中国蔷薇属芹叶组（Rosa Sect. Pimpinellifoliae DC. ex Ser.）的分类学研究

本研究通过我国CDBI、 KUN、PE、SZ等主要标本馆约3, 500份馆藏标本的研究和野外考察相结合，对我国蔷薇属（Rosa L.）芹叶组(Sect. pimpinellifoliae DC. ex Ser.）植物以及相关组的一些种进行了性状特征、形态和微形态的研究，对该组的一些种的形态特征描述进行了补充，同时给出详细的地理和海拔范围分布图。综合花粉以及种子（瘦果）形态的研究结果重新制订了分种检索表，同时，对该组一些形态相近容易混淆的种进行了对比研究，特别对一直存在争议的绢毛复合体（绢毛蔷薇R. sericea Lindl.和峨眉蔷薇R. omeiensis Rolfe）进行了大量宏观形态特征的研究，并用光学显微镜（LM）和扫描电镜(SEM)对二者的花粉及种子形态、微形态进行对比研究和分析，主要研究内容包括： 1. 芹叶组孢粉研究 对芹叶组的10个种及相关的4个组共17个种（18个样品）的植物花粉进行了光镜和扫描电镜观察和比较研究。研究结果表明：蔷薇属植物花粉粒大小为中等偏小，极轴长23.98[21.82(R. graciliflora Rehd. et Wils.)～29.18(R. tsinglingensis Pax. et Hoffm.)] μm，赤道轴长28.65[24.15（R. graciliflora）～34.70(R. davidii Crép.)] μm；花粉属辐射对称等极单花粉，花粉形态赤道面观呈球形到超长球形；极面观为三裂圆形或近圆形,三孔沟，孔缘加厚,具中部突起的桥状盖。花粉外壁纹饰为条纹状，光镜下形态特征相差不大；在电镜下外壁条纹和脊沟内穿孔的形状、大小和频度等特征，常具组至种水平上的可见变异，可作为组至种水平划分的依据。 根据花粉外壁条纹特征及穿孔形状和数目等特征，本研究将这些植物的花粉归为5个类型，并编制了分组检索表。同时，根据条纹状的清晰度，排列方式、条纹形状、穿孔大小及其频度等方面的差异，各有特点，对该组的10个种编制了分种检索表。 2. 芹叶组种子形态研究 应用光学显微镜和扫描电镜对我国蔷薇属芹叶组14个种及相关组5个组共36种植物的种子宏观形态及种皮微形态特征进行了观察研究。结果显示，蔷薇属种子形态多样,形状分别为肾形、卵形或锥形等；种子颜色以淡棕色、褐色以及土黄色为主；种子大小种间相差悬殊，相对体积为（长×宽×厚）36.66（4.79～114.47) mm3。光镜下，种子宏观形态特征具组内一致性，在扫描电镜下种子表面结构特征因种而异，其纹饰以网纹为主，可分为3种类型，即近平滑型、负网纹型和网纹型。研究结果表明，蔷薇属种子表面纹饰与地理分布关系不大,具有组及种内稳定性。其种子形态、大小、表而纹饰类型等特征可作为蔷薇属组及种水平上的分类依据。 结合蔷薇属花粉形态研究结果，得出蔷薇属种皮微形态特征与花粉外壁纹饰特征相吻合，在代表组及种的特征上具相关性的结论。同时根据种子形态、微形态结构特征的组间区别和种间差异编制了分组及芹叶组14个种的分种检索表。 3. 绢毛蔷薇复合体的研究 通过对大量标本的研究、野外观察以及扫描电镜对绢毛蔷薇复合体的花粉形态和种皮表面结构进行研究，通过对小叶、花粉及种子的形态定量分析结果支持Rowley (1959)的观点，将峨眉蔷薇处理为绢毛蔷薇的一个变种。 综上研究结果得出，蔷薇属植物的小叶片数目、花被基数以及花粉及种子形态等性状是较为稳定的，这些特征可很好的作为分类学依据。 The morphology, pollen exine sculpture and seed coat structure of the species of Rosa sect. Pimpinellifoliae and related sections were studied.About 3,500 herbarium specimens at CDBI, KUN, PE, and SZ were examined. Field work in Sichuan and Yunnan were conducted. Revisions of some species were carried out and a new key to species of sect. Pimpinellifoliae was proposed based on morphology, pollen exine sculpture and seed coat structure, Detailed morphological descriptions, geographical distributions and the altitudinal ranges of some taxa are given. The systematics of the species complex, the Rosa sericea complex (R. sericea Lindl. & R. omeiensis Rolfe), was emphasized. This thesis focused on the following three aspects: 1. Pollen morphology of Rosa sect. Pimpinellifoliae The pollen morphology of 18 samples representing 10 species of the Eurasian Rosa sect. Pimpinellifoliae and 7 additional species of related sections was investigated under LM and SEM. The pollen grains are monadic, actinomorphic, equipolar, medium-sized, spheroidal to perprolate in equatorial view, 3-lobed circular or semi-circular in polar view, crassimarginate, pontoperculate, and with striate exine sculpture. The striate sculpture varies among sections and species. The equatorial axis ranges from 17.97 