39 research outputs found
Yi ge shufazhuiyizhe Luo Qi 一个书法主义者 洛齐 (A Practitioner of Calligraphyism: Luo Qi)
No full text在《一个书法主义者 洛齐》中,作者阐述了洛齐书法创作的心路历程,并仔细分析了书法主义的概念。
洛齐作为中国当代最重要、最有影响力的艺术家之一。在本书中,洛齐的创作风格和影响进行了比较全面的阐述和评析,见解深刻,评论精到。他的作品展现了书法作为一种多才多艺的艺术,并收到了西方艺术和中国现代书法的互相影响。在他的创作的同时,还以著述文章的方式思考着书法的未来。
书法主义是洛齐革命的艺术理论。在本书中,作者探索书法主义的理论与实践。以书法主义为探论主题,内容涉及书法主义的建构。作者也选录了近年来国内国外艺术家所创作的书法主义作品。
这本书分为五章:一、中国当代书法,二、洛齐艺术传记,三、洛齐作品解析,四、书法主义,五,洛齐艺术的访谈。《洛齐访谈录》包括洛齐访谈和有名艺术家谈洛齐艺术的访谈。读者通过本书可感受洛齐的艺术生活和洒脱风采,也可探寻书法主义的本质。
《一个书法主义者 洛齐》是10 卷本《书法主义文献丛书》中的一本,洛齐教授(中国美术学院)是这套丛书的主编。由于这套丛书是当代艺术研究的成果,具有很高的科学学术价值,它将在中华人民共和国的所有公共图书馆和大学分发,并将在全国范围内广泛传播。这套丛书是中国第一套关于书法文化和艺术领域获得中国国家图书最高学术奖的书,阿德丽亚娜·叶星(Adriana Iezzi)博士也是获得最高学术奖的作者。In this book, the author explores in detail the theory and practice of “Calligraphyism” (Shufazhuyi), the most important Chinese post-modern calligraphic movement, reconstructing its history and its diffusion in China and abroad. At the same time, the author deeply analyses the artistic production and theoretical thoughts of the founder of this movement, Prof. Luo Qi (Hangzhou, 1960). Prof. Luo Qi is one of the most important and influential calligraphers in contemporary China. In his works, calligraphy is used as a versatile art, receiving the mutual influence of Western art and "Modern Chinese Calligraphic Movement" (Zhongguo xiandai shufa), while in his theoretical writings, he thinks about the future of calligraphy, expanding the concept of Calligraphyism globally.
The book is divided into five chapters: 1. The Art of Calligraphy in Contemporary China; 2. Luo Qi's biography; 3. Luo Qi's works; 4. Calligraphyism; 5. Interviews about Luo Qi's art. A large number of images of calligraphic artworks and contemporary exhibitions enrich and expand the content of the book.
This book is included in a series of 10 books entitled “Calligraphyism. A Series of Books.” Prof. Luo Qi (China Academy of Art) is the editor of this series. Due to the high scientific value of this series, it will be distributed in all public libraries of the People's Republic of China and it will have a very wide diffusion throughout the Chinese territory. This series of books has been the first in China to win the highest academic award for Chinese National Books in the field of calligraphy, culture and art, and Dr. Adriana Iezzi has obtained this highest academic award as author of the book entitled “A Practitioner of Calligraphyism: Luo Qi”
《在中法之间 — 陈伟农的艺术体验》 Zai Zhong Fa zhi jian: Chen Weinong de yishu tijian / “Between China and France. The Artistic Experience of Chen Weinong”
No full textThe author analizes the artistic production of the Chinese contemporary artist Chen Weinong, who has travelled between China and France for more ten years. In his ink paintings and calligraphies, Chen Weinong reflects the essence of both Western and Eastern cultures, succeeding in refreshing the ancient tradition as well as blazing new trails in Chinese art
WRITE. Chinese Calligraphy Between Artistic Contaminations and New Expressive-Communicative Languages. Dataset
No full textThe current dataset is associated with the Open Access publication “Chinese Calligraphy Between Artistic Contaminations and New Expressive-Communicative Languages: The Case of Wang Dongling’s Experimental Ink Movement” (Italian Association for Chinese Studies. Selected Papers 5, Venezia: Cafoscarina). It collects the metadata descriptions of the main artworks analysed in the publication as formalised in the “WRITE digital archive”, that is the semantic web digital archive of the WRITE project (G.A. 949645). Each jsonld file contains the metadata related to the artwork(s)/ itself/themselves, its author(s), its Calli-Writing Unit(s) (CWU – artwork content unit with calligraphic features), and, if any, related exhibition(s), and literary work(s).The artworks were selected from a large number of works included in the archive as the most representative of the ink calligraphic art by Wang Dongling. The dataset also includes the transcription of the artist’s interviews and the video cited in the publication
WRITE. Calligraphy and Performance Art in Contemporary China. Dataset
No full textThe current dataset is associated with the Open Access publication “Calligraphy and Performance Art in Contemporary China from Blackened Writing to Gender Identity” (Italian Association for Chinese Studies. Selected Papers 5, Venezia: Cafoscarina). It collects the metadata descriptions of the main artworks/series analysed in the publication as formalised in the “WRITE digital archive”, that is the semantic web digital archive of the WRITE project (G.A. 949645). Each jsonld file contains the metadata related to the artwork(s)/series itself/themselves, its author(s), its Calli-Writing Unit(s) (CWU – artwork content unit with calligraphic features), and, if any, related exhibition(s), artwork(s), and literary work(s).The artworks/series were selected from a large number of works included in the archive as the most representative of the new forms of calligraphy emerged in the context of performance art. The dataset also includes the transcription of the two artists’ interviews cited in the publication
