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131.
Monica Favaro Pietro A. Vigato Alessia Andreotti Maria Perla Colombini 《Journal of Cultural Heritage》2005,6(4):295-305
The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes. 相似文献
132.
Khalid Sindawi 《Al-Masaq: Islam & the Medieval Mediterranean》2006,18(1):87-98
The present study examines the treatment of the Prophet's mount in Shī‘ite tradition. We discuss the different opinions concerning the ass's name, ‘Ufayr or Ya‘fūr and present various traditions concerning utterances spoken by it, including utterances addressed to the Prophet, and other cases of human-like behaviour on its part, such as an ability to distinguish Muslims from Jews. We then go on to compare the Prophet's ass to those of other prophets, and find a number of similarities between them, in particular their ability to speak a human language. We also discuss the ass's death, which according to Shī‘ite tradition was by suicide, occasioned by the ass's fear following his master's death that someone else, not a prophet, would use it as a mount. We compare the Prophet's ass to those of Noah, and Solomon's Hoopoe, and show how Shī‘ite tradition has focused on similarities among them and utilized those to support the idea of the Imāmate as the Prophet's legacy in Shī‘ite doctrine. We further discuss the preference which Shī‘ite Imāms had for asses as against other mounts, a preference based on their wish to follow in the Prophet's footsteps. 相似文献
133.
独特的风格,可以以“黑”、“满”、“崛”、“涩”来概括其艺术内涵,无疑地,李可染为水墨世界开创出新的格局。李可染艺术的最大特点:不但精于勤,而且深于思。 相似文献
134.
议花样滑冰教练员的能力结构 总被引:8,自引:7,他引:1
教练员的自身素质与能力水平是限制运动员竞技水平和运动成绩提高的瓶颈之一。对花样滑冰教练员所应具备的能力结构进行阐述,为更好地发挥出其作用,培养出更加优秀的花样滑冰运动员提供参考。 相似文献
135.
尹增才 《玉溪师范学院学报》2005,21(11):86-89
以线造型、用线构成、线型气质是构成线描艺术的基本要素。以线造型是抛开光影色彩,抓住物象本质,直接刻画物象结构,并调动审美品质,主客观相结合,达到“得意”造型;用线构成是如何组织线条并使之完整地构成一幅作品,它包括两个方面:一是总体画面的章法构成;二是具体物象的线条构成;线型气质则是作品生动与否的主要因素,它同样包含两层意义:即线条所表现的形象气质和线条所体现的每个画家的艺术气质,二者不可分割。 相似文献
136.
137.
黄宾虹是20世纪我国著名的山水画大家,他的山水画以明人为基,上窥宋元,取法百家,晚年变法,以浑厚华滋的画风成为中国当代山水画独特的笔墨范式,其卓越的人格风范与艺术成就,对本世纪中国画的继承与创新无疑具有重大的意义和深远的启迪。 相似文献
138.
李敏 《玉溪师范学院学报》2005,21(7):91-93
线是中国画的主要表现方式,也是绘画最基本的语言;中国画的线是一种富于东方艺术特质的艺术表现形式;正确把握线与形的关系,合理组织线条,能够充分认识线这种独特的形式语言带来的更深层次的美感和无穷的艺术魅力。 相似文献
139.
140.
健美操练习对女生体形及心肺功能的影响 总被引:3,自引:0,他引:3
通过对60名18~20岁女大学生每周参加不同强度的健美操锻炼后,身体形态和心肺功能指标的测试,表明一定(不同)强度的健美操训练对提高女生身体素质、改善心肺功能、促进身体形态的发育有良好的作用。 相似文献