徽州建筑雕刻的工艺特点及其审美价值

论述了徽州建筑中砖雕、石雕、木雕、竹雕4种民间雕刻工艺的历史源流、工艺特点。从审美理想、审美追求、审美特征3个角度阐述了徽州建筑雕刻独特的审美价值。     

从雕塑对象看中国古代雕塑观

雕塑对象是雕塑思想的重要体现，本文通过对中国古代雕塑对象的研究，进而对中国古代雕塑艺术的创伤特点做一探讨，旨在说明东西方不同的文化性质特征，决定了东西方雕塑对象的不同，东西方科技发展的不同，影响了东方不同的雕塑风格，研究艺术史应从多角度，全方位进行考察，不能忽视哲学，科技，民族心理等因素对艺术的影响。     

雕塑艺术中的审美特征

雕塑是美术范畴中一种三维实体的造型艺术,它的形式美,材质美,以及作品所表现的生命运动的美感,个性与内涵的统一,构成了雕塑艺术的审美特征,也体现了雕塑与其他造型艺术的区别。     

小学科学低年级室外教学活动探微

小学科学课程是一门基础性课程,课程的学习方式多种多样,对学生的发展起关键性的影响作用。2017年小学新课程改革,低年级学生开始系统地学习科学课教学,低年级学生好奇心强,对周边的环境有强烈的求知欲,他们更乐于在广阔的自然环境中探索和发现。选择恰当的室外教学教学内容,高效的组织课堂,能让学生在愉快的教学环境中更好学习。     

A surprising discovery: five pedagogical skills outdoor and experiential educators might offer more mainstream educators in this time of change

This article draws from the experience of outdoor and experiential educators working in the context of a radical, long-term formal public education research project. One of the accidental findings from the research is that experienced outdoor educators may have particular pedagogical skills, likely honed by the contexts in which they work, that can be of use to mainstream educators trying to expand their pedagogical repertoire, teach outdoors or be more environmentally focused in their practices. The article begins by contextualising the Maple Ridge Environmental School Project, describing the researchers and methods and explaining how the research team came to their insights. A discussion follows of five pedagogical skills identified by the researchers that outdoor and experiential educators may possess which might be offered more clearly to classroom teachers and formal teacher training processes and/or be more clearly enunciated for those involved in formal and informal outdoor and experiential training contexts.     

浅谈城市室外大众休闲空间及特性

从建筑学、美学和人文学的角度对城市室外大众休闲空间及其特性进行探讨,希望能对城市大众休闲空间的现代建设布局的设计提供参考.     

Keith Haring in Pisa and Melbourne: Controversy and conservation

Keith Haring painted large outdoor murals in Melbourne, Australia, in 1984 (the Collingwood Mural) and at Pisa in Italy in 1989 (Tuttomondo). Recently, both murals have been analyzed and conserved by similar teams of conservators and scientists. The original appearance of the Collingwood Mural was severely compromised, and the original materials much degraded. Tuttomondo was somewhat altered visually but with less physical damage. There were initial suggestions to repaint Tuttomondo but these were dissipated by good communication of the analytical findings. In Melbourne, there was a high-profile and emotive campaign to have the Collingwood Mural repainted. Conservators and government were heavily criticized for supposedly ignoring the artist's wishes. However, detailed research into Haring's published statements revealed that conservation does respect his artistic aims. For the Collingwood Mural, conservators had to consider whether to reduce the visual disturbances which obscured the works. Practices documented by conservation theorists and routinely undertaken by conservators guided the decision to apply mechanically reversible re-integration. This made Haring's unique ‘line’ visible and accessible again, and pleased the public. The controversies showed how conservators must communicate clearly and tactfully; appreciate the feelings of the public and involve communities in conservation, without compromising rigorous scientific and curatorial research.     

对话·共生·融合--建筑设计、雕塑与环境之间关系的思考

探讨了建筑、雕塑与环境三者之间的关系,通过对环境本质的深入分析,在保持原有空间关系的和谐基础上,赋予其新的内涵.     

Re-evaluation of Environmental Modifications to an Island Cemetery after 28 Years

ABSTRACT

The Isle of the Dead served as the burial ground for the convict settlement at Port Arthur, Tasmania, Australia, from 1832 until the settlement closed in 1877. Ninety-one grave markers survive. The author first surveyed the cemetery in 1990 and immediately established environmental monitoring that continued over the following 28 years. This paper discusses the hand-in-hand role of preventive conservation in the overall preservation program, including physical interventions. Delamination of stone is not stopped by re-attachment, only by reducing the environmental causes, once these have been accurately identified. This project has exemplified the need for precise understanding of degradation to ensure that the intervention programme is not, in the long term, a futile exercise. Communicating this understanding to the management authority is essential. It is a popular misconception with outdoor objects and monuments, that to repair an object is to prevent the damage re-occurring. It is essential to convey that this simplistic concept can be very damaging for the object and is one the conservation profession needs to emphasize.