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1
UEMOTO, Seiichiro. "Japanese Painting and Japanese Color". Journal of the Japan Society of Colour Material 75, n. 8 (2002): 401–7. http://dx.doi.org/10.4011/shikizai1937.75.401.
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Wang, Xingqian. "Principles of color formation in Chinese painting and ceramic painting". Философия и культура, n. 8 (agosto 2023): 139–47. http://dx.doi.org/10.7256/2454-0757.2023.8.43702.
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The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.
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Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century". BCP Social Sciences & Humanities 20 (18 ottobre 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.
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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.
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Kong, Xiangfeng, e Xiangzhen Meng. "Application of Chemical Technology of Water-Based Acrylic Dipping Paint in Art Painting Creation". Journal of Chemistry 2022 (25 agosto 2022): 1–7. http://dx.doi.org/10.1155/2022/7715011.
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In order to better sort out the superiority of water-based acrylic in painting art, explore and understand the uniqueness of water-based acrylic painting materials and apply this to art creation. The author proposes a chemical process based on water-based acrylic dipping paint, by discussing the coating and film properties of water-soluble acrylic dip paint, combined with the practical application of a casting tank; summarizing the countermeasures to solve the disadvantages of common paint films; and proving that the paint has a good comprehensive performance by comparing with other dipping paints. Experimental results show that based on the chemical process of water-based acrylic dipping paint, it has waterproof, high gloss, gloss retention, color retention, high weather resistance, and good corrosion resistance in the process of art painting; the physical parameters are better than other dipping paints, such as gloss can reach 70∼80%. Conclusion. In art painting, water-based acrylic dip paint is a kind of comprehensive performance paint with waterproof, high gloss, gloss retention, and color retention.
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Chandra, Fitri, Onggal Sihite e Mesra Mesra. "Eksperimen Bahan Makanan Sebagai Alternatif Cat Warna Air". Journal of Education, Humaniora and Social Sciences (JEHSS) 3, n. 3 (3 marzo 2021): 904–12. http://dx.doi.org/10.34007/jehss.v3i3.431.
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This research aims to describe the process of creating water color paints and the resulting colors made of foodst materials. The making of this water color paint through several stages, such stages are, observation, exploration, experimental, and quality testing. This experiment focused on foodstings as dye paint making materials. The exploration stage is about the materials used as additives, pigments, solvents, and binders in paints. Experimental stages in the form of making groceries into dye paints. The quality test stage is the process of comparing the quality of the experiment's color paint and the factory-made color paint. The concept of making color paint explores ingredients from food namely, kanji flour, baking soda, vinegar, food coloring, and water. And aids like, bowls and spoons, plastic containers, and toothpicks. The paint is realized into the form of a painting using aquarel painting technique.
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Pasquale, Stefania, Massimo Zimbone, Francesco Ruffino, Giuseppe Stella e Anna Maria Gueli. "Evaluation of the Photocatalytic Activity of Water-Based TiO2 Nanoparticle Dispersions Applied on Historical Painting Surfaces". Heritage 4, n. 3 (17 agosto 2021): 1854–67. http://dx.doi.org/10.3390/heritage4030104.
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This paper aims at assessing the use of nanomaterials in painting conservation and in cleaning practices that could be alternative to the traditional ones to overcome the limits of new green materials. Titanium dioxide nanoparticles have been spread and studied on historical painting surfaces with good results. In particular, the properties of TiO2 nanoparticles have been considered useful for self-cleaning and protective purposes against the accumulation of dirt and dust that represents the first phase in deterioration of historical painting surfaces. TiO2 nanoparticles, prepared in distilled water by Pulsed Laser Ablation in Liquids, were applied on painting mock-ups realized in the laboratory according to old recipes and using historical binders and pigments. The surface characteristics of the painting were investigated by contact angle measurement and by Atomic Force Microscopy. The optical and aesthetical compatibility of the colloidal dispersions with the painting was assessed by spectrophotometry, and then the cleaning efficiency was evaluated by discoloration of a dye under ultraviolet irradiation, at fixed time intervals, using colorimetric technique. Because of the high reactivity of nanoparticles, the possibility of degrading the painting surface, together with the chromatic marker, was examined by colorimetric measurements. The evaluation of the color changes is important for all the materials belonging to cultural heritage, especially painting, for which the color modification induced by protective and/or cleaning interventions could irremediably compromise the work of art.
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Liu, Jin-fang, e Kye-tae Kim. "A Study on the Origin of Modern Heavy Color Painting in Yunnan". Society for Chinese Humanities in Korea 84 (31 agosto 2023): 317–33. http://dx.doi.org/10.35955/jch.2023.08.84.317.
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This paper analyzes and summarizes the reasons for the formation of Yunnan modern heavy-color painting, including its social background, regional environment, and ethnic traditions. Among them, traditional national culture plays an important role in Yunnan modern heavy-color painting, providing a profound cultural background for the development of this art form. Additionally, this paper analyzes the current development status of Yunnan modern heavy-color painting and identifies some existing issues. Addressing these problems, the paper summarizes the development experience of Yunnan modern heavy-color painting and discusses its future development path. Yunnan modern heavy-color painting is an innovative and unique art form, but it also faces new challenges in its continuous development. To address these challenges, we need to adopt reasonable strategies to further improve the theoretical system and technical methods of Yunnan modern heavy-color painting and promote its innovation and development. In this process, Yunnan modern heavy-color painting needs to fully leverage the advantages of regional culture, humanistic tradition, and social value.
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Andreeva, Olga Pimenovna, Svetlana Petrovna Akhmetova e Evelina Valerianovna Mikhailova. "Fine receptions of water coloring painting as a means of realization of creative ideas of future designers". Interactive science, n. 3 (37) (27 marzo 2019): 47–49. http://dx.doi.org/10.21661/r-486225.
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This article deals with the task of design education in the training of specialists who are ready to implement creative ideas in the design of environmental objects. It gives a detailed analysis discipline of academic painting. It is reported about the study of pictorial techniques, rules and patterns of academic painting, which are necessary when performing creative tasks. The stages of color design of the project are considered in detail, with the implementation of which various graphic techniques of watercolor painting are used.
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Inoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa e Masaki Takata. "Japanese Crystallography in Culture and Art". Acta Crystallographica Section A Foundations and Advances 70, a1 (5 agosto 2014): C1304. http://dx.doi.org/10.1107/s2053273314086951.
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"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."
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Ebrey, Thomas G. "Implications of the Many Versions of the Early Printings of Kaishien gaden, the Mustard Seed Garden Painting Manual". East Asian Publishing and Society 11, n. 2 (2 settembre 2021): 154–207. http://dx.doi.org/10.1163/22106286-12341356.
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Abstract Kaishien gaden was a widely read and influential pair of Japanese books based on the famous Chinese painting manual, Jieziyuan huazhuan. They are among the earliest examples of Japanese color printing. Close examination of many almost identical copies of Series A (1748) and Series B (1753) offers insight into the publishing practices of four different sets of publishers. Even with exemplars printed by the same publisher, there was much variation in the use of seals and color palettes, leading to many different states of each book. Assuming that each print run would be identical in not only the pages printed from the blocks, but also in the use of seals and colors, it can be estimated that there were roughly fifty to eighty print runs of each of these books over their 65–70 year initial history.
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Bian, Xiangyang, e Meng Niu. "The Feasibility and Methodology for Water and Land Paintings in the Study of the Ming Dynasty Costumes". Asian Social Science 14, n. 1 (26 dicembre 2017): 136. http://dx.doi.org/10.5539/ass.v14n1p136.
