bluuebunny/crossref_metadata_2025 huggingface dataset:
Clockmaking in China under the Kangxi and Qianlong Emperors
Authors: Pagani Catherine
Published: July 2010

Le patronage impérial a exercé une forte influence sur les arts décoratifs de la dynastie Qing (1644-1911) pendant les règnes des empereurs Kangxi (1662-1722) et Qianlong (1735- 1796). Ces empereurs étaient des collectionneurs si passionnés d'art chinois et même occidental, que la demande de la cour pour ces objets s'étendait à tout l'Empire. C'est particulièrement vrai pour la technique complexe de l'horlogerie européenne introduite à la cour de Chine en 1601. Ces horloges, que les Chinois nommaient « cloches auto-sonnantes », combinaient les connaissances techniques récemment apprises des mécanismes européens et un mélange de styles décoratifs sino-européen. Le rapport entre le patronage impérial et la propagation des styles artistiques apparaît clairement aux XVIIe et XVIIIe siècles à travers le développement de l'horlogerie européenne en Chine. L'horlogerie demande non seulement une grande compétence artistique dans la conception et dans la fabrication, mais aussi une compétence technique supérieure. La demande de la cour fut capitale dans la promotion de ces compétences techniques, à l'intérieur de la Cité Interdite comme dans les autres régions de Chine. Le zaozhong chu, ou Bureau de la Manufacture des horloges, fut créé au palais impérial au début du XVIIIe siècle. C'est là que des Jésuites, spécialistes d'horlogerie, travaillèrent avec des artisans chinois. A Canton et à Suzhou, les communautés d'artisans déjà établies profitèrent des commandes des hauts fonctionnaires désireux d'offrir, comme tribut à la cour, des horloges perfectionnées imitant celles que l'Europe exportait. Ces artisans améliorèrent leurs techniques et se familiarisèrent avec les motifs décoratifs, même européens, qui plaisaient à la cour. Mais la mode des horloges déclina après le règne de l'empereur Qianlong. Bien que les horloges européennes aient eu finalement peu d'influence sur l'ensemble de l'art chinois, on peut cependant dire qu'elles ont contribué à l'introduction en Chine d'une technique nouvelle et importante.
Note sur la postérité du masque de Liangzhu à l'époque des Zhou orientaux
Authors: Thote Alain
Published: July 2010

In this note I intend to demonstrate that the face motif on the guards of a number of Eastern Zhou swords was copied around the 6th cent. B.C. or slightly earlier from Liangzhu jades. This appears to be part of a larger phenomenon, in which various ancient jades from the Neolithic period were reused or copied during the Shang and Zhou periods. The swords that are reviewed here were decorated with a face represented on only one side of the guard. Their round pommel is decorated with concentric thin circles. In the majority of examples found two rings encircle the cylindric handles. The rings are sometimes ornamented with relief scrolls or inscribed. The guards have two rounded shoulders and a rhomboid cross section, so that the face is divided into two symmetrical parts which meet at an angle, just like the Liangzhu faces at the corners of the cong. Many of the swords possess inscriptions indicating that they were cast for important persons from the states of Wu, Yue and Xu (present day Jiangsu, Zhejiang and Anhui). In recent years many discoveries of weapons have been made in the area surrounding the lake Taihu, precisely where the Liangzhu culture (c. 3400-2200 B.C.) is known to have flourished. With the weapons are daggers, dating to the late Western Zhou, which are clearly prototypes of the swords with shouldered guards, a type unknown in the other parts of China before the 6th cent. B.C. Many swords with the Liangzhu face have in fact been discovered in this area, providing further clues to the early development of this type of weapon. It seems now that all of the swords with the face pattern we have described earlier originated from this area. Those swords with the Liangzhu face discovered in large number in Chu tombs were therefore possibly cast also in the Wu-Yue area and removed during battles fought with the Chu, ultimately to be burried with their last owners. Why did such a revival of the Liangzhu face occur during the Eastern Zhou period in the Wu-Yue area ? Was the face intended by the elites to be a symbol of cultural identity ? Was the face associated with death ? A few tentative answers to these questions are provided at the end of the note.
Un moulin chinois du XIIe siècle
Authors: Trombert Eric
Published: July 2010

The mill presented in this article appears in a 12th century wall painting preserved in a Buddhist temple located at the foot of Wutai shan, in Northern China. As a whole, this piece belongs to the landscape painting tradition of the Song dynasty. Several of the scenes adjacent to this one illustrate the legend of Hariti, the child-eating ogress converted by the Buddha Sakyamuni. It is difficult, however, to establish a connection between this famous legend and the mill theme. This mill is very interesting in the history of techniques. It is one of the oldest paintings of a Chinese hydraulic facility that had survived to the present day. This painting is also older than all the pictures of hydraulic machines appearing in known technical and agronomic treatises. Finally, it uses a technology that is fairly complex for that time: the mill is equipped with a vertical driving wheel which actuates a dual mechanism consisting of a grinding mill and several trip-hammers. The painting, which seems to have been based on an original piece of equipment, shows the various mechanisms with extreme realism, care, and accuracy, thus allowing a detailed technical study. A comparison is necessary with the machines studied and shown in books printed at a later date, more specifically with those of Wang Zhen's Agricultural Treatise (Nongshu, 1313), since this book contains the machines that were copied over and over by all the treatises and encyclopedias until the 18th century. This comparison not only concerns the mechanical aspects, but it also applies to the evolution of the illustration style over the centuries. Apparently, this evolution is not toward greater technical accuracy. Finally, the article recalls the evolution of pounding and grinding processes in the history of techniques. It focuses on the linkage between the needs and the social and dietary customs on the one hand, and technical processes on the other. This linkage explains the differences between China and the West with respect to the chronological order of inventions and the relative importance of each of the grain processing techniques.
Entre le Sud-Est iranien et la plaine de l'Indus : le Kech-Makran. Recherches archéologiques sur le peuplement ancien d'une marche des confins indo-iraniens
Authors: Besenval Roland
Published: July 2010

