共查询到20条相似文献，搜索用时 185 毫秒
1.
随着高强高性能混凝土更多地应用于-实际工程中,高性能混凝土的研制工作也越来越受重视.文章首先提出了C80高性能混凝土的研制思路,分析了材料配比和实验结果,最终得出了结论. 相似文献
2.
科研院所属于典型的知识型组织,有其自身的地域特色和行业特色。在型号工程研制中,中航工业一飞院作为总设计师单位,既要应对项目本身带来的挑战,也要积极应对舆情形势,针对形势任务需要和舆论环境特点,一飞院提出了持续性预警,针对性策划,制度性巩固的思路,实施型号舆情环境构建,将舆情导向和宣传思想工作紧密融合,切实把舆情环境体系融入到型号工程研制实践中,塑造员工良好的精神状态、思维方式和行为习惯,同时,把舆情环境凝聚到发展战略、型号研制和改革创新上来,从而真正发挥舆情生产力的作用。 相似文献
3.
4.
＂鱼不可脱于渊。国之利器,不可以示人＂。这是我国古代思想家老子从国家安全角度,对镇国利器提出的重大使用原则。而2011年年初,我军首架自主研制的隐形战机——歼20的曝光, 相似文献
5.
6.
他在我国石油匮乏年代临危受命,为空军“战鹰”翱翔蓝天保卫国家安全,人工合成航空煤油;他为“神舟飞船”造“舵”,呕心沥血研制控制飞船飞行姿态的肼分解催化剂; 相似文献
7.
工业电视监控系统的网络传输及应用 总被引：1，自引：0，他引：1
现代企业的电视监控系统必须满足图象数据的网络传输和共享,文章详细介绍了中国矿业大学研制生产的工业网络电视监视系统在白银公司检测中心的典型应用,并就设计思路、实现功能、技术指标等做了详细介绍。 相似文献
8.
文章采用模块化设计思想,研制了自动变速器试验数据采集系统。它具有接口丰富、可移植性强,并运用CAN总线技术等特点,既能实现台架试验数据采集,又能满足实车试验的需要,为研究和开发新型自动变速器提供重要的试验数据采集装置。 相似文献
9.
2014年元旦前夕,由公益研究机构新阅读研究所与正略咨询联合组织专家研制的“中国企业家基础阅读书目”在北京爱慕大厦举行发布会正式发布。这份书目向中国企业家推荐了100本对企业家成长和企业发展有所帮助的优秀图书。 相似文献
10.
现代企业的电视监控系统必须满足图象数据的网络传输和共享,文章详细介绍了中国矿业大学研制生产的工业网络电视监视系统在白银公司检测中心的典型应用,并就设计思路、实现功能、技术指标等做了详细介绍. 相似文献
11.
《Journal of Cultural Heritage》2014,15(2):136-143
The artist Jordi Teixidor is one of the leading exponents of twentieth century Spanish abstract art. In recent years, he has used a synthetic polymer as a support for his art work, namely polypropylene. The behaviour of this material in combination with layers of oil paint has not been studied until now. One of the objectives of this study was to chemically characterise the material present in Jordi Teixidor's work, using FT-IR spectroscopy, in order to be able to examine the behaviour of this set of materials after undergoing cycles of accelerated aging. After subjecting the samples to temperature and relative humidity cycles and ultraviolet radiation, their physico-mechanical behaviour was determined via tensile and bend tests, with the results being processed further by means of spectroscopic techniques and colour measurements. It was found that the possible migration of the additives present in the PP support and the gradual degradation of the materials could affect the adherence between the paint layers in the future. 相似文献
12.