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Chinese Water and Land painting contains lots of figure costume modeling, providing intuitive and vivid image data for the study of ancient costumes. It is a new medium for the study of Chinese ancient costumes. This paper analyzes the feasibility and methodology for Water and Land paintings in the study of the Ming Dynasty. With the Ming costumes in the Water and Land Paintings, this paper discusses the shape, color, texture and fabric patterns of the ancient dresses. The feasibility of using Water and Land Paintings to study ancient costumes is further analyzed in this paper. This paper emphasizes the importance of ancient dresses in Water and Land Painting for the study of its wearing effect, and the specific methods of research that are put forward.
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Widodo, Widodo, Devi Etivia Purlinda e Ahmad Riadi. "Perbandingan Berbagai Metode Pengecatan Spora pada Bacillus Cereus". Jaringan Laboratorium Medis 4, n. 2 (1 novembre 2022): 91–94. http://dx.doi.org/10.31983/jlm.v4i2.8493.
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Endospores are formed by members of several genera of gram-positive bacteria, such as Bacillus and Clostridium. The spores are very resistant structurally; withstand the temperature of boiling water for two hours or more. They contain very little water and show very few chemical reactions. The favorable external environment will cause the spores to break down and the vegetative cells to appear to grow and reproduce. Identification of endospore-forming pathogens is important in food and medical microbiology. However, the spores contain multiple protective layers, which cannot be easily penetrated by simple staining or Gram staining techniques. Therefore, it is necessary to apply heat to help penetrate the color, with various methods of Gram stain, fluorescent spore painting, Schaeffer and Fulton spore painting and Client's spore painting method. The results of the fluorescent painting method have better results but require much more expensive equipment using a fluorescent microscope considering the facilities that must be provided for the Schaeffer and Fulton painting method as an alternative if they do not have these facilities.
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Wang, Ching-Ling. "True Identity". Rijksmuseum Bulletin 66, n. 2 (15 giugno 2018): 100–119. http://dx.doi.org/10.52476/trb.9750.
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In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.
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Newman, Richard. "Binders in Paintings". MRS Bulletin 21, n. 12 (dicembre 1996): 24–31. http://dx.doi.org/10.1557/s0883769400032085.
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Many naturally occurring adhesive materials have been used throughout history to bind pigments in paintings. A number of synthetic materials have been added to these during the twentieth century.Availability and tradition can influence the choice of binders made by artists. Probably the most widely used medium throughout history, animal glue, is also the most easily obtained. Glues made from the connective tissues or skins of local animals were major media in ancient Egyptian painting and in Chinese and Japanese painting, as well as in many other cultures throughout world history. In many cases, a variety of natural binders were available, and additional factors influenced the choice of binder by a culture. Different media have highly variable properties that affect how they are used in painting. Among these properties are solubility, the transparency or depth of color that is obtainable with a given pigment, and handling properties–how the paint flows, how quickly it dries, whether it can be applied in very thick and very thin layers, etc. Knowledge of the media utilized in paintings can help us understand the intentions of artists. Medieval European painting can be used as an example.
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Kalenska, Inna. "The concept of a bullfight in the painting cycle «Ole!» by Les Podervianskyi". Text and Image: Essential Problems in Art History, n. 2 (2021): 124–30. http://dx.doi.org/10.17721/2519-4801.2021.2.07.
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The review of Les Podervianskyi’s exhibition “Ole!”, which was presented at the Dymchuk Gallery in Kyiv in autumn 2021, focuses on the concept of bullfighting as a universal artistic plot. Many artists of different generations, including such eminent as P. Picasso or F. Goya, have repeatedly reproduced the bullfight, as a phenomenon of Spanish culture, in their artworks. Recently, some contemporary Ukrainian artists have turned to the symbolism and aesthetics of this Spanish plot, which is evidenced by the appearance of thematic exhibitions, including “Ole!” The text considers the phenomenon of L. Podervianskyi’s personality as an artist in the context of the history of contemporary Ukrainian art. It analyzed the variations of interpretations of torero and bull images from the standpoint of bullfighting philosophy, which allows us to comprehend the metaphorical depiction of the Spanish traditional battle in painting. The presented series of paintings is considered from different angles: 1) color and compositional solution; 2) the matador and the bull as multi-valued symbols of the universal plot; 3) the system of the exhibition project in the gallery space. One of the highlights is on the connection between text and image, in particular in the combination of the title and the image itself. Separately, it is covered the topic of Japanese culture, which is one of the central ones in L. Podervianskyi’s work: similar features in the construction of Japanese poetry and compositional techniques in painting are analyzed; the interchangeability of the use of bullfighting and kung fu plots as an artistic technique is explained. Mixing and layering the Ukrainian experience of the artist, images of the bullfighter and the bull and Japanese traditions creates a new system in the artistic dimension, in which the confrontation between the individual and the external world and the inner self becomes the central point.
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An, Tianpeng. "Silk paintings in the works of modern Chinese artists as a synthesis of traditions and innovations". Философия и культура, n. 10 (ottobre 2023): 178–86. http://dx.doi.org/10.7256/2454-0757.2023.10.68769.
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In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The most famous masters engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work.
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Jiang, Bingchao, e Min-Lyoung Choi. "A Study on Water-based Paints Applied for Art Makeup". Journal of the Korean Society of Cosmetology 28, n. 5 (31 ottobre 2022): 1054–71. http://dx.doi.org/10.52660/jksc.2022.28.5.1054.
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In creating works of ‘Art Makeup’ called ‘the pinnacle of makeup’ specific and systemic learning is required for inexperienced beginners or students to acquire basic knowledge or quality of art makeup. For this reason, we analyzed characteristics of water-based paints in order to examine what changes in colors there were when these paints mixed with water were applied to the skin and became completely dry in a certain time. We also looked into their consistency-how long they lasted against drying speed, stimulation or contact. The findings are as follows. First, in the water-based paints we analyzed, we saw color fading with change in color purity and decreased saturation compared to original products when they were completely dry. Especially, in the case of achromatic color, white, completely dry, decreased in lightness, resulting in very low whiteness compared to the original product, whereas black, completely dry, increased in lightness, resulting in low blackness compared to the original product. Therefore, in expressing works with black and white in high lightness, it would be better if achromatic color is used for the sake of painting over or applying a little achromatic color on a small part of the skin for highlight effect. Second, water-based paints which are applied to the works undergo a drying process to preserve the works. In the drying process, we found a very large deviation in time depending upon color. Hence, in creating art makeup works, arranging sequence of colouring needs to take into account the drying speed which varies depending upon color. Finally, water-based paints had consistency against stimuli such as a little bit movement unless there were direct stimuli to them after they were applied to the skin and became completely dry. But they turned out to be vulnerable to watery stimuli such as sweat. Therefore, location, lighting, and temperature should be taken into consideration in creating works. Especially, in a sweating-triggered environment, a lot of attention should be paid to keep the works intact. If necessary, water resistant products may be a good choice.
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Bila, Narciso Fernando, Rosilani Trianoski, Andrade Fernando Egas, Setsuo Iwakiri e Marcio Pereira da Rocha. "Evaluation of the quality of surface finish of messassa wood for three types of varnishes." Journal of Biotechnology and Biodiversity 8, n. 2 (26 giugno 2020): 122–30. http://dx.doi.org/10.20873/jbb.uft.cemaf.v8n2.bila.
