Search

The Eastern Han Dynasty was a period of rapid development in science, technology and culture. The invention of Zhang Heng’s seismoscope is the most outstanding. The historical authenticity of the seismoscope, the material basis for the birth of scientific ideas, and the scientific contributions of Zhang Heng are briefly introduced. The seismoscope was an important intellectual inspiration for the creation of modern seismographs in the 19th century. The purpose of restoration research is to clarify the principles and structures of the seismoscope, to stimulate ideas and to contribute to the popularization of earthquake science. A presentation was made on the archaeological basis and scientific experimentation of the scientific restoration model.

Copyright of Progress in Earthquake Sciences is the property of China Earthquake Administration, Institute of Geophysics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Progress in Earthquake Sciences is the property of China Earthquake Administration, Institute of Geophysics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The concept of attitude towards objects of immovable cultural heritage, formed more than a century ago, is relevant today, based on the premises that these material objects form an objective value in the perception and understanding of any individual, any society, any civilization. The purpose of the article is to conduct a preliminary analysis of the problems that form the understanding of the value of cultural heritage, preservation and careful treatment of it in the modes of restoration activities and restoration work. Achieving the goal can be the solution of a number of problems regarding the proper state protection of objects of immovable cultural heritage and the necessary assistance from the state, public institutions and international organizations, as well as taking into account the assigned status of the object in the matter of rescue, restoration and gentle scientific restoration. Currently existing directions and developments in a comprehensive assessment of architectural monuments of the past, observation methods, active comparative studies, and statistical measurements are considered as methodological and instrumental approaches to solving emerging problems. The results obtained by the authors included a study of the complex interaction and isolated influence on the category of value of such significant features-factors as evaluation criteria such as cultural and collective memory, historical reputation in their meaning for the self-identification of society and in the development of strategies in the field of preservation of cultural heritage objects and their use in the exploitation of the recreational potential of the destination by the tourism business. Examples from domestic restoration and construction practice and Western European experience, used to minimize the negative consequences of the increasing anthropogenic load on the territory, are discussed. At the end of the material, prospects for further research are indicated and the necessary conclusions are drawn.

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study of Portuguese art during the Modern Age, and the very recurrent activity of «painting restoration», concludes that the dominant practice then referenced as «retoque» (inpainting), «repinte» (overpainting), «renovação» (renovation) and even «restauro» (restoration), herein designated as «corrective and utilitarian restoration», was common to the best artists during the period between the 16th and the 18th centuries.Those interventions, which were commended by the church and the nobility, were nearly always considered a noble activity. The terminologies and the techniques then used are explained as well as the various reasons (moral, theological, aesthetic, decorous, and others) for undertaking that type of work, which is assumed as the precursor of the 19th century «scientific restoration». «Renovation» criteria, iconoclast and iconofylic practice related to this «utilitarian restoration» are discussed herein and important figures of Portuguese painting such as Francisco Venegas, Diogo Teixeira, André Reinoso, António Pereira Ravasco, Francisco Vieira Lusitano, amongst others, were also «painters-restorers» within those existing concepts. It is further reminded that to be a «painter-restorer», always in the perspective of an artistic «re-creation», was a motive for added pride for artists such as Pietro Guarienti,Vieira Lusitano, Pereira Pegado or Inácio Coelho Valente.