μm (R. sikangensis) to 29.18 μm (R. tsinglingensis) with an average of 23.98 μm in length, while polar axis varies from 24.15 μm (R. gracilifolra) to 34.70 μm (R. davidii) with an average of 28.65 μm in length. The pollens can be divided into five types based on striate sculpture and a key to the sections sampled was proposed accordingly. The pollen morphology of species of sect. Pimpinellifoliae is more homogeneous and different from other sections sampled and did not support the two-series subdivisions in sect. Pimpinellifoliae. A key is also provided based on characers of pollen morphology among species in sect. Pimpinellifoliae. 2. Seed coat structure of Rosa sect. Pimpinellifoliae The seed coat structure of 39 samples representing 14 species of Rosa sect. Pimpinellifoliae and 12 additional species of related sections was investigated under LE and SEM. The seed relative volume (Length × width × thickness) ranges from 4.79 to 114.47 mm3 with an average of 36.66. mm3. The seeds are reniform, ovate or oblong in shape, with orange-brown, light brown or deep brown color. Seed coat sculpture was reticulate or striate-like reticulate. There was no difference in sculpture character of various speices under LM, while three types of seed coat sculpture were identified under SEM and a key to species based on the seed coat sculpture was provided. The three types of seed coat sculpture were nearly smooth, areolate and reticulate. The study of the seed coat sculpture of same species sampled from different populations showed that characters on the seed coat are stable, and thus the size, shape and seed coat sculpture can be used in species level identification. Interestingly, characters in the seed coat sculpture and the pollen morphology in sect. Pimpinellifoliae are consistent at in specific or sectional levels. A key to the 14 species sampled was given based on seed coat sculpture. 3. The study on Rosa sericea complex The Rosa sericea complex contains R. omeiensis and R. sericea. They are morphologically similar to one another and the systematic status of R. omeiensis has been controversial. In this study we examined large numbers of herbarium specimens of R. omeiensis and R. sericea and conducted field observations in the Hengduan Mts.. We also performed SEM study of pollen morphology and seed coat structure of R. omeiensis and R. sericea. We further carried out intensive morphometric study on the leaflet, pollen, and seed morphology. Our results showed that R. omeiensis should be sunk to be a variety of R. sericea, just as Rowley’s treatment in 1959. In conclusion, the features in the number of leaflet and petal, and the morphological character on pollen and seed are relatively stable. Therefore these characters are very useful in taxon delimition.