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The aim of this study was to evaluate the performance of the messassa wood Brachystegia spiciformis and Julbernardia globiflora for three types of finishing products for use in the furniture and frames industries. Coating performance was assessed by adhesion strength, impact deformation resistance, abrasiveness, gloss and overall color variation tests based on technical standards. Copal painting application was higher for gloss, adhesion and lower abrasiveness compared to water based and polyurethane. The impact deformation was higher for polyurethane than water-based and copal for both species. The darkening of wood for Brachystegia spiciformis and a slight lightening of wood by Julbernardia globiflora characterize the overall color variation after application of the coating products. According to these results, the varnishes can be used to add value to the messassa wood as a finish in solid wood furniture and frames.
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KUCHIDA, Keigo, Toshihiro YAMAGISHI, Hisashi SHINOHARA, Masahiko TAKIMOTO e Shuji IWAMOTO. "The Influence of Electrified Alkaline Calcium Water on Japanese Shorthorn Beef Meat Color". Nihon Chikusan Gakkaiho 64, n. 1 (1993): 71–73. http://dx.doi.org/10.2508/chikusan.64.71.
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이헌형 e Yon-Sun Park. "A Study on the Water Painting Pigment and Marker Dye's Color Change - Focused on color change and light stability based on ultraviolet rays -". Journal of Korea Society of Color Studies 27, n. 3 (agosto 2013): 95–106. http://dx.doi.org/10.17289/jkscs.27.3.201308.95.
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Suparma Netra, I. Made, e Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur". Humanis 23, n. 3 (27 settembre 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.
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As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Nguyen-Sy, Toan, Weiguo Cheng, Julien Guigue, Samuel Munyaka Kimani, Wisnu Aji Wibowo, Keitaro Tawaraya, Toru Watanabe, Ji Wu e Xingkai Xu. "Water extractable organic carbon and nitrogen and their stable isotopes from long-term experiment in a Japanese rice paddy". Journal of Wetlands Environmental Management 6, n. 2 (13 febbraio 2019): 60. http://dx.doi.org/10.20527/jwem.v6i2.176.
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<span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">Hot water- and water-extracted organic matter was extracted from soil samples collected after a 31-year long-term experiment which aimed to assess the effect of different fertilization strategies (inorganic fertilizers and organic matters) commonly used for paddy rice cultivation in Yamagata, northeastern Japan. </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">The ratio of soil to </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">extracted</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US"> water was 2:3. </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">The amounts of hot water-extracted organic carbon and nitrogen (HWEOC and HWEN) at 80 <sup>o</sup>C and 16 hours, water-extracted organic carbon and nitrogen (WEOC and WEN) at room temperature, and their δ<sup>13</sup>C and δ<sup>15</sup>N were measured from the five fertilizer treatment plots as [1) PK, 2) NPK, 3) NPK + 6 Mg ha<sup>-1</sup> rice straw (RS), 4) NPK + 10 Mg ha<sup>-1</sup> rice straw compost (CM1), and 5) NPK + 30 Mg ha<sup>-1</sup> rice straw compost (CM3)], for surface (0-15 cm) and subsurface (15-25 cm) layers. HWEOC and WEOC accounted for an average of about 1.5</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">1</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US"> and 0.66% of SOC, while HWEN and WEN accounted for an average of about 1.09 and 0.40% of soil TN, respectively. About 90% of the extracted N was organic form</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US"> among all treatments</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">. The values of δ<sup>13</sup>C for HWEOC and WEOC ranged from -28.2 to -26.</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">5</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">‰ and from -28.3 to -27.0‰, similar to the original rice straw and rice straw compost</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">, and lower than the value of original soil at -22.5</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">‰. The values of δ<sup>15</sup>N of HWEN, WEN and bulk soil ranged from 0.</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">8</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US"> to 3.</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">8</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">‰, from 1.0</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">to 4.0‰, and from 0.</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">8</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US"> to 2.</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">8</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">‰, respectively. It was clear that δ<sup>15</sup>N decreased in RS but increased in CM3 treatments. Our results </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">indicated that the amounts of h</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">ot water- and water-extracted organic matter </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">were affected by long-term </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">application of inorganic fertilizers and organic matter</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">s remarkably. However, the </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">values of δ<sup>13</sup>C for HWEOC</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US"> and </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">WEOC</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US"> were not different among 5 treatments, but </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">values</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US"> of </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">δ<sup>15</sup>N </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">of </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">HWEN and WEN </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">were affected by </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">RS </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">and </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">CM3 </span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA;" lang="EN-US">applications clearly</span><span style="color: windowtext; line-height: 200%; font-family: 'Times New Roman','serif'; font-size: 12pt; mso-fareast-font-family: 'ＭＳ 明朝'; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA;" lang="EN-US">.</span>
23
Fu, Peng, Ge-Le Teri, Xiao-Lian Chao, Jing Li, Yu-Hu Li e Hong Yang. "Modified Graphene-FEVE Composite Coatings: Application in the Repair of Ancient Architectural Color Paintings". Coatings 10, n. 12 (28 novembre 2020): 1162. http://dx.doi.org/10.3390/coatings10121162.
Testo completoAbstract (sommario):
In recent years, based on the urgent need in the field of cultural heritage conservation, the research and development of coatings have attracted much attention. FEVE (trifluorovinyl chloride and vinyl ether copolymer) is one of the reinforcing materials in the protective coatings of color paint. However, it has problems such as compactness, low tensile strength, and poor resistance to aging. Therefore, modified graphene was introduced and combined with FEVE coatings (FEVE/m-GO) to optimize their adhesion, compactness, resistance to corrosion, and performance at shielding the paintings from ultraviolet light. The structural features of the hybrid films were characterized by UV–Vis spectroscopy, transmission electron microscopy, infrared spectroscopy, etc. In addition, the water absorption, mechanical properties, color difference test, and aging resistance of the FEVE/m-GO and simulated samples were investigated. The results showed that the hybrid film with 0.04% m-GO incorporation as an effective consolidant exhibited outstanding comprehensive performance. This composite material was used in the protection and consolidation of the Sanyou Xuan ancient architectural color painting in the Palace Museum, which opened up a new way of thinking about the long-term conservation of color paintings.
24
Sansonetti, Errj, Dace Cīrule, Edgars Kuka, Bruno Andersons, Ingeborga Andersone e Maris Danieks. "Characterization and Evaluation of Water-Based Ecological Paint for Protection of Wood Materials Coated Using Dipping Technique". Materials Science Forum 1071 (18 ottobre 2022): 147–54. http://dx.doi.org/10.4028/p-87j1r4.
Testo completoAbstract (sommario):
The aim of this study was to characterize and evaluate the performance of two wood species, pine (Pinus sylvestris L.) and spruce (Picea abies Karst.) used for wooden furniture in outdoor coated with a water based ecological paint and subjected to artificial weathering. Another task of this research was to investigate the potential of the application of paint using dipping method in alternative to traditional brush or spraying coating application methods, since, if wood samples are grouped in stacks, the processing time can be reduced, compared to samples painted singularly. From the analysis of the dipping parameters, such as time and paint concentrations, more practical and specific knowledge was obtained regarding this painting method.From the characterization of the painted samples and from the measurements of color changes during artificial weathering it was observed that coated wood surfaces have similar optical properties also in case of different dipping times, although the type of wood could affect the performance of final product during artificial weathering test as in case of spruce wood samples, specifically those prepared with the shortest dipping time: for these samples a lower resistance to weathering and higher color changes were observed.
25
Yadav, Vishal. "RELIGION IN THE COLOR SYSTEM UNDER BADRINATH ARYA". International Journal of Research -GRANTHAALAYAH 2, n. 3SE (31 dicembre 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3678.
