A comparative study of wall painting materials and techniques used in fifteenth century Austria by Frederich of Villach and his followers     

Anabelle Križnar 《文物保护研究》2014,59(5):289-299

One of the most important artistic circles in the first half of the fifteenth-century in Austria was the so-called ‘Older Villach's workshop’, founded by Frederic of Villach, a painter who was considered a master of fresco technique. A technical study was made of a number of wall painting cycles by the workshop of Frederic of Villach, first, to gain a broader knowledge of the painting techniques employed, and second, to allow comparison with a further group of wall paintings in Slovenia, which are stylistically related to this workshop and have been studied previously. Of special interest were artworks attributed to Frederic's son Johannes of Ljubljana and a number of other anonymous painters that show important similarities to Frederic's works. Samples of plasters and pigments were analysed by optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and X-ray diffraction. An important difference in the composition of plasters was discovered between the selected artistic groups. The palette used comprised predominantly earth and other mineral pigments. The construction of the paintings from incisions and preparatory drawings to the final modelling is basically similar and shows workshop connections. The principal painting technique was a fresco. The results contribute to a wider knowledge concerning the materials and techniques employed in gothic wall paintings in the Alpine region and offer new information that can be used to inform the future conservation of these selected wall paintings.  相似文献   

Acrylic emulsion paint films: The effect of solution pH,conductivity, and ionic strength on film swelling and surfactant removal     

Courtney E. Dillon  Richard C. Wolbers 《文物保护研究》2014,59(1):52-62

To date, a limited number of aqueous conditions have been tested experimentally as potential cleaning reagents on modern acrylic paint films. Those assessed have tended to extract measurable quantities of paint film components and distort the paint films physically. In this paper the results of a series of experiments designed to examine pH, conductivity, and specific ion effects of potential aqueous cleaning solutions on a series of commercial acrylic paints are reported. A three-dimensional microscopic technique was used to characterize the physical (volume and surface roughness) changes and liquid chromatography-tandem mass spectrometry was used to characterize the chemical (extracted surfactant) changes following paint film exposure to the aqueous solution. The tested paint films in this study clearly exhibit an isotonic point below which swelling and extraction is significant, and above which the swelling and extraction is diminished. Manipulation of conductivity and the ionic species in solution can reduce both the physical film changes and surfactant extraction from acrylic paint films; while pH appears to be of limited use in controlling aqueous cleaning effects. Moreover, there seems to be a specific ion effect for both swelling and de-swelling in acrylic paint films that can be rationalized through the Hofmeister Series.  相似文献   

湖南隆回滩头年画研究综述   总被引：1，自引：0，他引：1  

钱甜甜 《科教文汇》2012,(32):164-165

身为全国四大年画之一的湖南隆回滩头年画是湖南省唯一的手工木版水印年画,地域特色突出,具有深厚的民俗文化背景和浓郁的楚南地区乡土特色.本文将综述隆回滩头年画的研究现状,包括滩头年画的历史起源、繁荣、没落、题材及种类形式、艺术内涵、前景展望等,并重点研究了滩头年画的开发前景.  相似文献   

“他者”缺失后日本画的行进方向——全球化语境下当代“日本画”的反思     

何韵旺 《华侨大学学报(哲学社会科学版)》2013,(4):146-153

历史上,日本美术一直对照着中国文化艺术的范本进行建构。近代“日本画”的确立,也是以西欧文化体系为他者进行自我形塑。然而,在以信息交换与经济网络架构的后现代文化全球化的讨论框架中,“他者”与“自身”的对立轴已经消失,当代“日本画”必须在全球一体化的文化空间中,在全球化与本土化之间寻找自己的坐标。  相似文献   

透视在中西传统绘画中的差异     

陈军 《蒙自师范高等专科学校学报》2013,(3):105-107

人眼在观看物象时,会产生视觉形象近大远小等视觉生理现象。中西人为了准确描绘物象,更好地表达绘画的创作意图,经过长期实践,各自总结出一套行之有效的透视方法,但由于文化因素,中西传统绘画中呈现的透视原理和表现方法存在较大差异。文章从中西透视产生的理论、根源、演变、应用及融合等几方面,分析了中西透视的特征与差异,力求使习画者在全面认知透视的基础上,合理应用透视关系,有效提升绘画创作的表现力。  相似文献   

自然精神下的理性探真——中国山水画原创启示     

薛和 《青海师范大学学报(哲学社会科学版)》2005,(3):102-105

本从自然精神的角度,论述了五代两宋山水画家在传承中创造山水画程式的原创过程。阐述了中国古代艺术家从精神理念的高度深入大自然“探道求法”的创作状态,从宏观的层面揭示画家“以法致道”,“因心造境”的思辩内省的人艺术境界,从而完成人与自然交流、沟通、对话中“画法完备”的艺术原创活动。  相似文献   

中国绘画中的"逸"之品格     

张顺琦 《安康学院学报》2008,20(1):68-69,74

中国画自宋代以后,文人画一直占统治地位.本文论述了"逸品",这一文人画品评标准的内涵及图式要求.  相似文献   

植根于书法艺术的中国画视觉特性     

徐卫 《南通师范学院学报》2008,(6):102-106

当代中国画视觉化问题,已引起了业界广泛注意,这自然也引发了我们对传统中国画视觉特性的反思。实践证明,传统中国画视觉特性的根基是书法线条艺术,她不仅反映在气脉贯通的整体空间布势之中,而且渗透于气韵生动的骨法用笔,正是以书法艺术为基础的文化精神内质和笔墨润物无声般涵养了中国画的视觉传统特征,那种“超以象外,得其环中”的意象审美境界也就成了传统中国画视觉特性的美学核心。因此我们不能抛开传统视觉特征来另搞一套所谓视觉创新。近年来的中国画大展上,失去了以书法艺术为要根基的文化精神内涵和笔墨趣的中国画视觉的基本特性。  相似文献   

论徐渭题画诗与书画的融合     

李杰荣 《韩山师范学院学报》2008,29(5):34-38

徐渭文学艺术造诣使他能在尺幅素纸上将诗书画融为一体,其中诗与画的融合主要是意境上的融合,以及精神上的融合贯通;书与画的融合,表现在徐渭以书法为画法,及以书风助画风。诗、书、画的有机融合,还涉及到三者形式上的融合。  相似文献   

试析“青绿山水”的认识误区   总被引：1，自引：0，他引：1  

黄思阳 《通化师范学院学报》2008,29(9):48-50

该文针对目前普遍存在的青绿山水即工笔山水、非正统、艳俗匠气等认识误区,进行逐一辩驳,目的是消除因对青绿设色山水的曲解而造成的负面影响。为中国山水画挖掘发展契机、拓宽生存空间。  相似文献