《Journal of Cultural Heritage》2014,15(3):300-307
The Saadian tombs from the era of sultan Ahmed al-Mansour (1574–1603) are beautifully decorated and have always been a major attraction for visitors to Marrakesh. The central mausoleum, named the Hall of Twelve Columns, encloses the tombs of Ahmed al-Mansour and his family. The hall has a huge vaulted ceiling, carved cedar doors, opening windows with wooden marquetry screen (Mashrabiya), and grey Italian marble columns. This paper presents the first attempt to identify the organic materials used by the Moroccan artisans. A GC/MS analytical procedure was used for the characterization of lipids, waxes, resins, pitch, tar, proteinaceous and saccharide materials in the same paint micro-sample. The analytical study identified the organic materials used in the polychrome and gilded decorations of the walls, ceiling and dome of the hall. Data showed that the polychrome decorations were painted using animal glue as a binder, and highlighted the treatment of the wall surface with linseed oil and the retouching of the paintings based on a saccharide binder. The use of a proteinaceous-resinous-oil mixture, applied on a proteinaceous preparation layer, for the gilded decorations revealed a very similar technique to that used at the time in Europe for mural paintings. 相似文献
13.
Kamilla B. Kalinina Ilaria Bonaduce Maria Perla Colombini Irina. S. Artemieva 《Journal of Cultural Heritage》2012,13(3):259-274
This paper presents the first extensive investigation of the composition of both the organic and inorganic media used by Lorenzo Lotto, one of the outstanding artists of the Italian Renaissance in the early 16th century. By investigating four paintings from The State Hermitage Museum collection (Saint-Petersburg, Russia), new insights into the artist's painting techniques were obtained, which contribute to our understanding of the transition from egg tempera to oil painting techniques that took place in Italian paintings between the 15th to the mid 16th century. Inorganic materials were determined using SEM-EDX and PLM, revealing information on the artist's palette. Of particular note was the powdered colourless glass found in the priming layer of the Madonna delle Grazie, which was most likely used as dryer. Organic materials were analysed in individual paint layers using GC-MS, and revealed a mature use of drying oils as paint binders, skilfully mixed with other organic materials and inorganic driers, to obtain the desired aesthetical and technical qualities of the paint. The study revealed that Lotto used the tempera grassa technique through most of his creative life. 相似文献
14.
A KrF-excimer laser operating at λ = 248 nm was used for basic studies in cleaning ancient glass surfaces. For irradiation a mask projection technique was applied. A modified optical set-up was designed using cylindrical lenses for large area removal by line scanning. Previous investigations revealed insufficient knowledge about interaction processes between UV-laser radiation and individual surface layers of encrusted historical glass. Thus, first detailed studies were carried out on special model glass samples simulating the behaviour of historical glass. The potential of removing crusts, bio layers as well as layers of different conservation materials (due to former conservation work) were examined. The avoidance of damaging material such as gel layers, paint layers or the bulk glass was of great importance. Removal rates and thresholds for the materials mentioned above were carried out. The collected data enables a comparison and evaluation of the feasibility for the removal of superficial layers from historical glass artefacts. The results indicate that in some cases a closed loop process control will be necessary to avoid over-cleaning. 相似文献
15.
《Journal of Cultural Heritage》2007,8(1):13-25
The pictorial cycle “Teodelinda's Tales” at Monza Cathedral, painted by Zavattari and his sons in 1444–1446, has been investigated by optical and SEM-EDS microscopy and microFT-IR spectroscopy. Paint layers, gildings and other metallic decorations have been analysed to elucidate the execution technique, the state of conservation and the possible retouchings in consequence of deterioration processes. Organic binders, coatings and adhesives have been also identified especially by microFT-IR spectroscopy applied directly to the sampled powders or fragments and to their solvent–soluble fractions. The obtained data offer a correct and satisfactory knowledge of the original organic and inorganic materials and those used in the subsequent retouches and restorations, their state of conservation and the painting techniques (fresco, mezzo fresco and secco).The physico-chemical investigations allowed to identify the nature and sometimes the provenance of the employed materials (i.e. ultramarine blue pigments) and some decay markers, particularly useful in understanding and describing the cycle realised by the authors and the modifications suffered along the centuries, and also to propose an integrated methodology for the scientific study of the mural paintings. 相似文献
16.