74 Front Street (for solo cello)

74 Front Street is intended as a musical response to the work of American sculptor Fred Sandback (1943-2003), in particular his string sculptures which are intentionally uncomplicated, minimal and strikingly beautiful. The relationship between these string works and music is rather distinct; indeed, before formally studying sculpture Sandback made a number of string instruments. He has said that his string works evolved from a desire to rid art of excessive decoration and, while there are instances of activity in 74 Front Street, much of the piece aims to reflect the simplicity of Sandback’s work.

Handheld laser profilometry of certain medieval inscribed stones

Higher Education Authority (PRTLI as part of National Development Plan)

The Celtic dragon slayer - a literary analysis of Tochmarc Emire in connection with Tristan et Iseut

As Celtic scholars have long noted, the medieval Irish tale Tochmarc Emire “The Courtship of Emer” is heavily indebted to other medieval Irish texts. In this tale of courtship and otherworldly quests, the Irish hero Cú Chulainn must prove himself worthy of the hand of the noblewoman Emer. Among his overseas adventures, Cú Chulainn rescues a princess from three attackers of the Fomoire. This episode may represent the only medieval Irish example of AT300 “The Dragon Slayer”, a story pattern known from classical models such as the stories of Perseus and Andromeda; and Hercules and Hesione. Moreover, in the company of Cú Chulainn we find a character otherwise unknown to Irish tradition by the name of Drust mac Seirb. This has led scholars to argue that Tochmarc Emire may preserve a Celtic precursor of the Continental Tristan legend, seeing in Drust the Pictish origin of the character Tristan, himself a famous dragon slayer. In this interdisciplinary dissertation, a number of questions are addressed. If the redactor of Tochmarc Emire drew on material from outside Irish tradition, what does this tell us about medieval Irish concepts of literature and genre? Further, what evidence do we have for tracing the origin of the Continental Tristan legend back to Pictland, and what explanation might we offer for a putative Pictish prince featuring in an Irish Dragon Slayer story? Finally, what place does the Dragon Slayer episode occupy within Tochmarc Emire and can we find other narratives, Celtic or classical or other, fitting the pattern of AT300, which may strengthen the link between Tochmarc Emire and Tristan?

Madonna

Photograph taken by Dr. Una D'Elia from the Della Robbia Tabernacle, Florence, Italy

Desiderio Magdalene

Detail from the Della Robbia Tabernacle. 15th Century Painted Sculpture

Della Robbia Tabernacle

Detail from the Della Robbia Tabernacle. 15th Century Painted Sculpture

La Anunciación del Monasterio de Caleruega (Burgos): contextualización en la Baja Edad Media peninsular

La Anunciación del Monasterio de Santo Domingo de Caleruega, fundado por Alfonso X el Sabio, ha permanecido prácticamente olvidada por la historiografía nacional. Aislado tras los muros de la clausura, el grupo escultórico presenta una particularidad que, durante mucho tiempo, no fue analizada convenientemente: la Virgen está embarazada. La cantidad de ejemplos contabilizados de la misma naturaleza demuestra que esta clase de representaciones fue habitual, durante la Baja Edad Media, en algunos reinos de la península ibérica. Con un enfoque fundamentalmente iconográfico pero sin renunciar a otra clase de aproximaciones, el presente artículo pretende estudiar en profundidad la singularidad de la Anunciación calerogana que, al mismo tiempo, se convierte en el punto de partida para un análisis global de esta variante de la Salutación Angélica.

Creating replicas of scultural heritage through 3D reconstruction and low cost 3D printer in Education

The process of making replicas of heritage has traditionally been developed by public agencies, corporations and museums and is not commonly used in schools. Currently there are technologies that allow creating cheap replicas. The new 3D reconstruction software, based on photographs and low cost 3D printers allow to make replicas at a cost much lower than traditional. This article describes the process of creating replicas of the sculpture Goslar Warrior of artist Henry Moore, located in Santa Cruz de Tenerife. To make this process, first, a digital model have been created using Autodesk Recap 360, Autodesk 123D Catch and Autodesk Meshmixer MarkerBot MakerWare applications. Physical replication, has been reproduced in polylactic acid (PLA) by MakerBot Replicator 2 3D printer. In addition, a cost analysis using, in one hand, the printer mentioned, and in the other hand, 3D printing services both online and local, is included. Finally, there has been a specific action with 141 students and 12 high school teachers, who filled a questionnary about the use of sculptural replicas in education.

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.

Los nuevos territorios de la gráfica: imagen, proceso y distribución

La gráfica se encuentra en un proceso de simbiosis con la cultura visual en el que la tecnología de la imagen, la descentralización de la matriz y la adaptación del formato expositivo se funden con el resto de las actividades artísticas. El análisis de las comunidades formadas alrededor de esta práctica configura un puzzle, aparentemente bien encajado, que se divide entre el formalismo y el conceptualismo y entre la idea y el proceso. Las bienales y trienales, a la vanguardia del discurso, cuestionan cualquier concepto que se haya podido asentar con solidez: ante la decadencia del proceso artesanal el mensaje se profundiza nutriéndose de la invectiva provocada por las contradicciones sociales, territoriales y medioambientales para convertirse en un reflejo de la sociedad contemporánea. Comprender la gráfica actual pasa por un ejercicio de aperturismo y un proceso de adaptación al cambio técnico e iconográfico de los sectores implicados. El grabado es ahora un territorio en el que la integración de todas las artes permite cruzar sus fronteras con fluidez.

