My name is Tinyung Cering Dorje and I am 76 this year. My home is in Tinyung Courtyard outside the wall of Xoi Village and the name of the house follows our family name.
Tourism has become a pillar industry of the autonomous region. Major tour items include the Yarlung Cultural Festival in Shannan, the Qomolongma Cultural, Festival in Xigaze, the Darmar Festival in Gyangze, the Kamba ...Tourism has become a pillar industry of the autonomous region. Major tour items include the Yarlung Cultural Festival in Shannan, the Qomolongma Cultural, Festival in Xigaze, the Darmar Festival in Gyangze, the Kamba Art Festival in Qamdo, the Gongbo New Year in Nyingchi, the Horse Race in Nagqu, as well as others like the Sagya Dawa Festival, Ongkor (Bumper Harvest Festival), Shoton (Sour Milk Drinking) Festival and Bathing Festival.展开更多
Zhaxi Cering 74,is a well-known fresco painter who|wears a felt hat and a pur-ple Tibetan robe.He of-ten peers From behind his spec-tacles when examining originals in preparation for painting a new work.
Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of im...Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.展开更多
利用2001年11月—2005年10月"云与地球辐射能量系统(CERES)"辐射和云资料SYN(Syn-optic Radiation Fluxes and Clouds),分析了青藏高原(下称高原)地区不同高度云辐射强迫的时空变化特征。结果表明:(1)高原整体为云强迫正、负...利用2001年11月—2005年10月"云与地球辐射能量系统(CERES)"辐射和云资料SYN(Syn-optic Radiation Fluxes and Clouds),分析了青藏高原(下称高原)地区不同高度云辐射强迫的时空变化特征。结果表明:(1)高原整体为云强迫正、负值的过渡区域,这种过渡性有显著的季节差异和区域划分。高原东南部表现出较强的冷却效应,其西部和东北部干旱区在冬、春季表现为较弱的加热效应。(2)高云、高的中云和低的中云对云短波辐射强迫的季节变化都有贡献,其中中云是导致区域差异的主要因素;云长波辐射强迫的区域差异不明显,但季节差异显著,这主要是由高的中云和高云的变化引起的,且云量是主要的影响因子,高云云量虽小但其影响不可忽视。(3)高云在高原地区产生净加热效应,高的中云既产生加热作用也产生冷却作用,低的中云产生净冷却效应。(4)云短波辐射强迫在云辐射强迫的日变化中仍然占主导地位,日变化的区域差异主要是由云量引起的。白天,在云短波辐射强迫的日变化中,低的中云贡献更大。高云对云长波辐射强迫的日变化贡献主要在晚上,低的中云在夜间对云长波辐射强迫有抑制作用。展开更多
文摘My name is Tinyung Cering Dorje and I am 76 this year. My home is in Tinyung Courtyard outside the wall of Xoi Village and the name of the house follows our family name.
文摘Tourism has become a pillar industry of the autonomous region. Major tour items include the Yarlung Cultural Festival in Shannan, the Qomolongma Cultural, Festival in Xigaze, the Darmar Festival in Gyangze, the Kamba Art Festival in Qamdo, the Gongbo New Year in Nyingchi, the Horse Race in Nagqu, as well as others like the Sagya Dawa Festival, Ongkor (Bumper Harvest Festival), Shoton (Sour Milk Drinking) Festival and Bathing Festival.
文摘Zhaxi Cering 74,is a well-known fresco painter who|wears a felt hat and a pur-ple Tibetan robe.He of-ten peers From behind his spec-tacles when examining originals in preparation for painting a new work.
文摘Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.
文摘利用2001年11月—2005年10月"云与地球辐射能量系统(CERES)"辐射和云资料SYN(Syn-optic Radiation Fluxes and Clouds),分析了青藏高原(下称高原)地区不同高度云辐射强迫的时空变化特征。结果表明:(1)高原整体为云强迫正、负值的过渡区域,这种过渡性有显著的季节差异和区域划分。高原东南部表现出较强的冷却效应,其西部和东北部干旱区在冬、春季表现为较弱的加热效应。(2)高云、高的中云和低的中云对云短波辐射强迫的季节变化都有贡献,其中中云是导致区域差异的主要因素;云长波辐射强迫的区域差异不明显,但季节差异显著,这主要是由高的中云和高云的变化引起的,且云量是主要的影响因子,高云云量虽小但其影响不可忽视。(3)高云在高原地区产生净加热效应,高的中云既产生加热作用也产生冷却作用,低的中云产生净冷却效应。(4)云短波辐射强迫在云辐射强迫的日变化中仍然占主导地位,日变化的区域差异主要是由云量引起的。白天,在云短波辐射强迫的日变化中,低的中云贡献更大。高云对云长波辐射强迫的日变化贡献主要在晚上,低的中云在夜间对云长波辐射强迫有抑制作用。