Les travaux que la Mission Archéologique Française conduit depuis 1987 dans le Kech-Makran (Pakistan), ont permis de mettre en lumière l'importance de cette région, jusqu'alors pratiquement inconnue, dans le développement du peuplement ancien des confins indo-iraniens. Pour l'instant, la chronologie de ce peuplement s'étend de la fin du Ve millénaire av. J.-C. jusqu'à l'Islam, avec un hiatus durant le second millénaire et le début du premier avant J.-C.
La céramique chinoise de la donation Maspero au musée national des Arts asiatiques - Guimet
Authors: Dupoizat Marie-France
Published: July 2010

The dating of Chinese ceramics from donation Maspero ranges from the Tang Dynasty to the end of the Yuan Dynasty. Most are shards but some are rather large fragments which can be reunited to form complete pieces. The majority of the ceramics are dated XIth-XIIth and end of XIIIth-XIVth century. This collection is particularly interesting as it testifies to the presence of these particular types of Chinese ceramics in Vietnam. The total amount is about 800 pieces ; around 20% are ceramics from the Guangdong kilns such as those of Xicun or Chaozhou dating from the Xth to XIIth century. They are stoneware with pale olive-green glazes and with incised and combed designs ; about 8% are greenglazed wares with incised or moulded decoration, with the well-known sickle-leaf scroll from Yaozhou kilns in Shaanxi but also from Guangdong or Guangxi kilns ; about 12% are qingbai ceramics mostly dating from XI-XIIth century but some with moulded decor of a later period production are also present ; there are also few sherds of copper green glazed bowls which could come from Guangxi. There are some Fujian stonewares with olive green glaze and incised decoration from the end of XIth or beginning of XIIth century, some black glazed bowls of Jian kilns and a few pieces from Dehua with moulded designs. But the most numerous amount of ceramics are celadons from Longquan kilns — about 1/3 of the total — with a very wide range of different patterns for the Yuan period. The influence of Chinese ceramics on Vietnamese ceramics is here so obvious that it has been difficult to give a precise attribution for some of them. Moreover some ceramics from the Yaozhou kilns and other Chinese kilns, such as those of Guangdong and Guangxi, have brown colored bases which is considered to be characteristic of the Vietnamese style ; this anomaly is due either to natural reactions to firing conditions or to a slip. Their presence in Vietnam could have been an incentive to later on chocolate-brown bases. Several questions are raised even if the exact location of the discovery of the donation's ceramics is hypothetical. The small number of Fujian ceramics is surprising as it is well known how numerous the exports of these were, from the end of Xith to the XIIth century. Similarly, why are there no Blue-and-White ceramics when there is so much of XIVth century celadons to be found ?
Le mythe de Nana dans l'art de la Sogdiane
Authors: Grenet Frantz , Marshak Boris Ilich
Published: July 2010

La fameuse « scène de lamentations » incluse dans le décor peint de la salle tétrastyle du Temple II de Pendjikent date du VIe siècle de notre ère. Découverte en 1948, elle est ici réexaminée à la lumière des acquis nouveaux de la recherche. La déesse à quatre bras qui assume le rôle principal a été, dès le début, correctement identifiée comme Nana, mais le substrat fondamentalement mésopotamien du rituel figuré par la composition apparaît encore plus clairement en poussant l'analyse de deux textes s'y rapportant : le Mémoire de l'envoyé chinois Wei Tsie (qui le décrit à Samarkand, avec une claire référence à Tammuz), et le fragment polémique manichéen M 549 (qui le condamne). Contrairement à une opinion souvent avancée, le corps gisant sur lequel la déesse et les hommes se lamentent est celui d'une jeune fille. Il s'agit vraisemblablement de Gestinanna, sœur de Tammuz, qui dans le mythe mésopotamien le remplace chaque année plusieurs mois aux Enfers. En Sogdiane l'image de Gestinanna a peut-être fusionné avec celle de Perséphone, puisqu'une nouvelle lecture du fragment manichéen par N. Sims-Williams fait apparaître Déméter comme divinité associée à Nana dans la lamentation. Enfin, d'autres documents figurés sogdiens et bactriens montrent Nana associée à un dieu archer que l'on propose ici d'identifier comme Tistrya-Tir, le dieu iranien de la planète Mercure, qui a repris les fonctions du babylonien Nabu.
L'étymologie et le sens du théonyme Txs'yc [Note additionnelle à F. Grenet et B. Marshak, "Le mythe de Nana dans l'art de la Sogdiane";";;;19;0;20;0;"article]
Authors: Tremblay Xavier
Published: July 2010

