Research on Restoration of Murals Based on Diffusion Model and Transformer

Due to the limitations of a priori knowledge and convolution operation,the existing image restoration techniques cannot be directly applied to the cultural relics mural restoration,in order to more accurately restore the original appearance of the cultural relics mural images,an image restoration based on the denoising diffusion probability model(Denoising Diffusion Probability Model(DDPM))and the Transformer method.The process involves two steps:in the first step,the damaged mural image is firstly utilized as the condition to generate the noise image,using the time,condition and noise image patch as the inputs to the noise prediction network,capturing the global dependencies in the input sequence through the multi-attentionmechanismof the input sequence and feedforward neural network processing,and designing a long skip connection between the shallow and deep layers in the Transformer blocks between the shallow and deep layers using long skip connections to fuse the feature information of global and local outputs to maintain the overall consistency of the restoration results;In the second step,taking the noisy image as a condition to direct the diffusion model to back sample to generate the restored image.Experiment results show that the PSNR and SSIM of the proposedmethod are improved by 2%to 9%and 1%to 3.3%,respectively,which are compared to the comparison methods.This study proposed synthesizes the advantages of the diffusionmodel and deep learningmodel to make themural restoration results more accurate.

The Implantation and Transmission of Plague Culture by the Five Plague Gods in Shuilu Murals

The Five Plague Gods(五瘟神) in the Shuilu(水陆) murals from the Ming and Qing dynasties exemplify a distinctive manifestation of plague gods image developed under the pedigree of Taoist gods.As a significant system for expelling disasters in Shuilu,the depiction of the Five Plague Gods prominently merges human beings and livestock.This shape form to a large extent,draws on the image of Nuo(傩),a figure reflecting an imagination of the host of plague pathogens.In terms of the numbers of gods,it aligns with the conceptual framework of Wu Xing(五行 the five elements),a foundational principle in traditional Chinese medicine.The internal cultural connection highlights the means of plague prevention and control in China,as well as the external reflection of plague culture.Through multi-dimensional interpretations with the double proof method,this article dissects the formation,core elements,and cultural characteristics of the beliefs in the Five Plague Gods reflected in the Shuilu murals,and transcends mere visual semantics,offering a deeper understanding of these complex cultural symbols.

Exploration of the Inheritance and Innovation Carrier of National Culture in the Teaching Model of Art Design Major in Higher Vocational Colleges:Integrating Lijiang Baisha Murals into Higher Vocational Art Design Curriculum System

This study aims to further promote the inheritance and innovative development of intangible cultural heritage in Yunnan Province,promote the protection,inheritance,integration,and innovation of ethnic culture in Lijiang,strengthen the protection and inheritance of Baisha murals in Lijiang,and change the teaching of art design majors in vocational colleges in Yunnan.Given the lack of traditional Chinese culture and local ethnic culture,this article focuses on the teaching of art design majors in Yunnan vocational colleges.It explores the construction model of the cultural inheritance and innovation carrier of Lijiang Baisha murals to meet the spiritual and cultural needs of the local people,and efforts will be made to promote the high-quality development of the Baisha ethnic area in Lijiang.

Application of STEEP and Interpretive Structural Modeling in the Design Imagery of Taiwan Public Ceramic Relief Murals

Ceramic relief mural is a contemporary landscape art that is carefully designed based on human nature,culture,and architectural wall space,combined with social customs,visual sensibility,and art.It may also become the main axis of ceramic art in the future.Taiwan public ceramic relief murals(PCRM)are most distinctive with the PCRM pioneered by Pan-Hsiung Chu of Meinong Kiln in 1987.In addition to breaking through the limitations of traditional public ceramic murals,Chu leveraged local culture and sensibility.The theme of art gives PCRM its unique style and innovative value throughout the Taiwan region.This study mainly analyzes and understands the design image of public ceramic murals,taking Taiwan PCRM’s design and creation as the scope,and applies STEEP analysis,that is,the social,technological,economic,ecological,and political-legal environments are analyzed as core factors;eight main important factors in the artistic design image of ceramic murals are evaluated.Then,interpretive structural modeling(ISM)is used to establish five levels,analyze the four main problems in the main core factor area and the four main target results in the affected factor area;and analyze the problem points and target points as well as their causal relationships.It is expected to sort out the relationship between these factors,obtain the hierarchical relationship of each factor,and provide a reference basis and research methods.

The Media Fusion and Digital Communication of Traditional Murals-Taking the Exhibition of the Series of Tomb Murals in Shanxi During the Northern Dynasty as an Example

Traditional murals and their image remains are an important art category and visual language,as well as a special architectural type.Traditional murals are roughly divided into temples,grottoes,tombs and other types according to space,function and function.No matter what type of traditional mural,its basic function is to convey information through visual images.With the development and application of information technology and digital technology,traditional mural paintings have undergone changes in space,material,and form in the exhibition-gradually transitioning from ancient rock murals to multi-sensory participation under digital screen display.Because of the intervention of digital media,in many digital mural exhibitions in recent years,not only the spatial presentation and viewing of murals have formed a multi-dimensional visual correspondence but also the exhibition language of murals is enriched or supplemented.