《Journal of Cultural Heritage》2014,15(5):564-568
This paper deals with the scientific survey of Remo Brindisi's painting “Ragazzo seduto” (Seated boy), made at the end of the 1950s, that is a symbolic figure of both his personal artistic solitude and the crisis of values determined by the economic boom in the post-war period. In a period of great changes and economic regrowth, the need to find a new style that could be the most authentic and personal as possible pressed the artist to experiment innovative products, including non-conventional support. Photographic and analytical techniques demonstrated the use of innovative products as an experimentation tendency, that pressed the artist to use non-conventional support, industrially treated with plasticized PVC and primed with acrylate polymers and to paint with traditional and industrial pigments mixed with an oil-modified alkyd resin. In the span of a few years, an unexpected and extended degradation on the whole surface of the painting took place, with the consequent formation of lifting and detachment of the paint film. The detected alteration is mainly due to the fast ageing of the employed polymeric materials, actually responsible of the impermanence of many contemporary works of arts. Clarifying the unknown aspects of the Remo Brindisi's stylistic choices together with the deterioration processes of the employed painting materials, this paper highlights the general problems related to the conservation of contemporary art, a neglected area of research in Italy, where more efforts are committed to the enormous and more ancient cultural heritage. 相似文献
17.
Monica Favaro Sara Bianchin Pietro A. Vigato Muriel Vervat 《Journal of Cultural Heritage》2010,11(3):265-278
Giovanni Fattori (Livorno 1825–Firenze 1908) is the most representative artist of the Macchiaioli's current, an early group of Italian plein-air artists, whose work anticipates, in the xixth century, that of their younger contemporaries, the French Impressionists. The study, performed by a multidisciplinary team made up of scientists and conservators, presents the results of the scientific characterization carried out on a group of 10 paintings made by Fattori between 1854 and 1893 and shows the way he used complex mixtures of a large variety of traditional and synthetic pigments, ranging from lead white, found pure and also extended with calcium carbonate, natural barite and gypsum to zinc white, from red ochre to cinnabar and vermilion, from yellow ochre and Naples yellow to chrome yellow, cadmium yellow and zinc yellow, combined with many other ones reported in details. This paper highlights the evolution of his painting technique during a time of great technological and social innovations and puts forward some hypothesis on his awareness about manufactured pigments, i.e. tube paints recently introduced into the artists’ circles. The wide range of pigments and their different quality among the same synthetic products suggest that the artist used all the available materials, and that picking out the pigments he retained the early xixth century artists techniques, such as the use of mineral earths and Prussian blue, similarly to his contemporary Italian artists Federico Zandomeneghi and Telemaco Signorini, but he also experimented new and peculiar pigment mixtures in the making of “colored darks” and an innovative use of the grounds in the final composition, that are also distinctive features of the French Impressionists. This work is aimed at contributing to overcome the lack of a comprehensive overview on the widespread historical and scientific data collected up to now on the Italian paintings in the xixth century, which has been severely underestimated with respect to previous art movements. 相似文献
18.
1944年8月,欧洲战场,巴黎成了最重要的目标,节节败退的希特勒下令：“巴黎绝不能沦入敌人之手,万一发生此情况,他们在那里找到的只能是一片废墟。”巴黎解放那天,他还在念念不忘地问：“巴黎烧了吗？” 相似文献
19.
Anja Skaar Jacobsen 《Minerva》2008,46(2):195-214
Besides his activities as a theoretical physicist, the Belgian Léon Rosenfeld cultivated and showed a lively concern for history of science since his student years. This paper is a study of his publications, correspondence and other endeavours in history of science, mainly during the early Cold War period, in order to explore his essentially Marxist views on science and society and how they differed from those of other Marxists scholars, most notably John D. Bernal and Boris Hessen. 相似文献
20.
不久前逝世的著名哲学家任继愈先生在学术研究的道路上走了一辈子,并且乐此不疲。在90岁这年,他动了一次大手术,大家都劝他好好休息养病,任继愈却正色回答：“我比不得你们,你们好比在时间的银行里还有100元钱,我却只有5毛钱了,我得好好利用这5毛钱才行。” 相似文献