The name of the Sogdian god Txs'yc (Texsic) can be explained etymologically as meaning "The Recurrent, The One who will return". This epiclesis would be well in line with F. Grenet and B. Marshak's hypothesis that Texsic was the name under which the Babylonian god Tammuz was known in Sogdiana.
Note sur les peintures de quelques monastères khmers de la plaine du Mékong
Authors: Giteau Madeleine
Published: July 2010

Certains monastères khmers élevés sur les bords du Mékong, récèlent des peintures, simples, souvent charmantes, mais restées ignorés des amateurs de l'art khmer. Peintures sur bois ou murales, elles présentent une extrême variété de compositions, de styles et de couleurs. Des peintures peintes à la détrempe, sur de modestes planches de bois, sont insérées en frise entre les piliers d'un sanctuaire ou d'une sala. À la sala de Vat Srah Keo Munivan de Stung Treng, les figures assez élégantes présentent des affinités avec l'art lao. À Vat Nokor, près de Kompong Cham, les images naïves, colorées, du monastère nord contrastent avec celles du monastère sud dont les tonalités bleutées évoquent un camaïeu. À Vat Moha Leap, dans la même province, les frises et les plafonds sont décorés de peintures aux tons chauds. Seuls quelques sanctuaires sont ornés de peintures murales. Au sanctuaire de Vat Srah Keo Munivan, derrière l'autel, l'artiste, illustrant la Victoire du Buddha sur Mara, a représenté avec beaucoup de verve la déroute des êtres démoniaques. Dans le sud du Cambodge, le sanctuaire de Vat Sisowath Ratanaram, décoré par le peintre du Palais Royal dans des compositions d'un style raffiné, fut malheureusement détruit dès le début de la guerre en 1970.
Bronzes chinois antiques et archaïsants dans la collection Cernuschi
Authors: Maucuer Michel
Published: July 2010

Les bronzes chinois des collections du financier Henri Cernuschi (1821-1896), actuellement conservées au musée qui porte son nom, furent acquis par celui-ci au cours du voyage qu'il fit autour du monde en 1871-1872. Parmi eux figurent un certain nombre de vases antiques remontant jusqu'à la dynastie Shang. Toutefois, beaucoup des bronzes sont des vases archaïsants et la collection est sans doute une des plus importantes au monde dans ce domaine. Certains de ces bronzes antiques, ainsi que quelques bronzes archaïsants sont ici présentés.
Image et rituel : à propos des peintures bouddhiques népalaises
Authors: Vergati Anne
Published: July 2010

The article describes Nepalese Buddhist paintings which depict the celebration of the ritual of initiation performed for men and women when they reach the age of seventy-seven years, seven months and seven days (Sanskrit bhimaratha or Newari bura jyanko). On this occasion both paintings and bronzes are commissioned and all surviving examples of such paintings are Buddhist. This ritual was depicted in Nepalese paintings from the 15th up to the 19th century. The author gives a detailed description of a painting dated 1433, which was restored in 1666, illustrating the celebration of this ritual in Kathmandu, by a family of Buddhist traders. From an iconographic point of view, the author shows the link between the goddess Usnisavijaya and the stupa of Svayambhu, the monument most popular among the Newar Buddhists and the main object of cult. Besides their exceptional aesthetic qualities, the Nepalese paintings of the Malla period described in this article are cultural and historical documents.
Dechenphug : destin d'un monastère bhoutanais
Authors: Pichard Pierre
Published: July 2010

Conservation works on Dechenphug, a small monastery in Bhutan, were carried out from 1996 to 1999 under the scientific control of Unesco. From the beginning, a strong disagreement was obvious between the ethics of the international organisation and the current local practice. A compromise was eventually agreed, a proof that both approaches are not always irreconcilable. Field training of local actors was a an important component of the project, which included the reconstruction of an ancillary building, the restoration of woodwork and roofs on the other two buildings, and the conservation of a mural painting.
Les manuscrits à peinture dans l'Inde des Sultanats : l'exemple de la Khamse dispersée d'Amir Khosrow Dehlavi, c. 1450
Authors: Brac de la Perrière Eloïse
Published: July 2010

Le regroupement de trente-trois feuillets illustrés d'un manuscrit aujourd'hui dispersé à travers le monde, la Khamse d'Amir Khosrow Dehlavi, exécutée dans l'Inde des sultanats vers 1450, met en évidence quelques caractéristiques propres à un groupe particulier de peintures de l'Inde pré-moghole, et permet non seulement d'envisager le manuscrit comme un ensemble, de s'interroger sur sa forme initiale, la fréquence des illustrations, et sur son aspect le plus formel, mais également d'étendre ces réflexions à la peinture des sultanats en général, sujet encore peu étudié. Paradoxale alliance de complexité et de naïveté, assemblage et fusion de styles souvent éloignés, ce manuscrit dispersé a déjà, par le passé, suscité de nombreuses réflexions sur les influences qu'il a subies. Il pose encore aujourd'hui, de façon incontournable, le problème de la localisation et celui des acteurs à l'origine d'un tel ouvrage: mécènes, ateliers, artistes.
Techniques de composition de l'espace dans l'Ippen hijiri-e [Rouleaux peints du moine Ippen]
Authors: Saint-Marc Elsa
Published: July 2010