Testo completoAbstract (sommario):
Indian modern art is considered to have started from the mid-19th century. When the English ruler decided to set up art colleges in Madras, Calcutta, Mumbai, Lahore and Lucknow to train Indian artists in European art. These art colleges hired English artists who painted using natural English method. During this time, Japanese artists Hidisa and Taikan came to Calcutta who trained the Wash system first in India to Avindranath Thakur and this is how the Wash system was born in India. When it comes to the Indian wash system, first comes the atmosphere of the Bengal School, by which trained artists were established in all the important art centers of the country and an atmosphere of wash painting was created all over the country. In such a situation, after the Bengal School, Lucknow has emerged as the second center for wash depictions. Here, another developed form of wash came out, where opaque or opaque colors were used in Bengal, whereas in Lucknow it was avoided. The technique of wash painting was originally introduced by Avindnath Thakur in Calcutta. Some of his subjects were appointed in Lucknow Arts and Crafts College, thus the technique was further developed in Lucknow and later all these artists worked in this medium and developed it in which Arpit Kumar Haldar, Abdul Rahman Chughtai, LM Sen and Badrinath Artists like Arya kept experimenting with watercolor in the wash method.
भारतीय आधुनिक कला की प्रारंभ 19वीं सदी के मध्य से मानी जाती है। जब अंग्रेजी शासक ने यूरोपियन कला में भारतीय कलाकारों को प्रशिक्षित करने के लिए मद्रास, कलकत्ता, मुंबई, लाहौर व लखनऊ में कला महाविद्यालय स्थापति करने का निर्णय लिया। इन कला महाविद्यालयों ने स्वाभाविक अंग्रेजी पद्धति से चित्रण करने वाले अंग्रेजी कलाकारों की नियुक्ति हुई। इसी दौरान जापान के कलाकार हिदिसा और ताईकान कलकत्ता आए जिन्होंने वाॅश पद्धति का प्रषिक्षण भारत में सर्वप्रथम अविन्द्रनाथ ठाकुर को दिया और इसी प्रकार भारत में वाॅश पद्धति का जन्म हुआ। जब भारतीय वाॅश पद्धति की बात आती है तो सबसे पहले बंगाल स्कूल का एक ऐसा वातावरण समाने आता है जिससे प्रशिक्षित होकर कलाकार देश के सभी महत्वपूर्ण कला केन्द्रों में स्थापित हुए और वाॅश चित्रण का एक वातावरण पूरे देश में सृजित हुआ। ऐसे में बंगाल स्कूल के बाद लखनऊ वाॅश चित्रण के लिए दूसरे केन्द्र के रुप में उभरा। यहां पर वाॅश का दूसरा विकसित रुप सामने आए जहां बंगाल में अपारदर्शी या अल्पदर्शी रंगों का प्रयोग हुआ वहीं लखनऊ में इससे बचा गया। वाॅश चित्रकला की तकनीक प्रारंभ मूलतः अविन्दनाथ ठाकुर ने कलकत्ता में किया था। उनके कुछ विषय लखनऊ कला एवं शिल्प महाविद्यालय में नियुक्ति हुए इस प्रकार वह तकनीक लखनऊ में और विकसित हुई तथा बाद में इन सारे कलाकारों ने इस माध्यम में काम करते हुए इसका विकास किया जिसमें आर्पित कुमार हालदार, अब्दूल रहमान चुगताई, एल0 एम0 सेन व बद्रीनाथ आर्य जैसे कलाकारों ने जलरंग से वाॅश पद्धति में प्रयोग करते रहे।
26
Germinario, Giulia, Fabio Talarico e Mauro Torre. "Microanalyses and Spectroscopic Techniques for the Identification of Pigments and Pictorial Materials in Monet's Pink Water Lilies Painting". Microscopy and Microanalysis 28, n. 1 (15 novembre 2021): 27–41. http://dx.doi.org/10.1017/s1431927621013556.
Testo completoAbstract (sommario):
In this work, the technique and the pictorial materials employed by Claude Monet in Pink Water Lilies, presently housed at the National Gallery of Modern and Contemporary Art in Rome, were investigated. The painting underwent noninvasive investigations such as energy-dispersive X-ray fluorescence and visible reflectance spectroscopies. The combined use of these techniques allowed us to identify most of the inorganic pigments such as cobalt blue and violet, zinc oxide, cadmium yellow, vermilion, and mixtures. Particularly, the spectrophotometric curves allow for the detection of the anhydrous and hydrated chromium greens. Two micro-fragments of the painting were also examined with micro-Fourier transform infrared spectroscopy and the cross-sections obtained were analyzed with the optical microscope and with scanning electron microscopy (SEM) and energy-dispersive X-ray spectrometry (EDS). Fourier Transform Infrared spectroscopy analyses allowed us to recognize the animal glue used for priming the canvas, which was covered with a ground layer consisting of calcite and lead white mixed with an oil binder. A lipidic binder was also detected in the color layer. Optical microscopy and SEM-EDS were useful to retrieve information about the stratigraphy, the distribution of pigments, and a more complete palette identification of phosphate, arsenate, and magnesium arsenate cobalt violets, and the red lake was possible.
27
Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan". Arts 8, n. 2 (17 maggio 2019): 64. http://dx.doi.org/10.3390/arts8020064.
Testo completoAbstract (sommario):
In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.
28
Indrawati, Ratih, Gervacia Jenny Ratnawati e Sri Tumpuk. "Senggani Fruit Anthocyanins (Melastoma Malabathricum Auct, Non Linn) As Bacterial Dyes Differential Painting Techniques". INTEK: Jurnal Penelitian 9, n. 1 (1 aprile 2022): 18. http://dx.doi.org/10.31963/intek.v9i1.2987.
Testo completoAbstract (sommario):
Bacteria are difficult to see with a light microscope, because they do not absorb or refract light. Dyes absorb and refract light so that the contrast of bacteria with their surroundings is enhanced. Anthocyanins are water-soluble pigments that are naturally found in various types of plants. As the name implies, this pigment gives color to flowers, fruits, and leaves of green plants.This research is a type of descriptive research. The treatment consisted of painting bacterial preparations with anthocyanin pigment extract of senggani fruit with 70% ethanol solvent and control with gram staining. The treatments were: T1: staining of bacterial preparations with gram staining, T2: painting of bacterial preparations with anthocyanin extract of senggani fruit added with 14% citric acid as a substitute for safranin and NH4Cl as a substitute for crystal violet. The results of the study showed that anthocyanin pigment extract was proven to be used as a dye for Staphylococcus aureus, Escereria coli as a substitute for synthetic dyes Safranin and Crystal violet in Gram staining.
29
Gao, Hui. "Oriental Elements in Cezanne’s Art". BCP Social Sciences & Humanities 18 (30 giugno 2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.
Testo completoAbstract (sommario):
Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.
30
MORIYAMA, Nana, Kitirochna RATTANAKASAMSUK e Mikiko KAWASUMI. "Comparative Study of Kansei Structure on Water Lilies Color between Japanese and Thai People (1)". Transactions of Japan Society of Kansei Engineering 17, n. 4 (2018): 437–44. http://dx.doi.org/10.5057/jjske.tjske-d-18-00016.
Testo completo
31
MORIYAMA, Nana, Kitirochna RATTANAKASAMSUK e Mikiko KAWASUMI. "Comparative Study of Kansei Structure on Water Lilies Color between Japanese and Thai People (2)". Transactions of Japan Society of Kansei Engineering 17, n. 4 (2018): 445–51. http://dx.doi.org/10.5057/jjske.tjske-d-18-00017.
Testo completo
32
Wada, Katsuhiko T., e Akira Komaru. "Shell color, density, water depth, and growth of different lines of the Japanese pearl oyster". Aquaculture 111, n. 1-4 (aprile 1993): 292–93. http://dx.doi.org/10.1016/0044-8486(93)90049-5.
