关于汉代墓室壁画研究资源库建设的思考

洛阳汉代壁画是研究汉代社会的图像资料,具有重要的文献学价值。壁画的研究成果是地方文献特色资源的一部分,图书馆运用现代化科技手段和图书馆专业管理技能,参与对汉代壁画的保护和研究成果资料的整理推广活动,建立以汉代壁画研究为中心的成果资源数据库,为传承中华优秀文化做出贡献。     

洛阳汉代壁画的文献学价值研究

洛阳汉代壁画是汉代文化的一个组成部分,它以鲜明的时代特征、生动的形象塑造,大气磅礴的艺术风格,深刻反映汉代社会的理想追求和精神面貌,是研究汉代社会历史的图像资料,具有重要的文献学价值。洛阳汉代壁画对古代文献具有考证价值,对于汉代的制度、文献、法律有考证、校勘价值,对于汉代社会创造的文化又因历史原因遗失部分提供补遗功能。     

洛阳汉代壁画作品欣赏

洛阳汉代墓室壁画是汉代社会生活的真实写照,是汉代思想意识、道德观念在丧葬文化领域中的反映,是具有鲜明的时代特征和审美价值的古代艺术珍品,今天依然有其研究价值和欣赏价值。     

洛阳汉墓壁画的艺术价值

汉代是中国传统绘域艺术语言和样式形成和发展的重要时期．在中国绘画史上具有承前启后的历史地位。汉代墓室壁画作为汉代绘画的重要组成部分．具有很强的代表性和时代特征。两汉大量墓室壁画材料,恰好填补了绘画史上唐宋以前绘画的缺失。墓室壁画,不仅可以补足画史的缺失．而且可以为传世绘画的研究提供参考。而地处中原腹地的古都洛阳,是两汉的陪都和都城。洛阳地区发现的汉代壁画墓占全国目前发现的壁画墓总数的40％。     

从洛阳墓室看汉代墓室壁画的艺术特点

洛阳汉代墓室壁画作为汉代墓室壁画的集中代表,达到了一定的艺术高度。本文主要采用文献分析的方法,探讨了汉代墓室壁画的艺术特点。     

我国图书馆有声读物研究进展解析

有声读物是图书馆开展信息服务的重要数字资源,为新时代背景下图书馆阅读推广注入了新鲜活力.文章基于对CNKI中图书馆有声读物相关文献的分析,总结梳理图书馆建设和推广有声读物研究脉络,发现研究成果可从资源、服务、推广和受众四个维度进行解构,并对此分别展开深入探讨.在此基础上,总结研究进展和不足之处,以期为图书馆有声读物未来...     

营城子汉代壁画墓

营城于汉代壁画墓坐落于大连市甘井子区营城子镇沙岗子村附近,因墓内有壁画而得名。1931年发掘,1963年公布为省级文物保护单位。营城子汉代壁画墓结构特殊,也是全国汉代墓中所罕见的。整个墓室……     

关于电子资源与纸本资源协调发展的思考和建议

在复合图书馆环境下,如何协调发展电子资源与纸本资源是图书馆界专家、学者研究和探讨的热点问题,也是许多图书馆工作者在文献资源建设实践中十分困惑的问题。文章结合有关专家、学者的研究成果及图书馆的相关案例,概述了电子资源与纸本资源协调发展应遵循的指导性原则,并从馆藏理念、经费投入、馆藏政策、馆藏结构、合作发展、服务利用等几个方面提出了协调发展电子资源与纸本资源的若干举措。     

我国高校图书馆信息资源共建共享综述

以我国公开发表的相关论文和资料为基础,选取其中有代表性的研究成果,从信息资源共建共享的立法、高校图书馆共建共享模式、高校图书馆与其他系统图书馆的互融、图书馆信息资源共建共享的支撑技术发展四个研究方面,对我国高校图书馆信息资源共建共享的进展情况进行了总结性回顾。     