Après une présentation générale de l'Ippen hijiri-e (rouleaux peints du moine Ippen), œuvre japonaise de la fin du XIIIe siècle, cet article expose les techniques de composition de l'espace choisies par les auteurs de l'Ippen hijiri-e. Ces techniques (construction frontale en raccourci vue de haut, hauteur de point de vue changeante, perspective inversée et à plusieurs points de vue, impression de relief par superpositions, coupure des images, disposition de la brume, différentes expressions de l'écoulement du temps) associent avec succès des procédés du yamato-e et de la peinture chinoise des Song du Sud et des Yuan, ainsi qu'une adaptation à l'ambiance de l'œuvre et à l'époque de Kamakura, qui privilégie le réalisme pictural. Ces techniques, leur adaptation, et l'atmosphère générale des illustrations qui en résulte, font penser que l'œuvre a été réalisée avec la participation active de courtisans, peintres professionnels ou amateurs.
Aventures divines de Kṛṣṇa : la līlā et les traditions narratives des temples cōḻa
Authors: Schmid Charlotte
Published: July 2010

Un ensemble d'environ six cents représentations ornant six temples shivaïtes cola du Xe siècle et un temple vishnouite du début du XIe siècle permet de tenter de préciser la date de l'apparition du Bhagavata-purana et de constater l'étroitesse du lien entre genre narratif et vishnouisme. Le soubassement de ces premiers temples cola porte de une à trois frises, constituées de petits panneaux sculptés de bas-reliefs illustrant les jeux des dieux. Siva dansants et déesses combattantes voisinent avec les descentes de Visnu qui forment la majorité des représentations, organisées en véritables cycles narratifs, un panneau succédant à l'autre. Ces séries d'images correspondent donc avec une légende dorée divine, rapportée par une tradition textuelle qui permet d'identifier les panneaux. De telles séries de représentations donnent des informations précieuses sur les textes correspondants, et l'étude des cycles krishnaïtes conduit à préciser la généalogie du Bhagavata-purana, qui n'apparaît pas illustré avant le tout début du XIe siècle.
The Arts and Culture of Parun, Kafiristan's « Sacred Valley »
Authors: Klimburg Max
Published: July 2010

Among the former "Kafirs of the Hindu Kush" in northeast Afghanistan, who were reputed as savage and "bloodthirsty" kafir [heathen] in the surrounding Islamic world until their forced-upon Islamization in 1896, the Paruni had a special position. Living in six small villages in the Parun Valley located between the areas of the more militant and competitive Kati, Waigal and Ashkun Kafirs, they had established a sacred notion about their region and their culture. The valley was dotted with temples and village-based clan-houses, amel, where a great number of deities, most of them also known under the same or other names to their neighbours, was worshipped and invoked under the guidance of priests, münd. Inmidst the valley, in Kushteki, once stood the famous great temple of the top deity Mara, who was revered as Imra and Yamrai by the Kati and Waigali. It was the religious and thus also the pilgrimage centre of Kafiristan, renamed Nuristan or "Land of Light" after the Islamization. In all the temples and clan-owned amel, deities were represented as statues and figures carved into the pillars. Many of them have survived the sudden, highly destructive culture change 106 years ago.
La peinture « sans contrainte » (VIIIe-Xe s.) : de l'inclassable des traités chinois à l'orthodoxie Zen
Authors: Mesnil Evelyne
Published: July 2010

L'apparition de la peinture dite « sans contrainte » (yi) dans la Chine du milieu du VIIIe s. marque le point de rencontre entre de nouvelles techniques audacieuses, essentiellement mais non exclusivement monochromes, et des tentatives d'intégrer dans un système classificatoire des calligraphes et des peintres hors des normes. Pour la première fois, Huang Xiufu dans le « Catalogue des peintures célèbres de Yizhou » (daté 1006) donne une définition précise de cette nouvelle catégorie qu'il porte au sommet de l'échelle de valeur. Ce fait indique la place désormais reconnue au phénomène novateur que traverse alors la peinture, avec pour toile de fond la société de Shu (Sichuan). L'étude du cas de Sun Wei (actif fin IXe s.), le seul peintre alors qualifié de yi, met en évidence sa virtuosité picturale associée à un art de vivre imprégné des concepts du taoïsme et du bouddhisme Chan. L'affranchissement de toute contrainte qui caractérise la peinture yi s'illustre pleinement dans le style de Guanxiu (832-912) et Shi Ke (fin Xe s.). L'analyse des œuvres au nom de ces deux peintres conservées au Japon, conjointe à celle des sources écrites, révèle toutefois des remaniements et des attributions tardives qui pourraient s'expliquer par une volonté d'orthodoxie dans la tradition de la peinture Chan/Zen.
The Dates and Styles of Uygur Manichaean Art. A New Radiocarbon Date and its Implication for the Study of East Central Asian Art
Authors: Gulácsi Zsuzsanna
Published: July 2010

This paper is a contextualized stylistic study built around a carbon-dated book painting from a well-defined artistic corpus of Mediaeval East Central Asia. Its primary sources of evidence are Manichaean works of art from Turfan, produced under Uygur patronage (8th-11th ce. CE). These sources are subjected to a pictorial analysis that yields the recognition of four stylistic groups. Through the introduction of comparative visual sources, it is shown that the roots of two Manichaean styles are West Asian, while the other two are Chinese. The interpretation of this art historical data in light of historical sources results in new views regarding how pictorial art developed in this region. Until now it has been thought that an earlier "Persian" and a later Chinese style dominated Manichaean art, just as the arts of Buddhist East Central Asia. By demonstrating that the West Asian roots ruled the traditional media of Uygur Manichaean art until the early 11th century, this study eliminates a fossilized assumption within the history of East Central Asian art.
Mahāsthāngarh (Bangladesh) aux IIe-IIIe s. ap. J.-C. : céramiques estampées de signes de bon augure
Authors: Gill Sandrine , Breuil Jean-Yves , Allios Dominique , Serdon Valérie
Published: July 2010