Testo completo
33
Markwick, Michael. "The Swimmer". Ecozon@: European Journal of Literature, Culture and Environment 11, n. 2 (6 ottobre 2020): 242. http://dx.doi.org/10.37536/ecozona.2020.11.2.3436.
Testo completoAbstract (sommario):
My works are a depiction of a spiritual relationship with the natural environment. I am drawn to the energy, light, color, materiality, surfaces, and compilations of complex forms found in the spaces where man-made structures collide with natural areas. Childhood memories of Michigan wetlands and forests play into my personal creative language, but I also respond to the mixed urban and natural landscape of Berlin. Piles of bones, discarded building materials, and even the energy of strong weather can appear in my works. I aim to capture a relationship with nature that is charged with the playful flux and flow of creation and destruction. I am an intuitive artist who freely explores the painting process.
In this recent large-scale work, “Swimmer” (2019), an abstracted skeletal figure in the upper left of the canvas is caught in a tidal wave of bright blue water and debris. The architectonic aspects of this painting bring to mind the harder-edged shapes of building materials; these forms, too, are being shattered by the water. The great shifting forces of nature can be epic and overwhelming; this “swimmer” becomes a symbol of fragility in the environment.
The Swimmer (2019)
180 x 150 cm (71 x 57 in.)
Acrylic, pigment, and mixed media on linen
Photo: Eric Tschernow
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Darmawan, Arif, Widya Hermana e Muhamad Prastyo Dirgantara. "Effect of asam kandis (Garcinia cowa Roxb) extract in drinking water on egg quality of Japanese quail (Coturnix coturnix japonica)". Aceh Journal of Animal Science 6, n. 1 (26 febbraio 2021): 19–22. http://dx.doi.org/10.13170/ajas.6.1.19660.
Testo completoAbstract (sommario):
Asam kandis (Garcinia cowa Roxb) fruit has been reported to contain phytochemicals such as xanthon, hydroxy cytric acid and flavonoids that have various activities such as antimicrobial and antioxidant. This study was aimed to investigate the effect of asam kandis extract addition in drinking water on the quality of quail eggs. Ninety nine laying quails of 59 days of age were divided into 3 treatments and 3 replications with 11 laying quails in each replication. Completely Randomized Design was used and the treatments were: T1= control (drinking water without asam kandis extract), T2= drinking water with asam kandis extract at pH 4, T3= drinking water with asam kandis extract at pH 3. The parameters observed were egg weight, egg shape index, yolk color, yolk percentage, albumen percentage, eggshell percentage, shell thickness, and haugh unit score. The data obtained were analyzed by Analysis of Variance (ANOVA) and significant differences among treatments means were tested by Duncans multiple test. The the addition of asam kandis extract did not affect (P0.05) on egg weight, egg shape index, yolk color, yolk percentage, albumen percentage, eggshell percentage, and haugh unit score. The addition of asam kandis extract in drinking water at pH 3 significantly (P0.05) increased eggshell thickness compare to that of other treatments. The conclusion was the addition of asam kandis extract in drinking water at pH 3 increased eggshell thickness without decreasing egg quality.
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Cheng, Cong, Wenhua Ma, Rui Chen, Yeting Zhu, Lizhen Zheng, Wei Li e Daodao Hu. "Study on Carbonation of Porcine Blood Hydrogel in the Composite Mortar of Ancient Chinese Architectural Painting". Gels 10, n. 3 (9 marzo 2024): 191. http://dx.doi.org/10.3390/gels10030191.
Testo completoAbstract (sommario):
In the ancient Chinese recipe for composite mortar used in the construction of ground layers for architectural painting, the mixture of porcine blood and lime water is one of the constituent materials. Herein, according to the traditional recipe, the interaction between porcine blood and lime water was systematically and deeply investigated. The experimental investigation demonstrated that porcine blood mixed with lime water at the ratio found in the recipe can form a hydrogel with a hydrophobic surface. During air-drying, the lime water in porcine blood hydrogel can react with CO2 to form calcium carbonate. The crystal morphology of the formed calcium carbonate depends on the surrounding micro-environment of calcium ions in the porcine blood hydrogel. The formed morphology of calcium carbonate includes small calcite crystallites, small graininess calcite crystals with round features, calcite aggregates with layered ladder-like structures, and amorphous calcium carbonate (ACC). Interestingly, the calcium carbonate formed in the inner part of the porcine blood hydrogel exhibits lamellar distribution due to a Liesegang pattern formation. Based on the findings that the porcine blood hydrogel has surface hydrophobicity and brittleness, it can be predicted that in the preparation process of composite mortar for ancient building color painting base course, porcine blood used in the form of a hydrogel is not only easier to be dispersed in hydrophobic tung oil than in liquid porcine blood but also the affinity between porcine blood gel and tung oil is enhanced. As constituent material dispersed in the composite mortar, the layered distribution of calcium carbonate in the porcine blood hydrogel may presumably be beneficial to reduce the internal stress of the composite mortar material.
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Wang, Shue. "Anti-Japanese war in the fine arts of China of the XX – beginning of the XXI century". Философия и культура, n. 6 (giugno 2023): 141–51. http://dx.doi.org/10.7256/2454-0757.2023.6.40967.
Testo completoAbstract (sommario):
This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than seven decades, changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is extremely important for the people, since it was she who gave the art of the newly born New China in the XX century a historical dimension, determined the measure of responsibility of Chinese artists to society and partly the aesthetic paradigm of the evolution of the arts. Moreover, it has served and continues to serve as a source of inspiration for new generations of masters of historical painting, especially battle artists. As a result of the analysis and generalization, four stages are distinguished. The first one is connected with the work of wartime graphs, which recorded the most important moments of the confrontation between the two armies and peoples, determining the general realistic orientation in the development of the theme and its iconography. The middle of the century is the time of the establishment of images associated with the anti-Japanese war as the main line in Chinese painting, the appearance of multi-figure subject canvases, including in the battle genre. The last third of the XX century is defined as the period of transition from the glorification of events to the embodiment of the understanding of that war as a national tragedy, as well as the enrichment of romanticized realism with new artistic forms. At the beginning of the new century, artists tended to create large-scale canvases, saturating them with complex symbolic meanings and details. Such changes indicate the continuation of the evolution of the topic under study and its further transformations.
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., Muhammad Rafiki, I. Gusti Made Budiarta, S. Pd ,. M. Pd . e Dra Luh Suartini, M. Pd . "KARAKTERISTIK KARYA FINGER PAINTING ANAK-ANAK DI TAMAN KANAK-KANAK AISYIYAH BUSTANUL ATHFAL SINGARAJA". Jurnal Pendidikan Seni Rupa Undiksha 9, n. 1 (22 luglio 2019): 13. http://dx.doi.org/10.23887/jjpsp.v9i1.18775.
Testo completoAbstract (sommario):
Penelitian ini bertujuan untuk mendeskripsikan (1) alat dan bahan yang digunakan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter hasil gambar anak yang dihasilkan dalam kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja. Sasaran penelitian ini adalah anak-anak kelompok B TK Aisyiyah Bustanul Athfal Singaraja yang terdiri atas 5 kelas kelompok B. Penelitian ini adalah penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara, (3) teknik kuesioner/angket, (4) dan kepustakaan. Data yang terkumpul kemudian dianalisis dengan cara (1) analisis domain, (2) analisis taksonomi, (3) dan analisis tema.
