Not playing the game: unionism in British professional sport 1870–1914

The coloured drawings and brick paintings discovered as a result of archaeological excavations along the Hexi Corridor on China's Silk Road represent certain historical phenomena. In this paper, sports and leisure activities depicted on the brick paintings and their symbolic meanings, set in the Wei–Jin historical environment, are examined. These paintings reflect both the facts and the essence of the sports culture in the Wei–Jin period (AD 220–420) in China, so as to make up for the deficiency of the surviving documents. It is apparent in the brick paintings found in Wei–Jin tombs on the Silk Road that sports and leisure activities were widely prevalent 1700 years ago. These paintings offer reliable evidence for research on the development of these ancient sports.     

艺术的镜像——绘画艺术的技术化

艺术家通过技术手段运用物质材料赋予绘画作品审美内涵,作为由物质材料构成的作品,需要正确、合理地运用材料和技法才能长久保存,作品作为艺术家的技术的镜像存在。只有合理的技术手段,艺术诉求才能得以实现,艺术作品才能长久保存。     

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.     

Preliminary tests for mechanical properties of wooden ‘buttons’ used for attaching auxiliary supports behind panel paintings

Abstract

When wooden supports of panel paintings have been severely altered or damaged and the original cross beams are missing, new cross beams or other types of auxiliary supports are connected to the panel's back-face in order to achieve desired effects including panel strengthening and control of deformations. Some conservation laboratories use small wooden blocks, each glued on the back face of the panel and holding freely the head of a screw connected (often by means of springs) to the auxiliary support; such blocks being called in Italian ‘piedini’ or ‘bottoni’, the English term ‘buttons’ is proposed here. This paper reports research aiming to characterize the mechanical behavior of three types of ‘buttons’ having different geometries and made of various wood types (oak, walnut, lime, beech, and a medium density fiberboard). Short-term mechanical tests (～1 minute duration) were performed with a universal testing machine by axially pulling out the 4 mm diameter steel screw from the button, glued onto a dummy board. Load and deformation were recorded, and the load–deformation curves were analyzed. The results show that the deformability and the load-carrying capacity of the buttons were influenced primarily by the manufacturing geometry and secondarily by the wood density.     

中国装饰绘画语态认识观探析

装饰绘画汲取了优秀的中国及世界传统文化营养,使得其具有特殊的艺术价值和生命力。当下文化艺术处于多元化格局的大文化语境之下,把握时代的脉搏,以现代的全球化、多元化文化观念,以及后现代主义、和合的审美视角来审视装饰绘画的认识观,具有现实的社会价值。     

中国传统书画艺术“品评批评”论

＂品评批评＂是中国传统书画艺术批评方法,通过对＂品评批评＂的理论内涵和特征、＂品评批评＂的批评实践历程以及＂品评批评＂方法的分析,认为＂品评批评＂是饱含丰富情感和体验的批评模式,是中国特有的理论模式和中国传统哲学思想的智慧体现。在当今全球化和中西文化艺术传播、交流不断加强的境遇下,更应该坚持品评批评理论的民族性。     

论中国画创作的情感特征

中国的书画家讲究移情入画,在中国画创作中,情感贯穿着创作过程的始终。借物抒情是中国画固有之传统,书画是人们抒情言志的手段之一。因此,中国的书画家在创作形象时,不管对象是山水、人物还是花鸟,他们都要把自己对生活的感受和情感融进形象。     

绘画中的舞台视觉因素

无论任何种类的绘画构图，都会多少受到其同时期的舞台戏剧的影响．这种影响体现为比现实场景更为典型的舞台视觉因素。而这种视觉因素的具体形式也因受到当时诸如历史文化乃至气候等等现实因素的影响而不一而足。因此，这种舞台化的视觉因素在某种程度上也成为分析及认读绘画作品的参考信息。     

试论中国古代山水画"程式化"因素的美学审美价值

从中国山水画的发展轨迹来看,“个性化”的笔墨固然是山水画真正的血肉和灵魂,但其“程式化”的绘画语言成为了构造山水画艺术形象不可或缺的“骨架”。如果没有这个“骨架,”其“个性化”的笔墨也就失去了支撑它的身躯,因此我们应该肯定“程式化”的艺术原则在中国古代山水画中存在的价值和美学意义。中国山水画的“程式化”亦会随着时代的进步而进步,随着绘画艺术的创新而创新。     

透过油画看医学——论医学生人文素养的培养

该文探讨了以鉴赏与医学相关的油画为途径,通过观赏与医学相关的油画、收集油画中的相关历史人物与历史事件的资料,在鉴赏的过程中了解医学的发展与变迁、领会医学技术的进步和医学家的高尚品质,以实现观赏者医学知识和艺术鉴赏能力的提升。以上尝试是将对医学的认识与对艺术的欣赏结合在一起、将历史灵活化的创新体现,同时也是立足于当前医患矛盾这一实际问题,致力于建设和谐医患新时代、为中国医疗健康事业做出贡献的有效途径。