A Mahāsthāngarh (Bangladesh), la découverte récente d'une série de céramiques estampées de signes de bon augure à proximité d'un édifice monumental conduit à s'interroger sur l'environnement religieux de la ville ancienne. A la différence d'autres régions de l'Inde, la quasi-absence de traces archéologiques du culte pratiqué par les habitants du Bengale reste un des problèmes majeurs des études historiques. Or ces tessons de céramique qui, d'après leur profil peuvent être rattachés à des vases à liquide, portent un décor de signes de bon augure, courants dans l'iconographie bouddhique et jaïn essentiellement: srlvatsa, triratna, roue, couple de poissons, spirale. L'intérêt de cette série de céramiques est leur contexte homogène, bien daté par la chronostratigraphie (Mission franco-bangladaise du secteur Rempart est) au IIe-IIIe s. de notre ère, et leur localisation à proximité d'une plate-forme en briques de plan carré, articulée autour d'un trou central. Ces vestiges pourraient indiquer une activité religieuse, des rites de lustration ou d'offrande à un monument cultuel, peut-être un stūpa?
Violence Un-scrolled : Cultic and Ritual Emphases in Painting Guan Yu
Authors: Moore Olivier J.
Published: July 2010

This essay discusses a painting of the military general and deity Guan Yu. His depiction in the earliest extant court painting of Guan Yu is by Shang Xi, an artist at the Ming court during the early fifteenth century. Previous scholarship has dwelt largely on Guan Yu's significance as a figure of literature and drama, but it has said less concerning his appearance in the rich history of his visualization. This essay suggests that visual depictions of Guan Yu are significant aspects of his growing cult worship during the last centuries of imperial Chinese history. The analysis also proposes a political context for the notion of violent punishment shown in Shang Xi's painting. The essay therefore discusses fifteenth-century court formulations of punishment rituals, which expressed both the government's notion of its political legitimacy and its intense reactions to disloyalty, and it argues that these too provide means to interpret the painting's significance for an early Ming audience.
Arzhan 2 : la tombe d'un prince scythe en Sibérie du Sud. Rapport préliminaire des fouilles russo-allemandes de 2000-2002.
Authors: Chugunov Konstantin , Nagler Anatoli , Parzinger Hermann
Published: July 2010

De 2000 à 2002 une mission russo-allemande a fouillé le kourgane Arzhan 2 dans la vallée de l'Ujuk au nord de la République de Tuva (Fédération de Russie). Elle a dégagé la Tombe princière 5, sépulture double d'un homme et d'une femme qui, avec plus de 9300 objets dont environ 5700 en or, fait partie des tombes les plus riches de l'époque scythe, en Sibérie et dans l'ensemble de la steppe eurasienne. Beaucoup de ces objets en or sont des chefs-d'œuvre du style animalier scythe ancien, mais aussi des productions locales sans influence extérieure, qui jettent une lumière nouvelle sur les phases anciennes du style animalier en Sibérie du Sud. La tombe princière, ainsi que d'autres tombes découvertes dans le kourgane Arzhan 2 en 2002, remontent toutes à la période scythe ancienne dite période d'Aldy Bel', et sont de ce fait datables du vnes. av. J.-C. Les tombes découvertes en 2002 et appartenant à la suite du couple princier ainsi que la sépulture des 14 chevaux mettent en évidence la fonction du kourgane Arzhan 2: non seulement ensemble funéraire, mais également lieu de culte, dans le contexte duquel la sépulture du couple princier était véritablement mise en scène par des activités cultuelles.
L'intronisation du IXe Dalai lama vue par un prince mongol : un rouleau peint conservé à la bibliothèque de l'Institut des Hautes Etudes Chinoises
Authors: Lacaze Gaëlle , Charleux Isabelle
Published: July 2010

A curious Mongolian scroll is to be found in the library of the Institut des Hautes Etudes Chinoises, Paris. It is a handwritten text dated 1809 plus 12 illustrations, which reports the mission to Lhasa in 1808 of a Prince from the Qaracin banner of Inner Mongolia, sent by the Manchu emperor to supervise the enthronement of the 9th Dalai lama. The scroll, probably intended for the personal records of the Mongolian prince, gives in a manner conforming to the imperial view an account of the events. The analysis of the text and its translation will be published separately in the Journal Asiatique. This article provides an interpretation of the illustrations which represent the birth, discovery, vows taking and enthronement of the 9th Dalai Lama, a pictorial and stylistic analysis of the various elements of the painting and material information about the scroll. Assumptions are formulated about its author, origin, destination and pictorial style.
La collection d'art japonais de Giuseppe De Nittis
Authors: Moscatiello Manuela
Published: July 2010

