20世纪敦煌白画研究概述

对近百年来敦煌白画研究各个方面的国内外专家学者们，所作出的贡献作一简介，并对其各自的优劣加以扼要述评，也提出了作者对敦煌白画研究的思路。文末附有《敦煌遗画、敦煌白画整理与研究主要论著目录》。     

论速写艺术

速写是绘画艺术的一种表现形式,是素描水平得到提高的关键,也是美术家写生和收集创作素质的重要手段。只有真正重视速写,才能在专业水平上有更大的提高。     

圆锥与圆柱正交时求相贯线上的特殊点的讨论

用三种作图分析讨论圆锥与圆柱正交时相贯线上特殊点的正确求法,并用理论分析阐明特殊点的规律性。     

GPNIS──管网图文信息管理系统

图文管理是信息管理系统的一个重要方面。本文讨论一个以支持管网生产管理为目标的管网图文管理信息系统的设计思想。该系统采用相对独立的图文两个子系统且通过交换文件互相联系的方案。在管网图和管网文本数据库中，通过建立图文信息的对应关系，从而提供“图到文”和“文到图”的信息检索方式。在图文两个子系统中，建立了管网的拓扑描述，以支持管网的拓扑查询、工况分析、故障处理及故障影响区域的图形显示。本文还提出了图文相关数据一致性概念，并由系统程序自动进行图文相关信息数据一致性维护。     

用Excel绘制挥发性双液系相图

本文论述了利用Excel绘制双液系相图的方法.     

Drawing to reason and learn in science

Despite mixed results in research on student learning from drawing in science, there is growing interest in the potential for this visual mode, in tandem with other modes, to enact and enable student reasoning in this subject. Building on current research in this field, and using a micro-ethnographic approach informed by socio-semiotic perspectives, we aimed to identify how and why student drawing can contribute to student reasoning and learning. In our study, secondary school students were challenged to explore and collaboratively create explanatory representations of phenomena including through drawing. Data were generated using multiple wall- and ceiling-mounted cameras capable of continuously tracking groups of students negotiating these representational challenges. Our analysis proceeded through active and iterative viewing of the extensive video record, and the identification of themes to establish possible relationships between drawing and reasoning. Through this process, we (a) identify multiple necessary conditions and varied opportunities for student drawing to enact and enable reasoning, and (b) extend current understandings of how the particular affordances of this mode interact with these conditions to contribute to student learning in science.     

浅析中国画线描艺术的美学观

本文从中国画线描艺术美学观的核心命题——气韵生动和中国画线描艺术美学观的实质——人格修养来解析中国画线描艺术，让我们重新认识传统美学观之精髓，并借古开今，推陈出新。     

黄宾虹山水画笔墨的层次性序列

黄宾虹山水画建构起的笔墨世界,在古典山水画和现代山水画的过渡中,树立起一个宏伟的界标。他对传统笔墨元素的总结和提升固然引人注目,但更为重要的是,他在中西方文化艺术的撞击中,将传统笔墨的内涵和外延同时扩大,并将笔墨与具象山水的内在结构,以及主体的生命结构相对应,增强其在平面空间中的组合性、构成性、形成了乱而不乱、不齐而齐的个性化结构和图式,创造出超越其时代的现代价值。     

利用CAD的3D与2D的图形转换构建空间思维的方法

本文介绍利用工程应用软件SolidWorks构建工程制图课程的方法,文中通过实例介绍硬件系统的组成和3D到2D之间转换的方法。其重点介绍利用计算机使传统的工程制图与现代的CAD/CAM相结合的方法。     

A Decline in Drawing Ability?

This research surveys changing attitudes to drawing pedagogy, in the context of digitisation, moves toward student‐centred learning in art & design higher education, and anecdotal reports of declining competence. Based on student, teacher and examiner’s experiences, it has been possible to gain insights into how drawing instruction has changed over the past generation. This article examines the attitudes, values and concerns of students and educators regarding drawing instruction. The study reveals that, in the UK, drawing skills are considered to be gradually declining, while traditional notions of skill are called into question. Drawing as a means of visual recording, representation and communication remains valued, although no longer essential as it once was; drawing to augment thought process is increasingly recognised as an integral skill which enables innovation. The latter is rarely ‘taught’ but relies on core competencies that many lecturers fear are being eroded. Increasing value is placed on drawing ‘as process’, as provision is moving towards individualised instruction requiring students to work independently. While new technologies are a factor, this article re‐frames the issue as an imbalance between creative outcomes and creative process, with a disparity between school and university levels. This article calls for a renewed emphasis on ‘drawing as process’ as preparation for university, and for further consideration of the core competencies underpinning the use of drawing as a tool of thought, and how these might be standardised.