WRITE. Performance of Genders. Dataset
No full textThe current dataset is associated with the Open Access publication “Performance of Genders: Marking Masculine/Feminine Identities through Body and Calligraphy”, MediAzioni, 2025, 46. It collects the metadata descriptions of the main artworks/series analysed in the publication as formalised in the “WRITE digital archive”, that is the semantic web digital archive of the WRITE project (G.A. 949645). Each jsonld file contains the metadata related to the artwork(s)/series itself/themselves, its author(s), its Calli-Writing Unit(s) (CWU – artwork content unit with calligraphic features), and, if any, related exhibition(s), artwork(s), and literary work(s).The artworks/series were selected from a large number of works included in the archive as the most representative of different approaches/perspectives on gender issues in Chinese performance art. The dataset also includes the transcription of the two artists’ interviews cited in the publication. The data, here provided in a machine-readable format, are already described in a discursive way in the related publication
WRITE. New Forms of Calligraphy in Contemporary China. Dataset
No full textThe current dataset is associated with the Open Access publication “New Forms of Calligraphy in Contemporary China” (KERVAN - International Journal of African and Asiatic Studies, vol. 28 No. 2 2024, DOI https://doi.org/10.13135/1825-263X/11615). It collects the metadata descriptions of the main artworks analysed in the publication as formalised in the “WRITE digital archive”, that is the semantic web digital archive of the WRITE project (G.A. 949645). Each file contains the metadata related not only to the artwork(s) itself, but also to its author(s), Calli-Writing Unit(s) (CWU – artwork content unit with calligraphic features), and, if any, related exhibition(s), artwork(s), and literary work(s).The artworks were selected from a large number of works included in the archive as the most representative of the new forms of calligraphy emerged in contemporary China
WRITE. Art from Calligraphy: Chinese Writing Turns into Pictorial Images, Performative Actions, Design Products and Graffiti works. Dataset
No full textThe current dataset is associated with the Open Access publication “Art From Calligraphy: Chinese Writing Turns into Pictorial Images, Performative Actions, Design Products and Graffiti works” (Routledge 2024, DOI 10.4324/9781032712970-12). It collects the metadata descriptions of the main artworks analysed in the publication as formalized in the “WRITE digital archive”, that is the semantic web digital archive of the WRITE project (G.A. 949645). Each file contains the metadata related not only to the artwork(s) itself, but also to its author(s), Calli-Writing Unit(s) (CWU – artwork content unit with calligraphic features), exhibition(s), related artwork(s) and literary work(s).The artworks were selected from a large number of works included in the archive as the most representative contemporary Chinese calligraphic artworks that took the forms of pictorial images, performative actions, design products and graffiti works.The data, here provided in a machine-readable format, are already described in a discursive way in the related publication
WRITE. On Sounds of Ink Exhibition. Dataset
No full textThe current dataset is associated with the Open Access publication “On 'Sounds of Ink: Luo Qi and Thirty Years of Calligraphyism' Exhibition: A Journey through Eight Thousand Verses, Silent Melodies and Sound Images” / “水墨的声音：洛齐与三十年的书法主义”展览 在《八千颂歌》、《无声之歌》和《声音的图像》之间漫步”, in A. Iezzi (ed.) “Sounds of Ink: Lou Qi and 30 Years of Calligraphyism / 水墨的声音—洛齐与书法主义30年”, 2025, Bologna: Bologna University Press). It collects the metadata descriptions of the main artworks analyzed in the publication as formalized in the “WRITE digital archive”, that is the semantic web digital archive of the WRITE project (G.A. 949645). Among them, one file contains the metadata related to the author of these artworks (Luo Qi), and the other three contain the metadata related to the artwork(s) itself, their Calli-Writing Unit(s) (CWU – artwork content unit with calligraphic features), the series they belong to and the exhibitions where they were exhibited. The artworks were selected from a large number of works included in the archive as those displayed in the exhibition “Sounds of Ink: Lou Qi and 30 Years of Calligraphyism” that is the core of the whole book. The dataset also includes the transcription of the artist’s interview and the document “关于《福洛寿》作品” sent by the artist (20.03.2019) cited in the publication
Data from: Are tree plantations promoting homogenization of mammal assemblages between regions with contrasting environments?