Pour illustrer l'intérêt que l'art japonais a suscité auprès des artistes occidentaux de la deuxième moitié du xixes., le cas de Giuseppe De Nittis (1846-1884), peintre italien venu s'installer à Paris en 1868, est exemplaire. Devenu un artiste à succès en l'espace d'une décennie, De Nittis fait son entrée dans le milieu artistique et intellectuel de son époque et fait connaissance de collectionneurs passionnés d'art japonais tels Edmond de Goncourt et Philippe Burty. L'intérêt de l'artiste italien pour l'art et surtout pour la peinture japonaise n'est pas le fruit de la simple curiosité; il constitue une collection très raffinée comprenant des œuvres de grande qualité, remarquées par plusieurs amateurs et experts d'art japonais. L'analyse de l'inventaire après décès du peintre, l'étude de témoignages littéraires, de la correspondance des époux De Nittis, et des objets d'art japonais que le peintre reproduit dans ses œuvres nous ont permis de mettre en lumière la valeur de sa collection.
Domenico et Polonio Rota, Martin Bézard et la production d’« ouvrages à la damasquine » à Paris sous François Ier
Authors: Leproux Guy-Michel
Published: July 2010

Guy-Michel Leproux, Domenico etPolonioRota, MartinBézart et la production d’ «ouvrages à la damasquine» à Paris sous François Ier, dans Bibliothèque de l’École des chartes, t. 161, 2003, p. 59-70. L’expression d’ «ouvrage à la damasquine», dans la première moitié du XVIe siècle, n’était pas encore réservée au seul travail du métal et pouvait désigner toutes sortes d’objets d’inspiration orientale. Il en a existé à Paris, sous le règne de François Ier, une production locale, qui était le fait de lapidaires italiens comme DomenicoRota. Celui-ci, après avoir été pensionné par le roi, s’associa à partir de 1535 avec le marchand parisien Martin Bézart pour la fabrication de gemmes gravées de filets d’or, mais également de pièces d’ivoire, de bois, de cuir, de corne ou de cuivre décorées de mauresques. À la mort de Domenico, en 1541, son frère Polonio Rota le remplaça dans l’atelier installé rue Saint-Denis. Bézart lui adjoignit deux autres ouvriers, Claude Lejeune, orfèvre, et Aubin Olivier, menuisier et tourneur, qui devait devenir conducteur du Moulin de la Monnaie sous Henri II.
Les traités médiévaux de peinture sur verre
Authors: Boulanger Karine
Published: July 2010

The five mediaeval treatises on stained glass under examination were written from the 12th to the 15th century and may be divided into two families. One contains the treatise by Theophilus and a revised version of the same by a monk at Zagan abbey in Poland. The other comprises the works of Antonio da Pisa and Formica, and the Nuremberg Kunstbuch. All five texts are not only carefully planned but quite reliable, as may be demonstrated by experimenting the recipes and techniques they describe. Although they were all written in a monastic environment and have much in common, there are also important differences as to the personality and competence of the authors, as well as to the intended audience.
L’explicite et l’implicite dans les sources normatives de l’architecture mendiante
Authors: Volti Panayota
Published: July 2010

From their earliest foundations in the 13th century, the spiritual identity and internal structure of the mendicant orders had a decisive influence on their convent buildings. These were governed by official regulations, but in practice they also drew on a number of non legal sources with implicit consequences on architectural norms. Thus, the theoretical writings of mendicant scholars, the iconography used to convey the official image of the orders, rules pertaining to the layout of convents and to the conduct of building works, and attitudes towards decoration altogether constituted a hidden pattern, both robust and flexible, a felicitous combination of simplicity, functionality, and sacredness, tuned to the changing reality of the orders.
Early Initiation of Continuous Ambulatory Peritoneal Dialysis in Patients Undergoing Surgical Implantation of Tenckhoff Catheters
Authors: Yang Ya-Fei , Wang Huang-Joe , Yeh Chin-Chung , Lin Hsin-Hung , Huang Chiu-Ching
Published: July 2010

Background

Nephrologists commonly recommend continuous ambulatory peritoneal dialysis (CAPD) with break-in periods of at least 2 weeks. We investigated the safety and feasibility of shorter break-in periods following surgical implantation of Tenckhoff catheters.

Methods

We retrospectively examined 310 patients that underwent Tenckhoff catheter implantation for the first time. The early group comprised 226 patients that started CAPD ≤ 14 days after implantation; the late group comprised 84 patients that started CAPD > 14 days after implantation. Catheter-related complications within 6 months were analyzed.

Results

A total of 310 patients were enrolled. Time to CAPD initiation was shorter in the early group (2.0 ± 2.7 days) than in the late group (40.6 ± 42.8 days) ( p < 0.001). The bridge hemodialysis rate was higher in the late group (57.1%) than in the early group (31.4%) ( p < 0.001). Overall, 33 early-group (14.6%) and 11 late-group patients (13.1%) developed catheter-related complications within 6 months. The early-group complications were leakage ( n = 5), diminished outflow volume ( n = 7), migration ( n = 7), pericatheter hernia ( n = 1), hemoperitoneum ( n = 1), pericatheter infection ( n = 3), and peritonitis ( n = 9). The late-group complications were leakage ( n = 2), diminished outflow volume ( n = 5), migration ( n = 2), and peritonitis ( n = 2). Actuarial freedom from catheter-related complications was similar in both groups (log rank, p = 0.76).