对图书馆信息资源建设的几点看法

在图书馆学众多研究领域中 ,信息资源建设一直是人们最关注的研究热点之一。尽管其研究对象早已从藏书建设扩展到文献资源建设 ,现在又进一步扩展到信息资源建设 ,但其研究始终是实实在在的 ,其研究成果一直在指导着图书馆工作实践 ,为图书馆事业的发展提供着理论支持和实践指南。可以毫不夸张地说 ,信息资源建设的理论与实践在很大程度上支撑着图书馆学科的发展。随着现代通讯技术和网络技术的发展 ,图书馆所处的信息环境发生了很大变化 ,图书馆工作的内容和服务方式也随之发生了很大变化。但如果认真考察图书馆的职能 ,我们仍会发现 ,图书…     

The effects of atmospheric moisture on the mural paintings of the Mogao Grottoes

The aim of this paper is to study the influence of atmospheric humidity and temperature on the mural paintings in the Mogao Grottoes of Dunhuang by measuring the weight of a simulated mural block. Under open conditions, the daily changes in the atmospheric humidity and temperature have an apparent effect on the water content of these murals. There exists an obvious water exchange between atmosphere and mural, that is, there is a ±43?g?m^?2 moisture absorption–desorption ‘breathing’ process between the two. Evapotranspiration from the tree-belt, precipitation, and extremely dry weather also have an effect on the moisture associated with a mural painting. If the cave is closed, a comparable study finds that closure can make the effects of temperature and humidity changes disappear. The mural water content in this case remains stable and the harm due to water-salt deterioration is greatly reduced. Under closed conditions, artificial condensation dehumidification and control of the cave's temperature and humidity stabilizes water activity in the mural paintings very effectively. This is a clear indication of the future steps required to protect the cave's cultural relics.     

Investigation of acetic acid bacteria isolated from the Kitora tumulus in Japan and their involvement in the deterioration of the plaster of the mural paintings

Abstract

The Kitora tumulus, which is thought to have been built around the late seventh to early eighth century, has beautiful mural paintings which were executed directly on a very thin layer of plaster in the stone chamber. When the paintings were found, the plaster was partly detached from the stone wall and the murals were therefore considered to be likely to fall off the wall with a casual touch or stimulation. Therefore, it was decided to detach the mural paintings and to store them flat and under controlled environmental conditions. This was initiated immediately after the excavation of the tumulus in 2004. However, fungal growth and biofilm development were observed within the stone chamber during the relocation work. In 2005, small holes containing black substances were observed on certain areas of the ceiling plaster, and following investigation an acetic acid bacterium, Gluconacetobacter sp., was isolated from the black substances. The bacterium was also isolated from the ceiling, floor, and east wall in the stone chamber in 2008 after the relocation of most of the paintings had been completed. These bacteria were shown to decompose calcium carbonate (CaCO₃), one of the primary components of the plaster, and to produce organic acids such as acetic acid. Additionally, they were observed to decrease the pH of the culture media significantly in the presence of ethanol and glucose. This is the first example of the characterization of acetic acid bacteria isolated from decayed plaster paintings, and it is likely that microbes such as these bacteria have been involved in the deterioration of the plaster. Chemicals to treat microbes in the Kitora tumulus during the relocation work were selected on the basis of their antimicrobial efficacy, low potential to cause adverse effects on the paintings, and low level of toxicity to humans, depending on the condition of the plaster or stone in each area. However, some chemicals, especially ethanol, may act as a carbon source, which could encourage the growth of microbes and thereby the production of acids by the microbes when diluted to a low concentration or in a degraded state. Moreover, prior contamination by other microbial species in the form of a biofilm could also encourage the growth of the acetic acid bacteria by providing low-molecular-weight organic materials as a nutrient source.     

品《五牛图》读韩滉其人

我国现存最早的纸本名画《五牛图》,为唐代宰相画家韩滉所作。从这幅稀世名画中,我们不仅可以领略到韩滉精妙的画牛技巧,同时也可以品读到这位宰相画家的政治理想和人格魅力。本文旨在通过品读《五牛图》,分析韩滉的农本思想及忠君思想,来解读其人。     

Early Evidence of Modular Templates Used to Draw Human Figures on Mural Paintings: The Etruscan Tomba degli Scudi in Tarquinia