Stamps of New China The Dunhuang Murals(Series V)

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Fascinating Murals of the Fahai Temple

The F8hai(Sea of Dharma)T6mple is locatedat the southern foot of the beautiful CuiweiMountain in the Shongshan District ofthewesternsuburb of Begng．With a history of over 500 years,the temp巨e was completed in 1143 and named

Study on Futon Patterns in Mural of Buddhist Temple in Wutai Mountain under Digital Vision

Dao Xuan’s Gantonglu records:“About fifteen kilometers down from the southeast of the Wutai Mountain,there is the ancient Dafu Lingjiu Temple,and there are two Taoist temples in the east and west,where Buddhist matters are fulfilled.According to ancient legend,it was made by Emperor Ming of the Han Dynasty”(Daoxuan,Tang Dynasty,p.257).It can be seen that Buddhism has been introduced into Wutai Mountain since the Eastern Han Dynasty,and Buddhist temple murals have been painted on the walls of temples with the introduction of Buddhism,playing the role of spreading scriptures and decorating the walls.The pattern of Buddha’s futon base in the murals reflects the worship and rank differences of Buddhist monks in different periods.As a medium of meditation and worship,futuan is also a ritual instrument in Buddhist legend,which is of great significance.The research on the style of futon from the perspective of the frescoes in the temple of Wutai Mountain mainly focuses on the historical evolution of the frescoes and futon,the research and analysis of the base shape,pattern,composition and color of the futon in the frescoes of the temple.Explore the religious significance and historical and cultural value behind the futon style.

莫高窟壁画文创产品转喻设计方法研究

立足当下国内各区域文旅发展需求,构建文创产品转喻设计创新方法,促进多样化设计方案生成,并满足消费者对文创产品的深度文化体验和情感共鸣需求。通过内涵外延传承说的类层级结构的建立,挖掘、构建文化目的域内涵项与外延项两者间的传承关系;通过转喻映射三层级的建立,得出产品源域的多个映射结果,最终产生多样化的设计方案,并应用于莫高窟文创产品设计实践中。在转喻认知相邻逻辑视角下建立的“用户”“文化”“文创产品”多路径认知关联,为用户深度认知莫高窟文化提供了新的思路与方法。

五台山壁画人物线描图生成算法

五台山壁画图像因褪化而导致颜色不均匀、部分边缘轮廓像素灰度缺失,用传统的梯度法生成的线描图存在噪点多且线条不连续的问题。提出一种基于色调补偿及双卷积技术的壁画人物线描图生成算法。在计算梯度幅值时引入色调梯度进行有效的色调补偿,同时通过两种针对离散噪点的卷积模板实现去麻点功能。对五台山壁画人物图像的线描图生成实验的结果表明,该方法在去噪的基础上有效改善了轮廓线不连续的问题。

牛马不同槽——嘉峪关魏晋墓两幅壁画的现实表达与文化意涵

嘉峪关魏晋墓葬壁画描绘了“牛马不同槽”的现象。结合礼仪艺术与世俗绘卷中的同类图像,揭示了此类现象的现实原因,并指出其进入文化层面后的意涵。先秦哲学从牛马习性出发,抽象出了其间的对立统一关系,很多情境中牛马间的对立还可转化为对应,例如祭祀中的牛马,图像中的牛马合犋犁耕、牧马牧牛、牛车鞍马,宗教语境下的牛头马面等。“牛马不同槽”从民间俗语到文献与图像的表达,反映了古代艺术与生活的密切关系。

点石成色:敦煌壁画的彩色世界

敦煌壁画,作为中国古代艺术的瑰宝,是一个丰富的历史、文化、艺术和宗教文化遗产宝库,其价值不可估量。这些壁画所用的颜料,皆为天然矿物精心挑选而成,它们为敦煌壁画带来了独一无二的色彩与质感。深入理解这些颜料的特性,有助于我们更好地欣赏艺术、文化和历史的深厚底蕴,也是壁画保护与修复的基础。本文采用生动拟人化的叙述方式,通俗易懂地描绘了莫高窟壁画的色彩来源,重点阐述了常用典型的矿物颜料及其来源,旨在促进壁画的保护工作,以及文化遗产的普及、宣传和传承。

