论元代吴镇的墨竹

吴镇墨竹主要师法文同、苏轼及李衙,同时也重视师法自然。吴镇以竹比拟君子,画中之竹,不但有凌寒高节,还可医俗。同时,他将自己的隐逸情思投射于竹,再通过图画、题诗表现出来,道出了对隐逸生活的体味和享受,表达了对陶渊明式隐居生活的满足和自适。吴镇墨竹,元人訾之有“酸馅气”、“山僧道人气”,然而这股山僧道人气更符合竹之品性,较雅驯更为难得。     

PIXE and IRR analysis of sixteenth-century ink drawings by Luca Cambiaso and his school

Abstract

Non-invasive and non-contact analyses were performed on a group of 28 ink drawings ascribed to the sixteenth-century Italian painter Luca Cambiaso and his followers. Drawings analysed in this investigation were selected from the collections of Musei di Strada Nuova in Genoa and of Museo del Prado in Madrid. Particle-induced X-ray emission (PIXE), carried out at the Centro de Micro-Análisis de Materiales of the Universidad Autónoma de Madrid and at the Università di Firenze, provided elemental data on the inks and papers. The drawings in Genoa were studied at the Università di Genova using infrared relectography (IRR) and optical microscopy. Elemental composition of the inks was determined by comparison with a set of certified thin standards. Elemental analysis indicates that all of the drawings were executed with iron gall ink, except for one case where a mixed carbon black and iron gall ink was used. The PIXE data showed variations in the elemental concentrations of the materials used in the various inks, indicating the use of different recipes in their production. In some cases, these differences may help corroborate stylistic judgements to confirm or deny Cambiaso's authorship and separate autograph drawings from those of his pupils or imitators. PIXE analysis was also used to distinguish the presence of retouches and later additions. In some drawings, the combined use of IRR and optical microscopy revealed the presence of a dry carbon-based underdrawing, following a working method that seems more consistent with a workshop procedure than with the drawing technique of the master himself.     

Determining The Presence of Photocatalytic Titanium White Pigments via Embedded Paint Sample Staining: A Proof of Principle

ABSTRACT

Twentieth century paints often contain titanium dioxide and zinc oxide based white pigments that can range from photostable to highly photocatalytic. Photocatalytic pigments can cause the degradation of paint upon UV exposure, whereas photostable pigments may be benign or can protect paintings from degradation. Hence, knowing whether or not a pigment is photocatalytic is of high importance for risk assessment and the subsequent decision making process concerning storage and exposure conditions of objects. Here we present a proof of principle, focused on titanium white paints, for an easy-to-use and low-tech application of a commercial photocatalytic activity indicator ink (PAII) on embedded paint samples or cross sections. This test determines, qualitatively, if a photocatalytic pigment is present in a white paint sample. The PAII paint sample staining application shows an obvious color change, within five minutes of UV irradiation, for paint samples containing photocatalytic pigments. A microscope with a camera and a UV source are the only necessary equipment for the application of this method. A quantitative image processing protocol is also proposed as an extension of the staining method by applying open source software analysis to measure the color change using photographs. The test was evaluated on reference paints with well-characterized pigments and applied on samples from modern paintings by Piet Mondriaan, Robert Ryman, and Lucebert, indicating the presence of harmful photocatalytic pigments in these cases. The novel application of a commercial ink on paint samples offers a simple test, not just for assessment of photocatalytic activity of titanium white pigments, but which may in future be applied for the detection of photoactive forms of zinc white and other potentially harmful semiconductor pigments in art objects.     

张大千绘画——传统与现代的交会

张大千(1899～1983年)生于动荡的现代中国,恰逢中国数千年来前所未见的美术革命。在这风起云涌的时代,大千却未曾参与现代美术革命。他不但传承了传统文人笔墨形式,而且获得"五百年来一大千"、"岂有第二人哉"之盛誉。1949年因时局变迁旅居海外,与毕加索进行了"东西艺术大师高峰会",之后以传统笔墨为本质的文化艺术精神为主,放笔墨而为泼彩,创造出符合现代抽象视觉审美经验的新的笔墨形式,而为西方学者誉为现代"中国绘画中非凡的巨人"。     

论张大千绘画艺术与敦煌石窟艺术的内在联系

张大千绘画艺术与敦煌石窟艺术有紧密的内在联系。张大千赴敦煌苦修三年,掌握了敦煌石窟艺术最重要的创作特质——“法相庄严”的独特视觉装饰效果。张大干对敦煌壁画的临摹及摹本展览对于成立国立敦煌艺术研究所,其于古迹国宝之维护与宣扬功不可没。张大干晚年开创的青绿泼彩画风,可谓将敦煌石窟艺术的表现特质结合时代的新气象而作了更进一步的诠释与发展。     

专色油墨配色系统中目标色的测量

专色油墨在包装印刷市场上受到越来越多企业的欢迎。专色油墨配色系统中基础色和目标色的颜色测量决定了配色结果的精度,在分析了配色方法和实验过程之后,总结出影响目标色测量准确度的因素,达到改善配色精度的目的。     

高精度彩墨自动清洁配料控制系统

该文介绍了高精度彩墨自动清洁配料控制系统的性能特色。系统硬件采用MPUDP现场总线、高精度称量仪表、条形码、触摸屏、大屏幕显示屏、变频等技术,易于集成,安全可靠。提出了以喂料速度为称量控制方法,提高称量精度与效率。监控软件采用了模块化结构设计、中文图形、菜单操作,在线实时显示等技术,符合信息时代的发展要求,具有很好的使用价值。     

基于绿色包装的油墨包装优化设计

基于绿色包装的思想,依据印刷油墨自身特性,从减少资源浪费、提高包装质量、确保产品安全等方面进行分析,提出在印刷油墨包装中的设计步骤及设计方法,对油墨包装容器金属罐与外包装瓦楞纸箱进行优化设计,节约资源,减少包装成本,以此来降低油墨包装物流成本,实现环境效益和经济利益最大化的目标。     

中国现代书画笔墨比较分析

当我们今天在大谈笔墨的现代意义，提倡艺术创作精神的时代品格时，都逃避不了上个世纪所留给我们的笔墨问题。用中国书法和中国画的笔墨进行比较并由此而认识现代笔墨的大致概貌时，可以帮助我们获得一个新的审视角度，中国书画艺术的当代走向和其两者之间的关系取向做出的理性分析，并据以考虑一些至关重要的根本命题。     

一偈一铭见真情--戊戌变法前后黄遵宪与梁启超交往轶事

与人之间的相互交往,往往通过赠物赠言传递情意。戊戌变法前后,梁启超与其改良派战友间的友情和斗志,曾通过两方砚台和两篇铭言得到披露和见证。这一细节很有历史价值,不应被后人遗忘。