张掖市黑河湿地土壤盐渍化成因及综合防治

张掖市黑河湿地范围内大面积盐渍化并日趋加剧.黑河流域自发式荒漠化和人类不合理活动将促使河西走廊地区荒漠化的扩散.黑河湿地的特殊地域环境以及与祁连山生态系统的密切关联,决定了拯救黑河湿地,不仅要在区域、流域内坚持"因地制宜,综合治理"的指导方针,更应该把握区域、流域间复合生态系统多层次、多功能、多效益等特征,以林业生态工程为主导的战略性工程,配合各种农业、生物、工程等防治措施,完成黑河湿地复合生态系统的修复工作.     

Effect of Light on Modern Digital Prints - Photographs and Documents

Abstract

This project examines the lightfastness of prints created with the most commonly used digital technologies (inkjet, color electrophotography, dye sublimation and digital press) along with prints created using traditional technologies (color photography, black-and-white electrophotography and offset lithography). The inclusion of traditional prints provides benchmarks for collection care professionals to better gauge the significance of the results. In this study, prints were subjected to two types of lighting used independently to simulate daylight through window glass and artificial indoor illumination. Five aspects of light damage were assessed: fade in the mid-tone neutral, fade in the darkest neutral tone, paper yellowing, changes in paper gloss and text readability. In general, digital prints were less sensitive to light than traditional prints; but each digital printing technology produced at least one sample that performed worse than its traditional benchmark in at least one of the aspects of light damage studied. Therefore, it is recommended that cultural heritage institutions strive to provide the most benign environment possible, taking display practices currently in use for traditional prints as a minimum starting point for the care of digital prints. Close monitoring for signs of change is also recommended.     

Conservation and authenticity: Interactions and enquiries

Abstract

The possible meanings in conservation of the word authenticity are discussed and some different definitions are briefly evaluated. Recent research showing the brain reacts differently to the concepts of copy and authentic is reviewed. The relationship between cultural heritage charters and how authenticity has been employed in them is explored with examples from the Athen's Charter, The Venice Charter, The Nara Document, The San Antonio Declaration, and the UNESCO World Heritage Documents. Several examples are discussed in the text concerning the interactions between authenticity and restoration, employing the examples of ancient buildings and old master paintings. Some of the important writings on the subject of authenticity by scholars and art historians are reviewed. Criteria which could be used to evaluate the concept of authenticity in different cultural settings are discussed and these are illustrated with case studies taken from restoration carried out on ancient marble sculptures, the Sistine Chapel frescoes by Michelangelo, and the artwork of several prominent forgers. Given that concerns about the authenticity of art are multi-dimensional, it is important that the present fragmentation of the arguments concerning authenticity across the disciplines properly take into account the conservation field and are aware of the debates within conservation concerning this topic. The questioning of the relevance of authenticity is a healthy process, and may now be framed quite differently from the way in which it was discussed even 20 years ago.     

明治欧化主义背景下日本传统美术何以复兴

明治维新时期的日本,在欧化主义政策的引导下,开始引进西方的制度、技术、思想等。在这样全盘西化的大背景下,西洋美术渐渐取代日本传统美术成为主流。然而,传统美术在短暂沦落后得以复兴。究其原因,有以下四点:首先,自上而下的政策并非完全西化,从政教层面上讲,全盘欧化会带来影响政权的不稳定因素;第二,西方人眼中的日本传统美术的价值得到欧美的肯定,甚至影响了欧洲艺术的发展;第三是内在或思想文化上的因素,即国粹主义与国权论的兴起;第四是自下而上的因素,日本传统美术深深扎根于普通民众,对欧化美术的接受需要一个过程。在政策、思想、舆论等方面都表现出复兴姿态的日本传统美术,也因此成功夺回了欧化主义潮流下其应有的地位。     

Technical replicas of Portuguese ceramic tile bodies produced in the Oporto region in the late nineteenth to early twentieth centuries