Redescubrir la dinámica escultórica desde el trabajo en grupo

La iniciativa que se describe en este artículo, surge de una propuesta de investigación plástica, que se inició espontáneamente en el seno de una asignatura de escultura en la Facultad de Bellas Artes del CES Felipe II-UCM, y que tuvo como principal objetivo explorar nuevos modos de enseñanza artística desde la dinámica creativa en sí misma, con el fin de motivar el aprendizaje desde la participación directa en propuestas creativas que se apoyen en métodos de intervención crítica y que exploren las ventajas de las dinámicas interdisciplinares para complementar las eficacias de los ejercicios individuales, y así poder generar un aprendizaje desde dinámicas de trabajo en grupo. Para ello, hemos puesto en marcha procesos de trabajo cooperativo valorando sobre todo la experiencia directa, ofreciendo a los estudiantes contribuir en la actividad, tomar decisiones, lo que les permite aportar ideas, puntos de vista y opiniones sobre la combinación de nuevas tecnologías y técnicas tradicionales de la escultura, usados en proyectos artísticos actuales.

Primitivismo y Feminismo en el arte contemporáneo

Para la mentalidad colonialista del siglo XIX la raza negra estaba provista de una extraordinaria sexualidad y lujuria. En la metrópolis el equivalente era la mujer sexuada, la prostituta. En los primeros años del siglo XX este tándem, prostituta-colonizado, sirve a los artistas vanguardistas como elemento de confrontación con la moral imperante. Son las artistas mujeres, con una intención feminista, quienes principalmente utilizan el primitivismo asociado a la mujer en su crítica a los estereotipos. Figura pionera en ello es Hannah Höch, especialmente en su serie De un Museo Etnográfico, en el que asocia figuras femeninas y objetos de arte primitivo. En los años 70 del siglo XX, algunas artistas de la performance, como Carolee Schneemann o Ana Mendieta reivindican el cuerpo femenino con el significado de Origen y Fertilidad que tiene en las culturas primitivas. En este mismo contexto puede inscribirse la escultura Maman de Louise Bourgeois. El elemento de crítica social, que está vigente aún en nuestros días, puede verse en las obras de las Guerrilla Girls.

Regarding the Real: Cinema, Documentary, and the Visual Arts

Regarding the Real: Cinema, Documentary, and the Visual Arts develops an interdisciplinary approach to documentary film, focusing on its cultural and formal relations to other visual arts, such as animation, assemblage, photography, painting, sculpture, and architecture. The book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form, an unstable expressive phenomenon that cannot but interrogate the validity of its own narratives and representational modes. Combining close analysis with cultural history, Regarding the Real calls for a re-assessment of the influence of the modern arts in subverting the structures of realism typically associated with documentary filmmaking.

First record of a chiton from the Palaeocene of Denmark (Polyplacophora : Leptochitonidae) and its phylogenetic affinities

Anew species of fossil polyplacophoran from the Danian (Lower Palaeocene) of Denmark is described from over 450 individual disarticulated plates. The polyplacophorans originate from the 'nose-chalk' in the classical Danish locality of Fakse Quarry, an unconsolidated coral limestone in which aragonitic mollusc shells are preserved through transformation into calcite. In plate architecture and sculpture, the new Danish material is similar to Recent Leptochiton spp., but differs in its underdeveloped apophyses and high dorsal elevation (height/width ca. 0.54). Cladistic analysis of 55 original shell characters coded for more than loo Recent and fossil species in the order Lepiclopleurida shows very high resolution of interspecific relationships, but does not consistently recover traditional genera or subgenera. Inter-relationships within the suborder Lepidopleurina are of particular interest as it is often considered the most 'basal' neoloricate lineage. In a local context, the presence of chitons in the faunal assemblage of Fakse contributes evidence of shallow depositional depth for at least some elements of this Palaeocene seabed, a well-studied formation of azooxanthellic coral limestones. This new record for Denmark represents a well-dated and ecologically well-understood fossil chiton with potential value for understanding the radiation of the Neotoricata.