Hasil penelitian menunjukkan bahwa (1) alat dan bahan yang digunakan dalam kegiatan finger painting ini adalah panci, gelas, sendok, centong, kompor gas, mangkok besar, mangkok kecil, cat/media warna finger painting, kertas gambar, tepung kanji, tepung terigu, pewarna makanan, air dan minyak goreng. 2) proses kegiatan finger painting di TK Aisyiyah Bustanul Athfal Singaraja dimulai dari mempersiapkan media dan perlengkapan pembelajaran, mengenalkan media dan mendemostrasikannya, mengarahkan dan membimbing, setelah selesai kegiatan anak bercerita dan guru mengapresiasi serta mengevaluasi hasil kerja anak-anak, akhir kegiatan guru melakukan penilaian dengan menggunakan portofolio. 3) Hasil karya finger painting kelompok B TK Aisyiyah Bustanul Athfal Singaraja memiliki subject matter dan visual yang beraneka ragam, penelitian ini dikelompokkan berdasarkan pada karakteristik karya yang dihasilkan oleh anak-anak, dan diperoleh hasil sebagian besar karya anak cenderung mengacu pada tipe haptic dan tipe naturalistik, serta bentuk visual yang sering muncul yaitu bentuk rumah, bunga dan orang.Kata Kunci : finger painting, karakteristik, subject matter This study aims to describe (1) tools and materials used in finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (2) the process of finger painting activities at TK Aisyiyah Bustanul Athfal Singaraja, (3) subject matter of children's drawings produced in activities finger painting at TK Aisyiyah Bustanul Athfal Singaraja. The target of this study was children of group B TK Aisyiyah Bustanul Athfal Singaraja which consisted of 5 classes in group B. This study was a qualitative descriptive study. Data collection in this study was carried out by techniques (1) observation, (2) interviews, (3) questionnaire / questionnaire techniques, (4) and literature. The collected data is then analyzed by (1) domain analysis, (2) taxonomic analysis, (3) and theme analysis.
The results showed that (1) the tools and materials used in finger painting activities were pans, cups, spoons, centongs, gas stoves, large bowls, small bowls, paints / color media finger painting, drawing paper, starch, flour food coloring, water and cooking oil. 2) the process of finger painting activities in TK Aisyiyah Bustanul Athfal Singaraja starts from preparing the media and learning equipment, introducing the media and demonstrating it, directing and guiding, after the completion of the activities the children talk and the teacher appreciates and evaluates the work of the children, the end of the teacher's assessment by using a portfolio. 3) The results of group B's finger painting work TK Aisyiyah Bustanul Athfal Singaraja have a variety of subject matter and visual, this research is grouped based on the characteristics of the work produced by children, and the results of most children's work tend to refer to haptic and type types naturalistic, and visual forms that often appear, namely the shape of the house, flowers and people.keyword : finger painting, characteristics, subject matter
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Salama, Kholod K., Mona F. Ali e M. Said El-Sheikh. "The Conservation of an Egyptian Coptic Fresco Painting from Saint Jeremiah Monastery: The Use of Nano-Materials in Cleaning and Consolidation". Journal of Nano Research 46 (marzo 2017): 148–53. http://dx.doi.org/10.4028/www.scientific.net/jnanor.46.148.
Testo completoAbstract (sommario):
In the present article we report a study on using microemulsion contains triton 100 to clean the surface of the wall paintings in saint Jeremiah monastery in Saqqara (4th century) , Being these systems mainly composed of water (more than 80% by weight), it is using in a poultice or when the microemulsion added to the nano gel to improve it's performance , Fourier Transform Infra Red spectroscopy (FTIR),and The consolidation by nano lime dispersed in ethanol is used by brushing through Japanese paper and injecting the cracks.
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Stefaniak, Regina. "Replicating Mysteries of the Passion: Rosso's Dead Christ with Angels". Renaissance Quarterly 45, n. 4 (1992): 677–738. http://dx.doi.org/10.2307/2862634.
Testo completoAbstract (sommario):
During his sojourn in Rome from 1524 to 1527, Rosso painted a panel of a dead Christ with angels for his friend Leonardo Tornabuoni, bishop of Borgo San Sepolcro. Vasari saw the painting in the house of Giovanni della Casa at mid-century, but subsequently it was lost from general sight until the 1950s, when it was acquired by the Boston Museum of Fine Arts (Fig. 1). The panel has been assessed by art historians as one of signal importance, at once a high water mark in Rosso's own work and masterpiece of the early Roman maniera, a painting remarkable for its great beauty and artfulness, composed after long study of Michelangelo and the antique. The first considered estimation of the work emphasized its sculptural qualities, its formal tensions in pose and color, and its artistic virtuosity, suggesting that the subject was a version of the imago pietatis, reworked into a resurrecting Christ, emblematic of the patron's titular see. Although still impressed with the suavity of the panel in relation to Rosso's previous work, a subsequent critic was more conscious of its ambivalences, discerning a continuity with the young Rosso's individualistic and eccentric sensibilities, finally identifying the subject as an assertion of the eucharistic real presence. Analogies with language have been advanced, among them an allusion to the intensely equivocal nature of the painting. For one scholar the artfulness of the panel and Rosso's artistic attitudes were separate from their religious purpose; for another, they were absolutely at odds.
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Izumi, Hidemi, Tota Kiba, Akio Hikone, Hirohisa Hirano e Shigeji Kuwana. "Use of Electrolyzed Water to Reduce Bacteria on Fresh-cut Vegetables". HortScience 32, n. 3 (giugno 1997): 479B—479. http://dx.doi.org/10.21273/hortsci.32.3.479b.
Testo completoAbstract (sommario):
Effect of electrolyzed water on total microbial count of several fresh-cut vegetables was evaluated. Electrolyzed water (pH 6.5), containing 20 ppm available chlorine, was produced by electrolysis of salt solution using an electrolyzed neutral water generator, Ameni Clean (Matsushita Seiko Co. Ltd., Osaka, Japan). Fresh-cut vegetables, including carrot slices, chopped bell peppers, trimmed spinach leaves, shredded Japanese radish, and diced potatoes, were treated with electrolyzed water by dipping, rinsing, or bubbling (immersion and flush with air at 25 L/min) for 3 min and then rinsed with running tap water for 1 min. These treatments reduced the total microbial count by about 1 to 2 log units on tissue surface and inside of all vegetables relative to nontreated samples. Since rinsing with tap water also reduced the microbial count by about 1 log unit, the bubbling treatment was the only effective treatment in reducing bacteria on the surface of fresh-cut Japanese radish and potatoes when compared with water-rinsed controls. When samples were not rinsed with tap water after treatment, the microbicidal effect of electrolyzed water was noted on tissue surface of all vegetables even if relative to water-rinsed controls. Electrolyzed water did not affect the tissue pH ranging from 5.7 to 6.1, surface color, and taste of any fresh-cut.
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Nascimento, Matheus Vinícios Leal do, Patrick Luan Ferreira dos Santos, João Victor Costa, Juliana Trindade Martins, Roberto Lyra Villas Bôas e Leandro José Grava de Godoy. "Durability and concentration of organic colorant in the visual quality of Discovery TM bermudagrass". Ornamental Horticulture 26, n. 4 (dicembre 2020): 621–32. http://dx.doi.org/10.1590/2447-536x.v26i4.2211.