Portugal is well known for its facades decorated entirely with ornamented glazed ceramic wall tiles called azulejos. On ageing, the tiles may detach and fall off, or deteriorate to such an extent that it becomes necessary to replicate them. Hence tile replication is a common practice in Portugal for façade restoration, but very often these new tiles do not have the same physical and/or chemical properties as the original ones. Such differences might be a factor in differential deterioration of the façades after restoration. One step toward an improvement in compatibility is to make new ceramic bodies with the same characteristics as the original ones. This study focuses on two types of glazed ceramic wall tiles from the Oporto region in Portugal: ‘calcic faience’ and pó de pedra. A total of 25 samples from the late nineteenth to early twentieth centuries were studied systematically as an attempt to improve knowledge of these materials and to create a basis for their replication. All samples were collected from facades that were under conservation/restoration at the time when sampling was performed. The original traditional ceramic bodies were analyzed by X-ray diffraction and X-ray fluorescence. Total open porosity, capillary absorption coefficient, and mercury intrusion porosimetry were also measured in order to gain knowledge on their physical characteristics in addition to their chemical and mineralogical compositions. High-temperature crystalline phases such as diopside, gehlenite, and mullite were found in the calcic faience, suggesting that the firing temperature of calcic faience bodies was within the range of 1100–1150?°C. Calcination trials were also performed in order to determine the most probable firing temperatures of the ceramic bodies. Collected data led to the assumption that the raw materials used for the ceramic bodies were kaolinitic clay, quartz sand, limestone, and talc. The raw materials for pó de pedra tiles were found to include kaolinite clay and quartz with firing temperatures estimated within the temperature range of 1150–1360?°C. Technical replicas made on the basis of these investigations were found to have the same mineralogical and capillary properties as the original tiles.     

Lime render layers: An overview of their properties

Lime renders are of great importance not only to enhance the appearance of the buildings, but also to protect and preserve old masonries. They constitute a specialized system, composed of several layers, in which each of them depends on the others and carries out some specific functions in order to assure a suitable performance of the whole. Knowledge of the traditional materials and techniques, as well as the know-how, is one of the key points in the maintenance and conservation of lime renders and, by extension, of our Heritage. However, the promotion of the use of cement and the industrialization process, which in the case of Spain took place about the 1960's, caused lime mortars to fall into disuse. In this article, classical treatises as well as the state-of-the-art researches were analysed to compile the properties of lime render layers, on the whole. The knowledge of these characteristics is essential to maintain and repair the existing renders as well as to formulate new compatible ones, while assuring their durability and appropriate performance. Lime is the selected binder for these recommendations because it was widely used as drawn from the literature.     

匀速直线运动模糊图像恢复算法研究

通过建立点扩散函数（PSF）．将基于频域变换图的Radon变换和微分自相关方法相结合估计出PSF的两个必要参数,再用Lucy—Richardson滤波进行运动模糊图像恢复。对实际处理中会遇到的频域图中心十字亮纹的问题提出了改进。该方法对模拟的运动模糊图像和真实的模糊图像恢复效果比较稳定。颇具实用价值。     

明治时期日本文化人的北京体验及其政治、文化心态

在日本文化视域中,北京的形象由虚而实、由无足轻重而变得举足轻重始于明治时期。明治时期来北京的日本文化人,既在那里一叶知秋地探察了近代中国政治、文化态势与走向,更试图从中发现对中国一剑封喉的现实方策。深受汉文化浸染的汉学者的北京之行多充溢感伤情调。这种失落源于以帝都萧索破落的景观为表象的中国传统文化的衰败、孔教在近代中国的失效以及礼仪之邦国民的鄙俗化堕落等等。带着北京之行获得的高度文化自信和彼消此长的自得,为实现对华文化侵略,他们开始了理论及实践层面的谋划与探索。文化侵略之外,领土、经济利益等层面的诉求使日本对华走向了侵略扩张的道路。甲午战争中,福泽谕吉等重要文化人剑指北京的扼喉之论,对战事的展开起到了推波助澜的作用。甲午战后,作为胜利一方的日本走上了与西方列强联手侵华的道路,近代北京也因此被强制地染上了世界色彩,并因其具咽喉意义,遂成为列强在华利益争衡的枢纽。《辛丑条约》中有关列强在京驻兵等条款以及作为治外法权地国中国的东交民巷,都使中国的主权与民族尊严遭遇极大的挑战,成为中国近代史上难以抹灭的国耻,也极大地左右了大正、昭和时期来京日本文化人的北京书写。     

中日文化交流态势的历史演变

大化改新和明治维新是发生在日本古代和近代历史上以吸收外来文化来实现富国强兵为目的的两次重大改革。大化改新时期,落后的日本多次大规模派遣遣唐使来华学习先进文化,中日文化交流呈现出日本积极主动地学习中国的态势。明治维新时期,日本欧化成功,落后的清政府多次派遣使臣和大量留学生赴日学习日本近代化经验,中日文化交流呈现出中国积极主动地学习日本的态势。从大化改新到明治维新,中日文化交流方向发生逆转与长期以来中国古代的华夷观有着直接的因果关系。