Conclusion

Early initiation of CAPD with surgically implanted Tenckhoff catheters is feasible and safe. Shorter break-in periods are not associated with more catheter-related complications. The data from our peritoneal dialysis population suggest that early initiation is not associated with an increased number of complications. This needs to be confirmed in a randomized trial.
Goals and Requirements for Supporting Controlled Flexibility in Software Processes
Authors: Martinho Ricardo , Domingos Dulce , Varajão João
Published: July 2010

Software processes are dynamic entities that are often changed and evolved by software development team members. Consequently, flexibility is one of the most important features within software processes and related tools. However, in the everyday practice, team members do not wish for total flexibility. They prefer to learn about and follow controlled flexibility advice, that is, previously defined information on which, where, how and by whom they can change software process representations to match real-world situations. In this paper, the authors define a set of goals and requirements for a language and supporting software tool to control the flexibility within software processes. They follow a two-step approach, where 1) process engineers use the language constructs and supporting tool to define controlled flexibility-related information within software process models, and 2) software tem members browse and learn from this information, and perform changes accordingly.
Applicability Assessment of Semantic Web Technologies in Human Resources Domain
Authors: Janev Valentina , Vraneš Sanja
Published: July 2010

To meet the challenges of today’s Internet economy and be competitive in a global market, enterprises are constantly adapting their business processes and adjusting their information systems. In this article, the authors analyze the applicability and benefits of using semantic technologies in contemporary information systems. By using an illustrative case study of deployment of Semantic Web technologies in Human Resources sector at the Mihajlo Pupin Institute, this paper shows how the latest semantic technologies could be used with existing Enterprise Information Systems and Enterprise Content Management systems to ensure meaningful search and retrieval of expertise for in-house users as well as for integration in the European research space and beyond.
Ambient Interface Design (AID) for the Ergonomically Challenged
Authors: Hegarty Rosaleen , Lunney Tom , Curran Kevin , Mulvenna Maurice
Published: July 2010

Mobile devices offer convenient communication capabilities and have the potential to create intermediary support for ergonomically challenged users. With the global proliferation of increasing longevity, assisting the elderly and those living with impediments through human engineering and computing technology is pivotal to biotechnological attainment. To remain independently empowered, seamless integrations through efficient affable interfaces are required to provide sedulous location-independent and appliance-sensitive media viewing for the user. The Ambient Interface Design (AID) system assists with finding personal preferences and provides a synchronisation framework, coordinating connectivity across various environmentally distributed devices via sensor data mapping. Cooperative interface communication coupled with context awareness will be abstracted to a representation that facilitates optimisation and customisation to these displays. To overcome personal challenges in the efficient selection and acquisition of online information, AID mediates between the needs of the user and the constraints of the technology to provide a singular customised encapsulation of ‘ability preference and device’ for each authenticated member. A particular emphasis is the application of a human-centered design ethos.
A Rigorous Analysis of the Harmony Search Algorithm
Authors: Weyland Dennis
Published: July 2010

In recent years a lot of novel (mostly naturally inspired) search heuristics have been proposed. Among those approaches is Harmony Search. After its introduction in 2000, positive results and improvements over existing approaches have been reported. In this paper, the authors give a review of the developments of Harmony Search during the past decade and perform a rigorous analysis of this approach. This paper compares Harmony Search to the well-known search heuristic called Evolution Strategies. Harmony Search is a special case of Evolution Strategies in which the authors give compelling evidence for the thesis that research in Harmony is fundamentally misguided. The overarching question is how such a method could be inaccurately portrayed as a significant innovation without confronting a respectable challenge of its content or credentials. The authors examine possible answers to this question, and implications for evaluating other procedures by disclosing the way in which limitations of the method have been systematically overlooked.
A Dimensioning Study for UMTS Core Networks
Authors: Ouyang Ye , Fallah M. Hosein
Published: July 2010

Current literature provides many practical tools and theoretical methods to design, plan, and dimension Global System for Mobile Communications (GSM) and Universal Mobile Telecommunications System (UMTS) radio networks but overlooks the algorithms of network planning and dimensioning for core networks of GSM, UMTS and IP Multimedia Subsystem (IMS). This paper introduces an algorithm for traffic, bandwidth and throughput dimensioning of the network entities in the UMTS core network, based on the traffic and throughput generated or absorbed in the interfaces of the network entities. A case study is provided to verify the algorithms created for UMTS core network. This paper helps UMTS network operators dimension and build an optimum network to deliver the best quality of service for users. The algorithms developed in the paper have been successfully applied in dimensioning a nationwide UMTS network in North Africa and adopted in an optimization tool by a mobile operator in the United States in 2008-2009.
Performance Evaluation of Different Architectures for an Internet Radio Service Deployed on an Fttx Network
Authors: Melendi David , García Roberto , Pañeda Xabiel G. , Cabrero Sergio , García Victor
Published: July 2010

Internet radios have become one of the most popular services on the Internet. This popularity has motivated the interest of the scientific community and much research has been conducted to improve and study these services. In this context, this paper presents an evaluation of different architectures that can be used to deploy an Internet radio service on a cable network. To perform the evaluations, a model of an Internet radio service has been implemented on a simulation tool. The model has been validated using the information gathered from a real service; thus, it accurately reflects the behaviour of the users, devices and protocols involved. The results of the evaluations can be applied to any deployment planned on a real cable network.
Developing Server-Side Infrastructure for Large-Scale E-Learning of Web Technology
Authors: Simpkins Neil
Published: July 2010