ABSTRACT

During recent conservation work carried out on the Etruscan mural paintings in the Tomba degli Scudi, (Tarquinia, 4th C. BCE), the study of the execution techniques led to an amazing discovery: human figures were composed using templates of single body parts. In the Tomba degli Scudi, the perfect overlap of limbs, chests, and heads was confirmed after processing rectified photogrammetric images of the wall paintings with photo editing software. The study also highlighted that such templates were probably made of rigid material and each one had three different sizes, in order to represent the hierarchical organization of the painted characters. In the past, scholars have demonstrated that templates were used to realize a number of Etruscan wall paintings. However, they had reported that only whole figures were reproduced. The notion that such templates consisted of single anatomical parts purposely created to portray figures in different poses never occurs in their studies. In fact, the use of modular templates, also called patroni and antibola, is acknowledged only from the Middle Ages onwards both in western and eastern art. Earlier evidence had never been found. This article aims to predate the use of modular shapes by about ten centuries, thus changing our knowledge of technologies whose tradition spans from the Classical Antiquity to the Middle Ages. Consequently, a new approach to the study of transfer techniques of preparatory drawings in Etruscan wall paintings is established. Furthermore, this article shows that, as in the Middle Ages, the size of such templates was scaled up or down to create hierarchies among the painted characters.     

A note on the use of blue and green copper compounds in paintings

Abstract

Various copper compounds which were used as pigments have been identified in a study of the layer structure of paintings. These pigments were either obtained from natural minerals or were synthesized. The results of attempts to synthesize copper-based pigments by following old recipes are also presented; the man-made pigments are compared with those found in paintings and with natural copper minerals of identical composition. The historical use of synthetic copper-based pigments is discussed.     

Ancient Mural Classification Method Based on Improved AlexNet Network

ABSTRACT

As an important part of art and culture, ancient murals depict a variety of different artistic images, and these individual images have important research value. For research purposes, it is often important to first determine the type of objects represented in a painting. However, the mural painting environment makes datasets difficult to collect, and long-term exposure leads to underlying features that are not distinct, which makes this task challenging. This study proposes a convolutional neural network model based on the classic AlexNet network model and combines it with feature fusion to automatically classify ancient mural images. Due to the lack of large-scale mural datasets, the model first expands the dataset by applying image enhancement algorithms such as scaling, brightness conversion, noise addition, and flipping; then, it extracts the underlying features (such as fresco edges) shared by the first stage of a dual channel structure. Subsequently, a second-stage deep abstraction is conducted on the features extracted by the first stage using a two-channel network, each of which has a different structure. The obtained characteristics from both channels are merged, and a loss function is constructed to obtain the classification result. This approach improves the model's robustness and feature expression ability. The model achieves an accuracy of 84.24%, a recall rate of 84.15%, and an F1-measure of 84.13% when applied to a constructed mural image dataset. Compared with the AlexNet model and other improved convolutional neural network models, the proposed model improves each evaluation index by approximately 5%, verifying the rationality and effectiveness of the model for automatic mural image classification. The mural classification model proposed in this paper comprehensively considers the influences of network width and depth and can extract rich details from mural images from multiple local channels. An effective classification method could help researchers manage and protect mural images in an orderly fashion and quickly and effectively search for target images in a digital mural library based on a specified image category, aiding mural condition monitoring and restoration efforts as well as archaeological and art historical research.     

Copper vanadate minerals found in mediaeval mural paintings

Abstract

A yellowish copper vanadate mineral has been found in Swedish mural paintings from the fifteenth century. Small patches occur in malachite-green paint. Thirteen samples from five churches have been analyzed by optical and scanning electron microscopy with energy–dispersive X-ray spectrometry, transmission electron microscopy, X-ray powder diffraction, and polarized light microscopy. The substance is evidently the rather uncommon mineral volborthite, with the chemical formula Cu₃V₂O₇(OH)₂.2H₂O. Very small quantities have also been noted for another mineral, presumably calcio-volborthite, CaCu(VO₄)(OH), also named tangeite. The results show that the conservator should always be observant for pigments not earlier noticed or reported. There are some old mines in Central Europe, e.g. in Germany, which contain malachite as well as copper vanadate minerals, and this is probably the origin of the yellow patches in the paintings.     

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

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.