试论山水画题诗的内容及审美特征

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。     

戏画人生——关良的水墨戏剧人物画研究

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。     

Fatigue Damage of the Gesso Layer in Panel Paintings Subjected to Changing Climate Conditions

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.     

Computational color analysis of paintings for different artists of the XVI and XVII centuries

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.     

广东潮州民居木构彩画特色分析

民间建筑彩画呈现出不同的地域文化特征,广东潮州民居传统木构彩画,艳丽的色彩、满铺的构图看似繁俗,仔细归类分析其用色、图案、题字、题词、题材、位置及方位,便可发现这些彩画与它所处建筑之空间和用途存在着密切的关系,也可揭示潮州民系的历史发展根源、地区生产技术、传统宗族信念、社群经济文化和营造工艺传承,是表现潮州人生活愿景和礼制观念的重要载体。学界对于中国建筑地域彩画暂时未有规范的研究方法,本文基于田园调查,在古潮州府城、海阳、澄海、揭阳、普宁、饶平、潮阳和惠来等偏远乡镇地进行了普查,记录许多未入文物登记的民宅的室内梁架彩画,将幸存的清代民宅彩画残迹对比潮州民系的发展,疏理其彩画历史演化沿革。案例以潮州民宅的基本建筑形态:下山虎、四点金、三座落、驷马拖车和寨城五类建筑的彩画进行分析比较,希望可以补充我国民间木构彩画的学术空白、保存地域文化传统、加强海内外潮系人民的身份认同,借助保护民居珍贵遗产探讨可持续发展地域文化的方向。     

河南古建彩画艺术在家居产品设计中的转译应用

目的 河南古建筑彩画艺术是黄河流域中原文化的重要组成部分,河南古建筑彩画艺术在家居产品设计中的转译应用研究,是对古建彩画艺术在日常生活语境下活化传承的路径探索,也是对家居产品设计手法的拓展,有助于营造中国式家居风格氛围,引领人们认识与弘扬中国传统住宅家居文化。方法 搜集河南古建筑彩画相关资料并整理分类,总结和提炼其代表性符号元素,解析符号元素中的文化因子,并对文化因子在现代家居产品设计中的应用方法进行讨论,即廓清古建筑彩画艺术中的“结构”因子、“形”因子、“色彩”因子和“语义”因子,运用碱基运算法,对各类因子进行再结合,构建完整的家居产品设计新模式。结论 通过对河南古建筑彩画艺术元素与符号特征的再设计,将河南古建筑彩画艺术与家居产品设计结合,使其符合当代消费者需求的商品属性,提升其文化附加值,为家居产品的多元化发展路径做出探索。     

东巴纸牌画及其艺术与文化特征

东巴纸牌画起源于公元3世纪左右。从流传至今的东巴纸牌画内容来看,可分为祭祀类、占卜类、头冠类3类,主要以动物、鬼神及日月星辰、山川草木等为题材。其构图方式主要有中心性构图、连环性构图、分割性构图、叙事性构图等。不同题材的纸牌画所采取的构图方式不同,色彩的运用也不相同:描绘神界、神像、神物等常用浅色调,以彰显和谐、祥和之气;而绘制鬼怪之类则多用深色调,显得诡异阴森,给人以威慑力。其常采用线条勾勒绘画对象,以表达纳西人对体积三度空间的认识。东巴纸牌画的文化内涵表现出强烈的民族性、宗教性和地域性特征。     

Optimizing use of the structural chemical analyser (variable pressure FESEM‐EDX raman spectroscopy) on micro‐size complex historical paintings characterization

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.     

刍议中国文人山水画于当代工业设计之启示

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。     

Three different phototrophic microbial communities colonizing a single natural shelter containing prehistoric paintings

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.