The study of paper damage under bombardments of protons and X--rays is reported. An on--demand beam pulsing system is useful for the PIXE analysis of delicate objectS. IXX (or PIXE--induced XRF) is more suitable than ...The study of paper damage under bombardments of protons and X--rays is reported. An on--demand beam pulsing system is useful for the PIXE analysis of delicate objectS. IXX (or PIXE--induced XRF) is more suitable than PIXE in terms of damage to the sample. Some new PIXE and IXX applications of archaeological paper--like samples in recent years are given.展开更多
There seems to be a renewed interest in the last couple decades in studying and writing about consciousness. Consciousness may be the most difficult question humans are trying to resolve. Yet eliciting transcendence, ...There seems to be a renewed interest in the last couple decades in studying and writing about consciousness. Consciousness may be the most difficult question humans are trying to resolve. Yet eliciting transcendence, a phenomenon that rises above, or goes beyond, normal limits of consciousness, has been an identified goal for many artists in the past, possibly even in cave art. Drawing on works shown in the 2006 Art Gallery of Hamilton exposition called Sublime Embrace： Experiencing Consciousness in Contemporary Art and in the 2002 Houston Contemporary Art Museum 2002 show called THE INWARD EYE： Transcendence in Contemporary Art, the author will explore the biological, psychological, cultural, and spiritual facets of transcendence. Perhaps, with the renewed symbiotic relationship between the sciences and art, the convergence of digital media, and the emergence of global communication networks, we are at the verge of art that will create a change, an alteration in our consciousness, and an altercendent state. What this change will be is yet a mystery.展开更多
This paper is based on the survey in the US named ＂Translation Quality of the Public Signs of the Horticultural Exposition in Xi＇an, China＂. The International Horticultural Exposition was held in Xi＇an, China, fro...This paper is based on the survey in the US named ＂Translation Quality of the Public Signs of the Horticultural Exposition in Xi＇an, China＂. The International Horticultural Exposition was held in Xi＇an, China, from April to October in 2011. As guidance to the visitors, all the public signs were in both Chinese and English. The importance of the translation quality of public signs in the Expo cannot be over-exaggerated. By analyzing the data collected in the survey, the paper claims that the quality of the public signs in the Expo is not satisfying and Gutt＇s relevance-theoretical account of translation can well serve as the theoretical foundation of public sign translation.展开更多
This thesis makes a discussion of the value of art museum education combined with elementary and junior high school education and explains its cooperation basis and activity manner. Meanwhile, it also gives suggestion...This thesis makes a discussion of the value of art museum education combined with elementary and junior high school education and explains its cooperation basis and activity manner. Meanwhile, it also gives suggestions related to art museum education combined with elementary and junior high school education in China.展开更多
The aim of this paper is to research museum audience and its expectations, experiences, and influence on museum＇s practices at the Sinebrychoff Art Museum in Finland. The common idea is that museum pedagogy as a word...The aim of this paper is to research museum audience and its expectations, experiences, and influence on museum＇s practices at the Sinebrychoff Art Museum in Finland. The common idea is that museum pedagogy as a word creates easily an image of dusty, silent, and serious moment when the audience is forced to follow a lecture or a guided tour The author＇s research questions are： （I） Museum as an institution--what are the limits and possibilities to create highlights for audience work？ （2） How to look and talk about art for different audiences--also for non-visitors？ And （3） How can museum combine the knowledge of results and new technology to create more interesting approach for its audiences？ Participants of the author＇s research are teachers, students, senior citizens, and colleagues from other museums. Besides the literature the author uses mixed methods by combining visitor questionnaires （made during last ten years） and qualitative research made by narrative methods. Interviews have been made by H4 recorder. The qualitative analysis is going to be made by Atlas.ti. The results will finally be analyzed in 2014. Until now, it has become clear that museum experience mostly starts from the web pages. What can we offer, how to give value to our museum audience？展开更多
Giorgio Vasari （1511-1574）, painter, architect, and writer, was fascinated with the image of Saint Francis because of the association of La Verna with Arezzo, his native town, where the miraculous event of Saint Fra...Giorgio Vasari （1511-1574）, painter, architect, and writer, was fascinated with the image of Saint Francis because of the association of La Verna with Arezzo, his native town, where the miraculous event of Saint Francis＇s stigmatization occurred in 1224. Also in Arezzo, in the church of San Francesco, the beautiful frescoes of Piero della Francesca＇s Legend of the True Cross were commissioned by his wife＇s ancestors, the Bacci family. This study discusses Vasari＇s two types of religious representation of Saint Francis. One type is devotional, as in the paintings of Holy Families, e.g., The Holy Family with Saint Francis of 1541, at the County Museum of Art of Los Angeles, CA. The other is historical, focusing on the miraculous moment of the stigmatization, e.g., Saint Francis Receiving the Stigmata, 1548, in the church of San Francesco in Rimini. Employing mannerist colors to express the spirituality of the event, Vasari created a new conception of piety, where sobriety and humbleness are honored. These paintings reveal the humanness and sanctity of the protagonist, Saint Francis, devoid of any heroic glamour.展开更多