No full textAim
The expansion of agriculture is promoting the loss of natural environments and their biotic homogenization. We aimed at understanding whether the replacement of forests and grasslands by tree plantations leads to biotic homogenization of mammal assemblages of two contrasting Neotropical ecoregions or if dispersal or environmental limitations keep their original assemblages clearly differentiated.
Location
Argentina, Upper Paraná Atlantic Forest, Southern Cone Mesopotamian Savannas and Iberá marshes
Taxon
Mammals
Methods
We conducted two camera-trap surveys, deploying 184 camera-trap stations in continuous forest, fragmented forest, and pine plantations in the Atlantic Forest, and 234 in grassland, fragmented forest, and pine plantations in the Mesopotamian Savannas. We evaluated the similarity of the assemblages among the environments and regions, generating all possible pairwise comparisons using three similarity indices: Sørensen (species identity), Horn (common species), and Morisita-Horn (dominant species). Using variation partitioning diagrams and redundancy analysis, we evaluated the spatial structure of mammal assemblages and the influence of environmental variables.
Results
There was a greater similarity in species identity between different environments within each region than between similar environments in different regions. Common and dominant mammal assemblages of tree plantations tended to be similar between regions and were different from assemblages of the natural environments within the same region. Fragmented forest assemblages were very similar among regions. Assemblages were spatially structured but most of the variation between regions was explained by the environmental variables.
Main conclusions
Each region has a distinct pool of species, which is partially explained by environmental factors, such as the differential representation of native environments in the landscape. However, an expansion of tree plantations and forest fragmentation in the Atlantic Forest could lead to biotic homogenization between regions due to an increase in the abundance of generalist species.Independent variables
We estimated the percentage of each natural and anthropogenic land cover ("% of forest", "% of grassland" and "% of wetland", "% anthropogenic", "% of tree plantation") around the camera-trap stations using a Geographic Information System (GIS) and a land-use raster layer (pixels of 30x30 m) created for 2013-2014 by Zuleta et al. (2015). "% anthropogenic" was estimated as the percentage of all anthropogenic land uses (urban areas, crops, shrub and tree plantations) and "% of tree plantation" as the percentage of tree plantation only. The heterogeneity of land uses ("heterogeneity") was estimated using the Shannon-Wiener index (Shannon & Weaver, 1949) generated with the Fragstat software (ver. 4.2), using the number of pixels of each type of land use, including anthropogenic uses. These variables were estimated at five different radii centered on the camera-trap locations (200, 500, 1000, 2000, and 5000 m). Variable "cost of access" is an indirect measure of human impact and hunting pressure and was estimated as the time required for a person to reach the station from the nearest town or city following De Angelo, Paviolo & Di Bitetti (2011) and Iezzi et al. (2018; 2020). We estimated the livestock density ("livestock") at local scale as the number of independent cattle records/sampling effort (in days) at each camera-trap station. Climate data were obtained for each station from WorldClim (Fick & Hijmans, 2017), a set of global climate layers with a spatial resolution of about 1 km2: BIO5 corresponds to Max Temperature of Warmest Month; BIO6 to Min Temperature of Coldest Month; BIO14 to Precipitation of Driest Month; and BIO15 to Precipitation Seasonality (Coefficient of Variation).
GIS variables were estimated using ArcGIS 10.6 with the support of the ESRI Conservation Program and the Society for Conservation GIS (SCGIS).
References
De Angelo, C., Paviolo, A., & Di Bitetti, M.S. (2011). Differential impact of landscape transformation on pumas (Puma concolor) and jaguars (Panthera onca) in the Upper Paraná Atlantic Forest. Diversity and Distributions, 17(3), 422–436.
Di Bitetti, M.S., Iezzi, M. E., Cruz, P., Varela, D., & De Angelo, C. (2020). Effects of cattle on habitat use and diel activity of large native herbivores in a South American rangeland. Journal for Nature Conservation, 58(September), 125900.
Fick, S.E., & Hijmans, R.J. (2017). WorldClim 2: new 1-km spatial resolution climate surfaces for global land areas. International Journal of Climatology, 37(12), 4302–4315.
Iezzi, M.E., Cruz, P., Varela, D., De Angelo, C., & Di Bitetti, M.S. (2018). Tree monocultures in a biodiversity hotspot: Impact of pine plantations on mammal and bird assemblages in the Atlantic Forest. Forest Ecology and Management, 424, 216–227.
