共查询到20条相似文献，搜索用时 156 毫秒
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<正>我国古代绘画艺术在秦汉时期已经成为美术领域最主要的艺术门类。秦汉时期的绘画内容囊括了神话传说、历史故事、天文地理、动植物及山水等等。绘画艺术的技法方面,绘画主材为墨汁、绘画工具为毛笔、绘画造型为线描。秦汉绘画艺术主要体现于陶器画、帛画、漆画、壁画等画种 相似文献
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新媒体时代的来临为绘画艺术的传播提供了一条全新的发展路径,出现了即时性更强的展示形式、互动性更强的展示内容、兼容性更强的展示载体、传播性更广的展示渠道等新变化,但也引发了一些问题,如艺术欣赏的碎片化、艺术创作的娱乐化、艺术评判的技术化、艺术版权的欠保护等,本文在此基础上提出新媒体时代绘画艺术的数字化传播路径,以求抛砖引玉,促进绘画艺术发展. 相似文献
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女性形象的问题在中西绘画中都是一个永恒存在的话题,早期绘画中出现的女性形象多是对生殖崇拜的产物,随着人类文明的出现,绘画中的女性形象更多的是以男性为中心的反映。由于中西方的文化,地理环境,社会形态,风俗习惯等背景的不同,中国绘画与西方绘画在内容和表现形式上都显现出了不同的特征。 相似文献
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中国绘画历经漫长的发展过程,逐渐丰富和完善,在观点理念、内容形式、风格技法等方面,基本形成了确定的中国画艺术体系 相似文献
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洛阳汉墓壁画,由于其丰富而独特的文化内涵和精湛的表现技法受到美术史家的重视。洛阳汉墓壁画在继承和发展先秦绘画艺术的基础上,融汇了中国南北文化的元素．创造出丰富多彩的艺术表现手法,具有鲜明的民族风格．为研究汉代绘画、政治、经济、思想、社会风俗等内容提供了极其宝贵的资料。洛阳汉墓壁画不仅反映了当时绘画艺术的状况．而且深刻地反映了当时人们的思想、情感、意趣。 相似文献
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《中国国家博物馆馆刊》2020,(7)
董其昌传世的《集古树石画稿》是他绘画理论与实践的具体体现,从画稿的内容可以寻绎董其昌绘画思想与笔墨实践的源流,画稿的集古的形式则对清代以后以画谱形式流行的绘画教学产生了较大影响。龚贤的绘画思想与实践深受董其昌影响,其用于绘画教学的《课徒画稿》,无论内容、形式还是画学思想,都与董其昌的《集古树石画稿》存在着密切的内在联系。深入分析两者之间的异同,有助于我们厘清董其昌绘画艺术的成长历程、创作方法,以及龚贤学习、模仿董其昌的具体方式与方法,对今天的传统绘画教学也有一定的借鉴意义。 相似文献
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近年来,梅若所著"花鸟画技法"系列丛书因其极高的绘画价值、思想价值被多次出版,久销不衰.此系列书涉及的绘画体裁丰富、技法精准娴熟、讲解细致巧妙,既传承了"海上画派"优秀的绘画风格,又融入了作者对"师法自然"的绘画体验;既从内容质量上展现了梅若先生花鸟画作品的高超水平,切合了当下人们对绘画艺术的需求,又在出版形式美感上给人以赏心悦目的审美体验. 相似文献
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The raw canvas paintings of Morris Louis and similar color field works, with their extreme vulnerability to staining and structural damage, present a challenge for safe and successful treatment design, often testing the bounds of our abilities as conservators and stimulating expansion of treatment methodologies. The ability to draw from specialized textile and painting conservation techniques, and to understand their long-term implications and impact on aesthetic perception, is essential for the conservator of these modern paintings. A large Morris Louis, Untitled (Floral), held as a non-accessioned work at the Museum of Fine Arts, Houston, provided an ideal example to explore the intersection of minimally interventive treatments with the need for aesthetic perfection. 相似文献
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Ellen W. Lee 《Curator: The Museum Journal》1994,37(3):172-184
Many American and European art museums are now featuring small, highly-focused shows in their exhibition programs. In 1990, the Indianapolis Museum of Art organized an exhibition that reunited, for the first time in a century, the four landscape paintings created by neo-impressionist Georges Seurat during the last summer of his life. Using Seurat at Gravelines: The Last Landscapes as an example, this article addresses the advantages — for museums and their visitors — of the small temporary exhibition. 相似文献
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Bradley L. Schaffner 《Slavic & East European Information Resources》2013,14(2-3):113-119
As an undergraduate at Harvard University, Bayard L. Kilgour (’27) developed a life-long interest in Russia. Kilgour made numerous trips to Soviet Russia where he placed special emphasis on acquiring books, paintings, and other decorative artwork. His passion for Russia is witnessed through his philanthropic endeavors both to the Harvard University Libraries and to the Cincinnati Art Museum. In addition to donations of books and other artifacts, Mr. Kilgour provided endowments for the continued acquisition of Slavic materials to ensure that the collections he established continue to develop and grow. 相似文献