The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at ...The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.展开更多
TEN years ago the notion that Chinese contemporary art could so much as raise a flicker of interest in foreign climes - never mind drive Western cultural pundits into a delirious frenzy - would have been dismissed a...TEN years ago the notion that Chinese contemporary art could so much as raise a flicker of interest in foreign climes - never mind drive Western cultural pundits into a delirious frenzy - would have been dismissed as pure fancy. At that time Chinese art was assumed to be nothing more than classical calligraphy,展开更多
In this paper, I read several literary texts, in order to demonstrate the relation between the viewing subject and the gazed object, in terms of love, illusion, and and aesthetic ecstasy. Walter Benjamin＇s untitled p...In this paper, I read several literary texts, in order to demonstrate the relation between the viewing subject and the gazed object, in terms of love, illusion, and and aesthetic ecstasy. Walter Benjamin＇s untitled poem illuminates love and blessing through artistic images, as in Giorgio de Chirico＇s painting, The Song of Love （1914）. Love in London is somehow a dream-like image--a surreal illusion of love, which stays in the viewer＇s mind as a poem of colours, representing etemity. Virginia Woolf＇s Night andDay says it better, when Mary walks into the British Museum and gazes at the Elgin Marbles, thinking how much she is in love with Ralph. John Keats＇ ＂On Seeing the Elgin Marbles＂ also depicts the way in which a gaze of love could be an eternal moment of aesthetic ecstasy .展开更多
The time has come to recognize the extreme importance of the archaeological sites in Jordan. They provide a wealth evidence and precise information regarding ancient civilizations and cultures. The safeguarding of thi...The time has come to recognize the extreme importance of the archaeological sites in Jordan. They provide a wealth evidence and precise information regarding ancient civilizations and cultures. The safeguarding of this cultural heritage is one of the most urgent priorities, that involve the proper conservation and preservation methods of all artifacts and buildings that have an important artistic and historic value. Conservation is a whole field in regarding the care and treatment of valuable artifacts, both movable and immovable. It has two aspects： （1） the control of the environment--to minimize the decay of artifacts and materials and （2） the treatment of these--in order to stop or slow down any deterioration and to stabilize them where possible against further dilapidation. The museum environment is a limited space dedicated not only to exhibition but also to the appropriate conservation of works of art. This article presents an overview of the types of damage and deterioration that air pollution causes to indoor cultural heritage materials and monuments. It identifies the main damaging air pollutants from outdoor sources to be sulphur dioxide, nitrogen dioxide, ozone and sulphide gases.展开更多
Floral arrangements at the Tangshan International Horticultural Exposition,which opened on April 29.Over the next six months,visitors will have the opportunity to explore gardens designed by 10 foreign teams and 31 Ch...Floral arrangements at the Tangshan International Horticultural Exposition,which opened on April 29.Over the next six months,visitors will have the opportunity to explore gardens designed by 10 foreign teams and 31 Chinese teams. Organizers estimate that 10 milion people wil visit the expo, the first of its kind in Tangshan,an industrial city in north China’s Hebei Province.展开更多
文摘The study of paper damage under bombardments of protons and X--rays is reported. An on--demand beam pulsing system is useful for the PIXE analysis of delicate objectS. IXX (or PIXE--induced XRF) is more suitable than PIXE in terms of damage to the sample. Some new PIXE and IXX applications of archaeological paper--like samples in recent years are given.
文摘There seems to be a renewed interest in the last couple decades in studying and writing about consciousness. Consciousness may be the most difficult question humans are trying to resolve. Yet eliciting transcendence, a phenomenon that rises above, or goes beyond, normal limits of consciousness, has been an identified goal for many artists in the past, possibly even in cave art. Drawing on works shown in the 2006 Art Gallery of Hamilton exposition called Sublime Embrace： Experiencing Consciousness in Contemporary Art and in the 2002 Houston Contemporary Art Museum 2002 show called THE INWARD EYE： Transcendence in Contemporary Art, the author will explore the biological, psychological, cultural, and spiritual facets of transcendence. Perhaps, with the renewed symbiotic relationship between the sciences and art, the convergence of digital media, and the emergence of global communication networks, we are at the verge of art that will create a change, an alteration in our consciousness, and an altercendent state. What this change will be is yet a mystery.