Testo completoAbstract (sommario):
Abstract The painting of sports turfs with colorants is a common practice, with the main objective to maintain grass appearance for maximum aesthetic quality. Colorants are used to provide green color to grasses during periods of stress and dormancy and are considered an alternative for warm weather grasses during the winter months. Recent increases in the use of colorants is due to water conservation efforts as well as lower operating costs compared to winter overseeding. The objective of this study was to evaluate durability and doses of organic colorant in terms of visual quality of DiscoveryTM bermudagrass. The experiment was installed in the field, subdivided into plots of DiscoveryTM bermudagrass treated with lawn-specific commercial, organic colorant as follows 0 ml L-1 (Control); 33 ml L-1; 50 ml L-1; 66.6 ml L-1 (manufacturer’s recommendation); 83 ml L-1; 100 ml L-1. At 10 day intervals the green color index, reflectance, normalized difference vegetation index (NDVI), and digital images were measured and assessed. The results indicate that, given the durability of the product, doses between 66.6 and 83.3 ml L-1 are recommended.
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Miyamoto, Naoko, Kazuya Iizuka, Jin’ya Nasu e Hiroo Yamada. "Genetic effects on heartwood color variation in Cryptomeria japonica". Silvae Genetica 65, n. 2 (1 dicembre 2016): 80–87. http://dx.doi.org/10.1515/sg-2016-0020.
Testo completoAbstract (sommario):
Abstract To obtain fundamental and useful information regarding heartwood color traits in Japanese cedar, the validity of using L* index for expressing heartwood color and genetic and environmental influences on heartwood color were analyzed using 118 clones with 303 individuals aged approximately 30 years. As for three clones with typical reddish and blackish heartwood, relationships between heartwood color and moisture/potassium content, which were pointed out as ones of the causative agents of blackish heartwood, and the color change after approximately 20 years of conservation were investigated. Based on the continuity, width range, and standard deviation of each index of L*a*b* data, L* was found out to be an appropriate index to express heartwood color in this species. L* values significantly differed between clones. A moderately high repeatability of clones was detected in L* value. Spatial autocorrelation analysis also showed a stronger effect genetically than environmentally. Moisture and potassium contents significantly differed between two groups of reddish and blackish heartwood. Therefore, the absorption and accumulation of water and potassium into trunk may be genetically regulated. As for the L* value of heartwood color after approximately 20 years of conservation, the difference between two groups was still significant, but the lightness in blackish heartwood increased such that the difference was greatly reduced.
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Litvin, Tatyana A. "The dragon motif in Far Eastern porcelain: Towards attribution problems". Issues of Museology 14, n. 1 (2023): 48–59. http://dx.doi.org/10.21638/spbu27.2023.104.
Testo completoAbstract (sommario):
The article is devoted to the analysis of a typical Chinese figurative motif — a dragon, in porcelain objects of the Ming and Qing dynasties and in works of Japanese ceramic art of the Meiji era. The approach to the study of decorative and applied art from the point of view of the motive has been repeatedly tested by the author when compiling typological series of antique motifs in the decorative and applied art of Russian classicism. The novelty of this article is that for the first time more than fifty Chinese and Japanese objects with dragons dating from the 14th — early 20th centuries originating from the National Museum of Chine, the Shanghai and Nanjing Museums, the Metropolitan Museum of Art, the National Museum in Tokyo, the Victoria and Albert Museum, the State Hermitage Museum, as well as from several private collections. The following features were compared: posture, body position, color scheme, the nature of the background, as well as whether the dragon image is single or paired, the painting is made underglaze or overglaze, in the form of a flat or relief image. The early stage of the 14th–16th centuries it does not allow us to find prototypes of dragon images in the past, but still the author has collected certain information about cases of reflection of the dragon theme in Chinese cultural monuments. The objects of the 18th and, especially, the 19th centuries serve as a good material to find in the art of the bygone eras of the Celestial Empire the previous artistic interpretations of dragons. In the final part of the article, an overview of dragon images in Japanese ceramic art is presented, the reasons for the migration of this motif caused by the victory of Japan, as a competitor, in the Far Eastern porcelain market are substantiated.
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Wardany, Octalyna Puspa. "Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process". International Journal of Creative and Arts Studies 3, n. 1 (29 dicembre 2017): 31. http://dx.doi.org/10.24821/ijcas.v3i1.1871.
Testo completoAbstract (sommario):
In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.
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YAGI, Hiroshi, Yuriko MINAMI, Daisuke WATANABE, Yoshiyuki ISOZAKI e Hiroshi MURAKAMI. "FEASIBILITY STUDY of EVALUATION of WATER COLOR USING 500 m RESOLUTION MODIS-LCI DATA for JAPANESE COASTAL SEA". Journal of Japan Society of Civil Engineers, Ser. B1 (Hydraulic Engineering) 74, n. 5 (2018): I_559—I_564. http://dx.doi.org/10.2208/jscejhe.74.5_i_559.
Testo completo
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Petrova, Olga. "Japan: Travel notes". ARTISTIC CULTURE. TOPICAL ISSUES, n. 19(1) (13 giugno 2023): 18–24. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283114.
Testo completoAbstract (sommario):
The article covers some of the most prominent cultural landmarks of central Japan. Nara, Kyoto, Osaka, and their suburbs and nearest region were the foundation and all the fundamental principles of Japanese architecture and art, in particular the art of calligraphy, ceramics, red lacquer painting, and the famous Japanese weaponry. Nara became Japan’s first permanent capital in 710 (by the order of Empress Gemmei), a 72-year period in Japanese history known as the “Nara Age.” It is noted that Buddhism, and later Zen Buddhism, first came to this territory from China. For twelve centuries, Buddhist art was considered a “Japanese classic.” On the territory of the Nara temple complex, one can observe the organic coexistence of ancient Shintoism and Buddhism adapted to the consciousness of the Japanese. In the central region, a revered archaeological site is the underground structure of Isi-Butai, which dates to the ancient Asuka period (538–645). Despite many years of research of this attraction, the so-called “stone stage”, the water pipe laid in the dungeon, other details remain mysterious (about their origin) and are of keen interest to archaeologists. The paper also provides information about the Horyuji architectural ensemble (607–623). The focus is on the personality and educational role of Prince Shyotoku, who succeeded Empress Hashihito no Anahobe, the prince’s mother. The Chugudi temple (Ikaruga’s old palace) was dedicated by Shōtoku to his mother’s memory. Now there are only a few stones from this temple. Information is provided about the sculptural masterpiece of the Asuka era—the statue (national treasure) Nyoirin Kannon Bosatsu, which is one of the most poetic sculptures in Japanese plastic. Special attention is paid to the embroidered sacred banner Tenjukoku Shūchō Mandala depicting the “Land of Heavenly Longevity.” The fabric is considered the oldest embroidery in Japan.
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Ли, Ю. "The Genre of Seascape in the Guohua Technique (An Example of Song Mingyan’s Art)". Nasledie Vekov, n. 2(34) (30 giugno 2023): 115–24. http://dx.doi.org/10.36343/sb.2023.34.2.009.