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余辉 《中国国家博物馆馆刊》2021,(1):81-105
本文以图像考据的方式分析研究了明清11件立于宫殿之前的肖像画与待漏图的关系,由"待漏"产生的"待漏文学"是认知待漏图的关键之一,肯定了朱万章、黄小峰等先生的探索成果.文章提出了判定作品的创作者有无宫廷背景的基本方法是分析画中的建筑是否符合宫廷规制,图下的长条底图决定了此类肖像画的主要功用.笔者认为明代朱邦《王宫图》轴的... 相似文献
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Birgit Angelika Schmidt Martin Andreas Ziemann Simone Pentzien Toralf Gabsch Werner Koch Jörg Krüger 《文物保护研究》2016,61(2):113-122
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified. 相似文献
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Museum objects are often highly complex and composed of materials with varying properties, some of which may have changed as a result of ageing and/or conservation treatments. Research into defining sustainable environmental conditions by balancing energy cost and risk to these vulnerable objects has mainly focused on experiments in laboratories with new, single materials or on computer modelling, but only to a limited extent on actual objects. This paper presents a method to collect empirical data from a large group of decorated wooden panels in order to investigate the effects of humidity fluctuations on these objects and relate them to their material properties and construction. Wooden panels were chosen as they are regarded to be particularly sensitive to fluctuations in relative humidity. The fluctuations may cause the wood to shrink and swell and can result in open glue joints, cracks, and deformation of the panels as well as losses and cracks in the decorative layers. Empirical data are scarcely available as yet but are essential to study relationships between material properties, type of construction, damage, and as input and validation for modelling and experimental studies. The method, referred to as the Rijksmuseum Study, was performed on a group of 300 objects from the furniture and paintings collections of the Rijksmuseum. 相似文献
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ABSTRACTWe report on biological control of an active infestation by biscuit beetles (Stegobium paniceum) of museum objects (Old Masters paintings) in the storage facilities of the Museum of Fine Arts in Vienna. Because chemical and non-chemical treatment methods would have been very problematic, the release of parasitic wasps (Lariophagus distinguendus) was discussed and accepted by the director of the collection. We released 3000 wasps every month from August 2013 until September 2014 in the two infested storage rooms and monitored the activity of biscuit beetles on sticky blunder traps and light traps, and also by visual inspection. In the insect monitoring of 2014 until 2018 no more biscuit beetles were found in the two storage depositories, showing that the treatment was 100% successful. To our knowledge, this is the first proof of a fully successful biological control of a museum pest using parasitoids only, and also of stored product/food pest, outside a laboratory experimental setup. This biological pest control method allowed avoiding negative side effects such as contamination from treatments with biocides, or costly logistics in case of chemical-free methods. 相似文献
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装饰画表现出图书馆的艺术风格与文化品位。适当挂置装饰画可以提高图书馆室内整体的和谐度。现代化图书馆选择装饰画应从装饰画的主体颜色、内容、形式、风格、图案、样式及形状等方面考虑,选择与所处空间环境相呼应、与图书馆的功能相匹配、与图书馆的文化积淀与地域特色的个性化相融合的装饰画。 相似文献
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图书馆持续发展字画馆藏的5个理由是：字画本应属于图书馆的收藏范围,圈忙靖收藏字画有相关法规支持,字画在图书馆可得到专业保护,字画藏品可满足读者的读图需求,字画数字化足数字化复制保护工作的难点。延缓字画损耗的保护工作实际是维护、发展这一特色馆藏。 相似文献