文摘This paper is based on the survey in the US named ＂Translation Quality of the Public Signs of the Horticultural Exposition in Xi＇an, China＂. The International Horticultural Exposition was held in Xi＇an, China, from April to October in 2011. As guidance to the visitors, all the public signs were in both Chinese and English. The importance of the translation quality of public signs in the Expo cannot be over-exaggerated. By analyzing the data collected in the survey, the paper claims that the quality of the public signs in the Expo is not satisfying and Gutt＇s relevance-theoretical account of translation can well serve as the theoretical foundation of public sign translation.
文摘This thesis makes a discussion of the value of art museum education combined with elementary and junior high school education and explains its cooperation basis and activity manner. Meanwhile, it also gives suggestions related to art museum education combined with elementary and junior high school education in China.
文摘The aim of this paper is to research museum audience and its expectations, experiences, and influence on museum＇s practices at the Sinebrychoff Art Museum in Finland. The common idea is that museum pedagogy as a word creates easily an image of dusty, silent, and serious moment when the audience is forced to follow a lecture or a guided tour The author＇s research questions are： （I） Museum as an institution--what are the limits and possibilities to create highlights for audience work？ （2） How to look and talk about art for different audiences--also for non-visitors？ And （3） How can museum combine the knowledge of results and new technology to create more interesting approach for its audiences？ Participants of the author＇s research are teachers, students, senior citizens, and colleagues from other museums. Besides the literature the author uses mixed methods by combining visitor questionnaires （made during last ten years） and qualitative research made by narrative methods. Interviews have been made by H4 recorder. The qualitative analysis is going to be made by Atlas.ti. The results will finally be analyzed in 2014. Until now, it has become clear that museum experience mostly starts from the web pages. What can we offer, how to give value to our museum audience？
文摘Giorgio Vasari （1511-1574）, painter, architect, and writer, was fascinated with the image of Saint Francis because of the association of La Verna with Arezzo, his native town, where the miraculous event of Saint Francis＇s stigmatization occurred in 1224. Also in Arezzo, in the church of San Francesco, the beautiful frescoes of Piero della Francesca＇s Legend of the True Cross were commissioned by his wife＇s ancestors, the Bacci family. This study discusses Vasari＇s two types of religious representation of Saint Francis. One type is devotional, as in the paintings of Holy Families, e.g., The Holy Family with Saint Francis of 1541, at the County Museum of Art of Los Angeles, CA. The other is historical, focusing on the miraculous moment of the stigmatization, e.g., Saint Francis Receiving the Stigmata, 1548, in the church of San Francesco in Rimini. Employing mannerist colors to express the spirituality of the event, Vasari created a new conception of piety, where sobriety and humbleness are honored. These paintings reveal the humanness and sanctity of the protagonist, Saint Francis, devoid of any heroic glamour.
文摘The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.
文摘TEN years ago the notion that Chinese contemporary art could so much as raise a flicker of interest in foreign climes - never mind drive Western cultural pundits into a delirious frenzy - would have been dismissed as pure fancy. At that time Chinese art was assumed to be nothing more than classical calligraphy,
文摘In this paper, I read several literary texts, in order to demonstrate the relation between the viewing subject and the gazed object, in terms of love, illusion, and and aesthetic ecstasy. Walter Benjamin＇s untitled poem illuminates love and blessing through artistic images, as in Giorgio de Chirico＇s painting, The Song of Love （1914）. Love in London is somehow a dream-like image--a surreal illusion of love, which stays in the viewer＇s mind as a poem of colours, representing etemity. Virginia Woolf＇s Night andDay says it better, when Mary walks into the British Museum and gazes at the Elgin Marbles, thinking how much she is in love with Ralph. John Keats＇ ＂On Seeing the Elgin Marbles＂ also depicts the way in which a gaze of love could be an eternal moment of aesthetic ecstasy .
文摘The time has come to recognize the extreme importance of the archaeological sites in Jordan. They provide a wealth evidence and precise information regarding ancient civilizations and cultures. The safeguarding of this cultural heritage is one of the most urgent priorities, that involve the proper conservation and preservation methods of all artifacts and buildings that have an important artistic and historic value. Conservation is a whole field in regarding the care and treatment of valuable artifacts, both movable and immovable. It has two aspects： （1） the control of the environment--to minimize the decay of artifacts and materials and （2） the treatment of these--in order to stop or slow down any deterioration and to stabilize them where possible against further dilapidation. The museum environment is a limited space dedicated not only to exhibition but also to the appropriate conservation of works of art. This article presents an overview of the types of damage and deterioration that air pollution causes to indoor cultural heritage materials and monuments. It identifies the main damaging air pollutants from outdoor sources to be sulphur dioxide, nitrogen dioxide, ozone and sulphide gases.
文摘Floral arrangements at the Tangshan International Horticultural Exposition,which opened on April 29.Over the next six months,visitors will have the opportunity to explore gardens designed by 10 foreign teams and 31 Chinese teams. Organizers estimate that 10 milion people wil visit the expo, the first of its kind in Tangshan,an industrial city in north China’s Hebei Province.