Testo completoAbstract (sommario):
Статья посвящена анализу художественных особенностей морских пейзажей китайского художника Сун Минъюаня – основателя данного жанра в национальной живописи – и их эволюции по мере профессионального становления художника и изменения его эстетических предпочтений. Базу исследования составили работы китайских и российских искусствоведов, изучавших творчество китайского мастера в период с середины 1980-х гг. по начало XXI в. Художник стал первопроходцем в использовании художественных средств выразительного языка гохуа, который ранее считался не способным передать в полной мере всю силу и мощь величественной, порой яростной морской стихии. На примере творчества Сун Минъюаня и его серии картин «Ода морю» определяются возможности и перспективы использования традиционной техники гохуа для создания морских пейзажей, осмысляется процесс ее эволюции в начале XXI столетия, а также выделяются специфические черты китайской версии марины в контексте общемирового художественного процесса. The study examines the emergence of the seascape genre in Chinese art on the example of the works of its main representative, the marine painter Song Mingyuan. The author analyzes the artistic features of his seascapes and their evolution as the artist develops professionally and his aesthetic preferences change. The materials of the study were research of art historians on the works of the Chinese master from the mid-1980s to the early 21st century. The research methods are artistic and stylistic analysis and the iconography of Song Mingyuan’s sea paintings at different stages of his creative life, and the study of documentary materials. The author consistently studies Song Mingyuan’s early works made in the guohua technique and then those created under the influence of his acquaintance with the principles of Western oil painting. Further, the author analyzes the mechanism of the “birth” of the artist’s specific manner in creating maritime paintings through the synthesis of Chinese and Western traditions. The analysis begins with Song Mingyuan’s first work, Unrest at Sea (1986), which already shows the artist’s special attitude to the sea element and manifests hiss search for a new language of artistic expression. Particular attention is paid to the 1980s – the time of the official formation of the “school of the seascape”, when the artist skillfully combines Chinese and Western features, applied innovation in terms of technique and motives, and showed various artistic styles. After acquaintance with oil painting in the 1990s, Song Mingyuan uses color much more boldly and departs from the compositional scheme characteristic of his early works – a combination of rock and sea elements; he increasingly turns to the image of boundless waves and sky. In 2002, Song Mingyuan founds the Sea Stone painting school. During that period, the artist tends to depict coastal waters, but then returns to the sea element again. His image of water becomes more dynamic, complex in color, which is typical for se-i painting. On the example of his works, the artist showed other Chinese painters unique methods and techniques that formed the basis of his authorial system of artistic expression, which absorbed the traditional techniques of Chinese national painting in combination with Western expressive techniques. His students (Zhao Xiyun, Deng Zijing, Lin Qian, and others) now devote their watercolors and oil paintings to the sea and navigation, which reflects the heyday of China’s maritime power.
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Neamțu, Călin, Ioan Bratu, Constantin Măruțoiu, Victor Constantin Măruțoiu, Olivia Florena Nemeș, Radu Comes, Ștefan Bodi, Zsolt Buna e Daniela Popescu. "Component Materials, 3D Digital Restoration, and Documentation of the Imperial Gates from the Wooden Church of Voivodeni, Sălaj County, Romania". Applied Sciences 11, n. 8 (11 aprile 2021): 3422. http://dx.doi.org/10.3390/app11083422.
Testo completoAbstract (sommario):
The wooden churches from Transylvania, Romania, are a unique and representative cultural heritage asset for rural communities, both in terms of architecture and the style of painting that defines them as monuments of national heritage. These churches are in danger of degradation because rural communities are beginning to abandon them for various motives (e.g., they are too small, are expensive to maintain, or are being replaced by modern churches, built of stone and modern materials). The reason behind their accelerated degradation is that they are covered with shingles that need to be periodically changed and repaired to prevent water from reaching the inner painting layer, a process that is, in many cases, ignored. Imperial gates are the symbol of these churches and separate the nave from the narthex. They are made entirely out of wood and were sculpted and painted manually by skilled craftsmen and still represent the central element of these churches, in terms of art and aesthetics. The digital preservation of these heritage assets is an interdisciplinary undertaking, which begins with the physico-chemical analysis of the pigments in the painting layer, continues with three-dimensional (3D) digitization of the monument and of the objects of interest (such as the imperial gates), and finishes with a digital restoration of these monuments and artefacts. This paper presents a working methodology, successfully applied in digitizing and digitally restoring imperial gates from wooden churches in Transylvania, namely from the wooden church of Voivodeni, Sălaj County, Romania (Transylvania region). X-ray fluorescence and FTIR spectroscopy were used to determine the pigments in the painting layer of these artefacts, and after they were identified, they were synthesized in laboratory conditions. The resulting color was digitized and used for digitally restoring the artefact(s) to its (their) pristine condition. To popularize these cultural heritage assets, the authors make use of virtual reality to mediate the interaction between the general public and heritage objects in their current state of preservation, in a digital environment. Moreover, to showcase how these heritage objects were degraded over time, a digitally restored version of the artefact in pristine condition is presented alongside a version in its current state (as is, digitized, but not yet digitally restored).
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Jannah, Miftahul, Henny Arryati e Trisnu Satriadi. "ANALISIS SIFAT FISIK ASAP CAIR KAYU AKASIA DAUN KECIL (Acacia auriculiformis) BERDASARKAN MASA SIMPAN". Jurnal Sylva Scienteae 3, n. 5 (29 novembre 2020): 899. http://dx.doi.org/10.20527/jss.v3i5.2551.
Testo completoAbstract (sommario):
Indonesia is one of the countries with a tropical climate and has a vast forest area with a distribution that is found throughout the Indonesian region and has so many benefits. One of the abundant wood in Indonesia is acacia wood. The pulp and paper industry makes acacia wood as the main raw material to be made pulp (pulp) and then processed into finished materials in the form of paper. Besides being used as a raw material for processing acacia pulp and paper, it is also used as a raw material for processing liquid smoke. This study aims to determine the quality of the physical properties of liquid smoke of small leaf acacia wood (Acacia auriculiformis) based on shelf life. This research was conducted at the Banjarbaru Industrial Standardization and Research Center, for 5 months. The test parameters of the physical properties of liquid smoke such as water content, odor, color, transparency (gross content) and pH are compared to the quality standards of liquid smoke from Japan. Test parameters that almost meet Japanese standards at a shelf life of 3 months compared to a shelf life of 1 and 2 months, the odor produced is typical of liquid smoke, the resulting pH is 3.29, transparency 0.03, the resulting color is brown and the moisture content produced.Keywords: Liquid smoke; Small Leaf Acacia; Shelf life, Water content; Transparency; pH; Smell; Color
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Sehn, Georgia Ane Raquel, Sabrina Vicentini Schaefer, Marcio Schmiele, Bibiana Paim da Silva, Milene Teixeira Barcia e Rosane da Silva Rodrigues. "Characterization of pseudo-fruits of Hovenia dulcis T. at different maturation stages and drying methods". Acta Scientiarum. Technology 43 (14 giugno 2021): e50571. http://dx.doi.org/10.4025/actascitechnol.v43i1.50571.
Testo completoAbstract (sommario):
The vast majority of fruits and unprocessed vegetables, have a very short shelf life, mainly due to its high-water activity. Drying technology is an effective process, used to increase the shelf life of these products. It also can provide an effective method of consumption of fruits in food products. In this study, the influence of the maturation stage and drying method on the phenolic compounds and antioxidant activities of Japanese grape pseudo-fruits (Hovenia dulcis T.) were studied. The centesimal composition, reducing sugars and nonreducing sugars, ratio, color, phenolic compounds and antioxidant activity by oxygen radical absorbance capacity (ORAC) of the unprocessed pseudo-fruits, at different maturation stages (immature, in maturation and mature), were analyzed. Two drying methods were employed in the pseudo-fruits (oven with air circulation and freeze drying) obtaining flour from which moisture content, instrumental color, phenolic compounds and antioxidant activity were determined. The unprocessed pseudo-fruits of Japanese grape showed significant content of phenolic compounds at the early stages of maturation and high antioxidant capacity when mature (at the final stages of maturation). In addition, they showed a high content of fibers and sugars, and can be used as raw material in the food industry. After dehydration, the freeze-drying process provided a more stable color, because this process minimizes the enzymatic browning reactions, and preserved a greater number of phenolic compounds. The antioxidant activity, however, showed to be associated with the drying method, being higher in the flour obtained from lyophilized immature pseudo-fruits.