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murals
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  壁画
    A Report on the Restoration of the Alkalized Murals in Cave 108at Mogao Grottoes
    莫高窟第108窟酥碱起甲壁画的修复报告
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    Research on the murals pigments of Qutan Temple,Qinghai
    青海瞿昙寺壁画颜料的研究
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    A Study of Ruan,a Musical Instrument in Dunhuang Murals
    敦煌壁画阮的研究
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    Consciousness of Environmental Protection Seen in Murals of Dunhuang
    初探敦煌壁画中的环境保护意识
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    A Preliminary Exploration of the Artistic Style of Coffin Chamber Murals in the Tang Dynasy
    唐代墓室壁画艺术风格初探
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  “murals”译为未确定词的双语例句
    New Discovery of the Musical Images Murals of Cave 275 of the Mogao Grottoes
    新发现的莫高窟275窟音乐图像
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    A Study of the Ksitigarbha Image in Dunhuang Murals and Scroll—paintings
    敦煌地藏图像和“地藏十王厅”研究
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    On the Pictures of Congregating Manjusri and Samantabhadra in Cave 159 of the Mogao Grottoes——A Preliminary Study on Contents of the Murals in Cave 159(partⅠ)
    敦煌莫高窟第159窟文殊、普贤赴会图——莫高窟第159窟初探之一
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    Theme of Murals Newly Found in Binglingsi Cave169
    炳灵寺第169窟发现一些新题材
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    Murals of “Fo shou fu mu en chung ching” in Mogaoku and Baodingshan
    大足宝顶与敦煌莫高窟佛说父母恩重经变相的比较研究
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  murals
Municipal officials approved and permitted community-designed street murals, public benches, planter boxes, information kiosks with bulletin boards, trellises for hanging gardens, all positioned in the public right-of-way.
      
One of the most remarked customs of ancient mesoamerican cultures was that of record historical events by painting murals.
      
Today, the Red Hand of Ulster is ubiquitous on Unionist murals throughout Northern Ireland symbolizing Northern Irish Protestant identity.
      
The sources of painting motifs that are shared in numerous Kogury? tombs are traced to murals from all parts of China during the Han dynasty.
      
The sources of painting motifs that are shared in numerous Koguryo tombs are traced to murals from all parts of China during the Han dynasty.
      
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This paper describes the removing,transferring and restoration methods of the mural paintings in Li Xian Tomb in the Northern-Zhou Dynasty.Because the construction and preserving conditions of the mural paintings in Li Xian Tomb is different from tombs found in the past,therefore there aren't any ready-made methods to follow in the course of conservation.A new method for removing the mural paintings——“the technics removed with a frame”has been developed in order to preserve these precious mural...

This paper describes the removing,transferring and restoration methods of the mural paintings in Li Xian Tomb in the Northern-Zhou Dynasty.Because the construction and preserving conditions of the mural paintings in Li Xian Tomb is different from tombs found in the past,therefore there aren't any ready-made methods to follow in the course of conservation.A new method for removing the mural paintings——“the technics removed with a frame”has been developed in order to preserve these precious mural paintings.Hence this difficult problem has been solved.This method has its unique point in the removing techniques,i.e.the frames is variable form,the length,the width and the thickness all can be regulated and so the removing of the mural paintings is convenient and safe.Especially it is suitable to those without renderings and painted on the loess which is difficult to remove with the traditional methods.

本文详述了北周李贤墓壁画的揭取迁移和修复方法.由于李贤墓壁画的构造和保存状况与过去所发现的壁画有很大不同,为了保护好这批珍贵的壁画,研究并设计出了一种新的揭取壁画的方法——“框套法”揭取壁画技术,即做成活动形式的框架,长、宽、厚薄均可以灵活地调整,方法简便、安全。特别适用于直接绘在泥土上的、不带地仗的、难以用传统方法揭取的壁画。

In this paper, the auther introduces various styles of Dunhuang art in successive historical periods, the artistic style of the Sui and Tang, the style and value of the Chinese Tantric art and the Tibetan Tantric art. He analyses and contrasts the western style with Dunhuang style and the Central plains style in the subjects of the murals such as the thousand Buddhas, the Taiost contents. He discusses how to understand the art of Dunhuang and the artistic techniques of imagination and exaggeration and...

In this paper, the auther introduces various styles of Dunhuang art in successive historical periods, the artistic style of the Sui and Tang, the style and value of the Chinese Tantric art and the Tibetan Tantric art. He analyses and contrasts the western style with Dunhuang style and the Central plains style in the subjects of the murals such as the thousand Buddhas, the Taiost contents. He discusses how to understand the art of Dunhuang and the artistic techniques of imagination and exaggeration and also introduces the pigments used in Dunhuang murals.To counter the artistic trend of thought today, the author indicats that in the study of Dunhuang art, we should critically carry on the traditions of the national culture from two respects of the theory and practice.

1989年11月10日至13日,包头师专美术系师生赴敦煌参观学习。师生们目睹千余年的敦煌石窟艺术惊叹不已,但作为一个美术工作者,尤其是年青美术工作者,在这辉煌灿烂、技艺高超的宗教艺术作品面前,又觉茫然迷惑,不知学习什么和如何学习。敦煌研究院院长、研究员段文杰先生在百忙中于11月12日解答了师生们提出的关于敦煌艺术及与其有关的一些问题,指导师生们理解和学习敦煌艺术。问答析疑,生动活泼。段文杰先生的见解,对青年美术工作者是很有启发的,包头师专的师生们一致认为获益匪浅。

Qutan Temple,Qinghai is a keypoint protective unit of national relics.The painted corridors are the main composition of Qutan's structure.The bright-coloured and beautiful murals,particularly,are precious works of Buddhist art.Their earlier times,great deal in numbers and highly artistic level,not only seldom seen in Qinghai but rare in whole country. Half and more of the 51 painted corridors all preserved murals up to now,every hall wall is covered with coloured paintings.Most of them are Buddhas...

Qutan Temple,Qinghai is a keypoint protective unit of national relics.The painted corridors are the main composition of Qutan's structure.The bright-coloured and beautiful murals,particularly,are precious works of Buddhist art.Their earlier times,great deal in numbers and highly artistic level,not only seldom seen in Qinghai but rare in whole country. Half and more of the 51 painted corridors all preserved murals up to now,every hall wall is covered with coloured paintings.Most of them are Buddhas images and decorative paintings. On the paintings corridors there are murals for 512 m~2 with those in another 10 structures,it totals 1738 m~2.Most of them are made in the Ming Dynasty,it was painted with mineral pigments.For 500 years and more the colours were still bright and dazzling beautiful. 22 samples of pigment applied in Qutan Temple murals,through analyzed by X-ray diffraction and isotope X-ray fluorescent,showed that the painting pigments had 5 colours. they are : White:Lead White,Chalk,Gypsum. Red:Vermillion,Minium,Litharge,Red Clay. Blue:Azurite,Lapis-lazuli. Green:Malachite,Atacamite. Brownlsh-black:Chinese ink.PbO_2. In addition,most of the pigments contain quartz,mica and talcum.The fact worthy to be motioned is that some lead pigments had not only those of colours-unchanged as white lead and red lead but colour changed material such as PbO_2.

通过对青海瞿昙寺画郎和建筑彩绘所用的22个绘画颜料样品的 x-射线衍射和同位素 x 荧光分析.共分析出20多种无机矿物颜料,此外.还有蓝钯、黄钯有机颜料。本文对这些颜料的分析结果进行丁综合论述.并与敦煌石窟、麦积山石窟、炳灵寺石窟等的彩绘颜料进行了研究。

 
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