基于多阶段优化的壁画图像色彩还原

敦煌壁画是中国最有价值和不可再生的文化遗产之一。而壁画图像的色彩复原对敦煌壁画的数字化保护和展示具有重要意义。为了解决褪色壁画图像色彩还原过程中出现的边缘伪影和色彩混叠问题,提出一种基于多阶段优化的壁画图像色彩还原方法。该方法利用高斯核函数得到壁画图像的多尺度表示。同时,构建三个基于编码器-解码器的迁移子网来学习壁画图像多尺度表示的语义特征,在参考壁画和褪色壁画之间建立语义关联来恢复壁画颜色。采用由粗到细的优化策略,在各个阶段间构建跨尺度特征融合模块实现图像多尺度表示的特征融合,建立不同阶段间的特征依赖关系。通过多阶段逐步优化,实现壁画图像的色彩还原。通过对临摹壁画和真实壁画的实验表明,该方法能够较有效地消除噪声影响,在还原壁画色彩的同时能较好地保持褪变色壁画图像的边缘纹理信息。

西安曲江翠竹园西汉壁画墓妇女身份考——以服饰器物与图像程式为中心

西安曲江翠竹园壁画墓出土的壁画,保存完好、内容完整、风格独特,是研究西汉丧葬习俗以及物质文化的重要资料。遗憾的是,现有研究针对壁画中东壁与南壁五位妇女的身份认定仍众说纷纭。本文尝试从服饰器物、图像程式的角度出发,通过与汉代相关文献与出土文物进行互证、比对,系统考证这些妇女的身份。研究认为,曲江翠竹园壁画墓侧壁人物绘画构成的母题来源,应为早期临沂金雀山九号汉墓帛画与民安四号汉墓帛画;其人物身份组合也延续着母题中“贵人—侍者”的图像程式,其中东壁屏风图像是图像中“贵人”身份的符号象征。结合人物服饰器物,笔者推测包括东壁人物三、人物四以及南壁人物三、人物四、人物五在内的十位妇女,其真实身份应均为侍婢。

新型口服抗凝药对急性心肌梗死后心力衰竭合并室壁瘤附壁血栓消退影响的研究

目的:探讨新型口服抗凝药(novel oral anticoagulants,NOAC)用于治疗急性心肌梗死(acute myocardial infarction,AMI)后心力衰竭合并室壁瘤内附壁血栓的疗效。方法:入选2019年6月至2023年5月,首都医科大学附属北京安贞医院心内科门诊和病房患者中AMI后发生心力衰竭合并室壁瘤内附壁血栓患者118例,分别给予NOAC(NOAC组,65例)或维生素K受体拮抗剂(VKA组,53例)治疗,3个月后复查经胸超声心动图,如血栓尚未完全溶解,则在首次给药6个月后再次复查超声心动图。结果:NOAC组中,使用利伐沙班治疗者为46例,使用达比加群治疗者为19例,治疗3个月后血栓完全溶解率为70.8%。所有VKA组患者均使用华法林治疗,3个月后血栓完全溶解率为67.9%,与NOAC组相比差异无统计学意义(P>0.05)。治疗6个月后,NOAC组的血栓完全溶解率为90.8%,VKA组的血栓完全溶解率为84.9%,两组血栓溶解率对比差异无统计学意义(P>0.05)。结论:NOAC可考虑作为AMI后心力衰竭合并室壁瘤内附壁血栓消退的治疗药物,且无须监测INR,使用方便,安全性好。

永乐宫壁画图案在时尚服饰设计中的创新应用

永乐宫壁画是我国古代绘画艺术中的一座丰碑,壁画上大量点缀的精美图案蕴藏着宋、元两朝文化相互交融的特征。传统壁画图案艺术价值巨大,是现代纺织服装行业中的珍贵装饰资源。详细阐述了永乐宫壁画图案的艺术特征与创新设计方法,并将创作出来的新型图案成功应用在时尚服饰设计中。研究永乐宫壁画图案在现代服饰设计中的创新应用,对于促进更多中国传统文化在现代社会中的继承与发展,以期对服装产业价值的提升有实际作用与意义,也能为业界提供一些行之有效的设计思路与方法。

多阶段堆叠融合下的敦煌壁画修复

为解决敦煌破损壁画修复难的问题,提出一种多阶段堆叠融合下的壁画修复模型,在第一阶段进行粗修复以及最大化地进行所需特征信息的提取时采用Unet结构,为增强该阶段的修复效果,又加入对抗网络(LsGan);在第二阶段进行精细化修复,主要修复纹理以及细化遮挡区域,引入多头连接和多尺度分支堆叠模块并对其进行改进,对壁画进行多阶段信息提取并对其进行融合;最后为了修复全局细节,采用大感受野的编解码器结构并且引入轻量级通用可视化(Mobile ViT)模块,同时分离了壁画图像的通道并进行分析,引入对通道不敏感的极化注意力。实验结果表明,该模型很好地解决了壁画纹理以及细节修复的难题,相较于所选修复算法最优数据,在掩码面积为5%~20%时,峰值信噪比提高了3.312,在掩码面积为5%~80%时,平均峰值信噪比提高了1.02。