The growth of E-business has made experience in server-side technology an increasingly important area for educators. Server-side skills are in increasing demand and recognised to be of relatively greater value than comparable client-side aspects (Ehie, 2002). In response to this, many educational organisations have developed E-business courses, but their approaches cannot generally be applied in the distance learning context. Providing server-side infrastructure is important to allow students to gain an appreciation of concepts as well as experiencing aspects like network operation, time delays and failure and ‘just-in-time’ collaboration, which are basic characteristics of distributed applications. Here, the development of a scalable architecture and successful provision of access to a set of server applications for a very large number of students is described. A key objective is to establish a framework that can be applied in education and commerce to support very large-scale deployment of web applications and services for applications with varying properties.
Trend of E-Learning
Authors: Yen Neil Y. , Shih Timothy K. , Jin Qun , Hsu Hui-Huang , Chao Louis R.
Published: July 2010

With the improvement of internet technologies and multimedia resources, traditional learning has been replaced by distance learning, web-based learning or others’ e-learning learning styles. According to distance learning, there are many research organizations and companies who make efforts in developing the relevant systems. But they lack interoperability. The only way to reuse these applications is to redevelop them for specific purposes. In order to solve this situation and norm the various learning resources, IMS proposes a new e-learning standard named “Common Cartridge”. This standard not only integrates the past e-learning standards like LOM, SCORM and QTI but also proposes a technical architecture called Learning Tools Interoperability to allow applications to reuse different systems without reprogramming. In this paper, we firstly introduce the current e-learning environment. Then we pay attention on the usage of Common Cartridge standards and discuss the architecture of Learning Tools Interoperability. According to these standards, we will point out the e-learning standard that might be widely utilized in the future.
Automatic Online Educational Game Content Creation by Identifying Similar Chinese Characters with Radical Extraction and Graph Matching Algorithms
Authors: Lai Kwong-Hung , Leung Howard , Hu Zhi-Hui , Tang Jeff K.T. , Xu Yun
Published: July 2010

One of the difficulties in learning Chinese characters is distinguishing similar characters. This can cause misunderstanding and miscommunication in daily life. Thus, it is important for students learning the Chinese language to be able to distinguish similar characters and understand their proper usage. In this paper, the authors propose a game style framework to train students to distinguish similar characters. A major component in this framework is the search for similar Chinese characters in the system. From the authors’ prior work, they find the similar characters by the radical information and stroke correspondence determination. This paper improves the stroke correspondence determination by using the attributed relational graph (ARG) matching algorithm that considers both the stroke and spatial relationship during matching. The experimental results show that the new proposed method is more accurate in finding similar Chinese characters. Additionally, the authors have implemented online educational games to train students to distinguish similar Chinese characters and made use of the improved matching method for creating the game content automatically.
A Unified Learning Style Model for Technology-Enhanced Learning
Authors: Popescu Elvira
Published: July 2010

This paper deals with the use of learning styles in technology-enhanced learning by introducing a “Unified Learning Style Model” (ULSM). The article aims at providing answers to three main questions: “What is ULSM?”, “Why do we need it?” and “How can we use it?” First, a critical analysis regarding learning styles is provided; the identified challenges are addressed by proposing the use of a new model, specifically designed for TEL use. This model integrates learning preferences extracted from several traditional learning style models, related to perception modality in a way for processing and organizing information, as well as motivational and social aspects. A detailed description of the ULSM components is provided together with its rationale and its advantages. The practical applicability of the model is also shown by briefly introducing an adaptive web-based educational system based on it (called WELSA).
The Evaluation of Library Services Methods
Authors: Meletiou Aristeidis
Published: July 2010

In these competitive years of continuing change, libraries enrich their services with modern technologies and innovative approaches to satisfy users’ standards. This engagement significantly increases the effects of these new inputs on library budgets as new technology applications demand money and new organization schemes. Consequently, the annual budget has to be increased and difficulties arise due to its efficient allocation. This paper describes a methodology of evaluating offered services by using specific important factors like Users Satisfaction of a Service, Usage, and Cost of this service. Known methods for estimating Costs (ABC method) and estimating Satisfaction (MUSA method) in library fields are used. Also, the multi-criteria method to evaluate a service by correlating the above mentioned factors are used to give the observer the ability to find useful information. Finally, a case study about the evaluation of services using the proposed methodology is presented. The goal of the proposed methodology is to help library decision makers choose the most appropriate services to offer change and improvements according to user needs and allocated budgets.
Using Transaction Logs to Study the Effectiveness of Librarian Behaviors on User Satisfaction in a Virtual Setting
Authors: Kwon Nahyun , Gregory Vicki L.
Published: July 2010

Chat reference is becoming more common and it is important to be able to effectively judge user satisfaction with the results they receive. The behaviors the reference librarian should use to ensure that users are satisfied with chat reference sessions must also be determined. In this paper, the authors indicate that many of these behaviors could be mapped to the virtual environment with great success. The purpose of this paper is to describe and explain the methodology, which is a mixture of qualitative and quantitative methods, to allow others to adapt this methodology to their own situations.
User's Behaviour inside a Digital Library
Authors: Scarnò Marco
Published: July 2010

CASPUR allows many academic Italian institutions located in the Centre-South of Italy to access more than 7 million articles through a digital library platform. The behaviour of its users were analyzed by considering their “traces”, which are stored in the web server log file. Using several web mining and data mining techniques the author discovered a gradual and dynamic change in the way articles are accessed. In particular there is evidence of a journal browsing increase in comparison to the searching mode. Such phenomenon were interpreted using the idea that browsing better meets the needs of users when they want to keep abreast about the latest advances in their scientific field, in comparison to a more generic searching inside the digital library.