国文人山水画发展中客观存在的一些不足,对当代工业设计提出要重视可能产生的弊病以及如何消除弊病的方法,来提高工业设计学习和工作的效率。 相似文献