中国画颜料浅析

认识绘画颜料是绘画的先决条件之一,也是我们在创作和欣赏艺术作品中不容忽视的一个重要方面,绘画者只有不断地认识和了解颜料的不同特质,并通过实际运用,使颜料融合于绘画形象的整体表现之中,这样,颜料才能够超越自身属性产生境在象外的意境,成为绘画者表达特定情感体验的语言载体。     

浅谈装饰艺术的影像

本文阐述了影像对装饰造型的意义,分析了影像在几种有代表性的艺术形式中的体现,及其对装饰造型设计的启示。     

南阳汉画像石与古埃及浮雕壁画中动物肖形比较

南阳汉画像石与古埃及浮雕壁画表现题材丰富,精湛的艺术表现形式独一无二,其中动物的艺术造型与表现手法独特具有个性。通过对动物肖形的文化背景、象征意义以及表现手法进行对比分析,探究二者存在异同的根本原因。并阐述动物形象对现代艺术创作和中国绘画的影响。     

稀土元素在陶瓷颜料中成色机理探讨

本文根据稀土元素的原子结构特点，探讨其在陶瓷颜料中的成色机理。并指出研究稀土陶瓷颜料组成结构和发色机理的重要性。     

Photochemical colour change for traditional watercolour pigments in low oxygen levels

Abstract

An investigation for light exposure on pigments in low-oxygen environments (in the range 0–5% oxygen) was conducted using a purpose-built automated microfadometer for a large sample set including multiple samples of traditional watercolour pigments from nineteenth-century and twentieth-century sources, selected for concerns over their stability in anoxia. The pigments were prepared for usage in watercolour painting: ground and mixed in gum Arabic and applied to historically accurate gelatine glue-sized cotton and linen-based papers. Anoxia benefited many colorants and no colorant fared worse in anoxia than in air, with the exception of Prussian blue and Prussian green (which contains Prussian blue). A Prussian blue sampled from the studio materials of J.M.W. Turner (1775 ? 1851) was microfaded in different environments (normal air (20.9% oxygen) 0, 1, 2, 3.5, or 5% oxygen in nitrogen) and the subsequent dark behaviour was measured. The behaviour of the sample (in normal air, anoxia, and 5% oxygen in nitrogen) proved to be consistent with the 55 separately sourced Prussian blue samples. When exposed to light in 5% oxygen in nitrogen, Prussian blue demonstrated the same light stability as in air (at approximately 21°C and 1 atmosphere). Storage in 5% oxygen is proposed for ‘anoxic’ display of paper-based artworks that might contain Prussian blue, to protect this material while reducing light-induced damage to other components of a watercolour, including organic colorants and the paper support.     

菠菜色素的提取和色素分离

采用浸泡法、超声波法及微波辅助法提取菠菜中的色素,利用薄层色谱（TLC）和柱色谱相结合的方法对色素进行分离纯化,并用紫外-可见光谱对分离的酋带成分进了鉴定。     

Alexandria in the Ninth/Fifteenth Century: A Mediterranean Port City and a Mamlūk Prison City

Abstract

While modern scholars, medieval European and anachronistic Arab sources paint a portrait of Mamlūk Alexandria as a bustling and thriving international port, contemporary Arabic writings of the second half of the ninth/fifteenth and the first quarter of the tenth/sixteenth centuries present quite a different image. This article analyses Arabic chronicles to demonstrate that, from the Cairene perspective, Alexandria was a frontier city that was utilised as a jail for banished political prisoners. In contrast to other parts of their realm, investment in Alexandria by the Mamlūk regime was largely limited to fortifying it against seaborne threats; the sultans did little to embellish the city for civilian or religious purposes. Thus, the city was marginalised, politically and socially, even while still maintaining its role as a gateway to Egypt.     

酶法提高红茶茶汤中红茶色素的研究进展

文章介绍了红茶色素的主要成分、形成机理及对茶汤的影响,总结了目前利用酶法提高红茶色素的研究进展,并阐述了影响酶法的各种因素。     

高光谱技术无损鉴定壁画颜料之研究--以西藏拉萨大昭寺壁画为例

本文利用高光谱技术分析了两幅模拟壁画,通过比较模拟壁画颜料与标准颜料光谱曲线的形状特征及其一阶导数特征峰和计算颜料光谱匹配度,有效准确地甄别出蓝铜矿、孔雀石、雌黄、藤黄、雄黄、铅丹和朱砂,但无法判别胭脂。同时,高光谱技术鉴定出的西藏拉萨大昭寺转经廊壁画中蓝铜矿、孔雀石、铅丹和朱砂颜料,与便携式 X 射线荧光元素成分结果一致。本研究结果表明高光谱技术可无损与准确地鉴定中国古代颜料,与便携式 X 射线荧光元素成分分析相结合,是壁画现场无损快速分析的重要手段。     

敦煌彩绘文物数字化保护色卡制作方法研究

针对敦煌彩绘艺术品数字化保护采集和再现色彩不准确问题,提出了敦煌彩绘艺术品色彩控制色卡方法。通过对敦煌彩绘文物制作使用的颜料及胶料的类型与种类、敦煌彩绘文物的制作工艺及设色技法调查,制作了敦煌彩绘模拟样本并建立对应色彩数据库。通过对模拟样本进行色彩控制测试挑选和完善,为敦煌彩绘艺术品的色彩控制提供了一个参考色卡。测试结果表明,使用自制色卡对敦煌彩绘艺术品的色彩控制能力优于标准色卡。