Iezzi, M.E., Cruz, P., Varela, D., Di Bitetti, M.S., & De Angelo, C. (2019). Fragment configuration or environmental quality? Understanding what really matters for native mammals conservation in the Atlantic Forest of Argentina. Journal for Nature Conservation, 52(June), 125751.
Iezzi, M.E., De Angelo, C., & Di Bitetti, M.S. (2020). Tree plantations replacing natural grasslands in high biodiversity areas: how do they affect the mammal assemblage? Forest Ecology and Management, 473(June), 118303.
Shannon, C., & Weaver, W. (1949). The mathematical theory of communication. Urbana, USA. University of Illinois Press.
Zuleta, G. A., Gauto, O. A., Varela, D. M., Angelo, C. De, Johnson, B. G., Lorán, D., … Zurita., A. A. (2015). Evaluaciones Ambientales Estratégicas y Programa de Monitoreo de la Biodiversidad en las Regiones de Mesopotamia y Delta del Paraná. Proyecto de Conservación de la Biodiversidad en Paisajes Productivos Forestales (GEF TF 090118). Technical report. Buenos Aires, Argentina.
More information about the camera-trap dataset in:
da Rosa, C. A. et al. (2020) NEOTROPICAL ALIEN MAMMALS: a data set of occurrence and abundance of alien mammals in the Neotropics. Ecology. Accepted Author Manuscript. doi:10.1002/ecy.3115
Lima, F., et al. (2017) ATLANTIC-CAMTRAPS: a dataset of medium and large terrestrial mammal communities in the Atlantic Forest of South America. Ecology, 98:2979. doi:10.1002/ecy.1998.
Marques Santos P., et al. (2019) NEOTROPICAL XENARTHRANS: a data set of occurrence of xenarthran species in the Neotropics. Ecology, e02663.
Nagy-Reis, M., et al. (2020) NEOTROPICAL CARNIVORES: a data set on carnivore distribution in the Neotropics. Ecology. Accepted Author Manuscript. https://doi.org/10.1002/ecy.3128
Funding provided by: Unidad para el Cambio Rural (UCAR) - Ministerio de Agricultura, Ganadería y Pesca, Argentina*Crossref Funder Registry ID: Award Number: PIA 2011 #10102 / PIA 2014 #14061Funding provided by: Agencia Nacional de Promoción Científica y Tecnológica, Argentina (ANPCyT)Crossref Funder Registry ID: http://dx.doi.org/10.13039/501100003074Award Number: PICT 2013 #1904Funding provided by: Consejo Nacional de Investigaciones Científicas y Técnicas, Argentina (CONICET)Crossref Funder Registry ID: http://dx.doi.org/10.13039/501100002923Award Number: PIP 2012-2014 № 112-201101-00616 / Project UE IBS # 22920160100130COFunding provided by: Ministerio de Ecología y Recursos Naturales Renovables de Misiones*Crossref Funder Registry ID: Award Number: Proyecto de Implementación del Plan de Manejo del Parque Provincial Uruguaí – Convocatoria año 2009 del Programa Experimental de Protección y Manejo de los Bosques Nativos – Resolución SAyDS No 256/09We conducted camera-trap (Reconyx HC500) surveys in two contrasting ecoregions ("Region"): in the Upper Paraná Atlantic Forest ecoregion ("Atlantic Forest" in the dataset), and in the Southern Cone Mesopotamian Savannas and the Iberá marshes ("Mesopotamian Savannas" in the dataset).
In the Atlantic Forest, we randomly distributed 184 camera-trap stations (with a minimum distance of 2 km between stations) in three main environments: continuous forest, fragmented forest, and tree plantations (Iezzi et al., 2018). Continuous forest stations (53 camera-trap stations) were located in the largest continuous native forest block (~370,000 ha), surrounded in a 2-km radius by more than 75% of forest cover. Fragmented forest stations (69 stations) were in forest remnants with varying degrees of anthropogenic disturbance, outside the continuous forest (Iezzi et al., 2019). Stations in tree plantations (62 stations) were located in 4- to 14-year-old pine plantation stands. The cameras were active between May 2013 and December 2014 for an average of 49.8 days (range: 12 - 123 days), totaling 9,171.8 camera days of effort.
In the Mesopotamian Savannas, we deployed 234 camera-trap stations, at least 2 km apart, in three environments: native grassland (89 camera-trap stations), fragmented forest (54 stations), and tree plantations (91 stations; Iezzi et al., 2020). Stations in tree plantations were immersed in 1- to 30-year-old pine plantation stands. Approximately half of the stations within each environment were located in fields with cattle (N=107; Di Bitetti et al., 2020). Cameras were active between May 2016 and March 2017, with a mean effort of 44.9 days (range: 21 - 67 days) per station, totaling 10,493.9 camera-trap days.
Stations were not baited and were located off-road, attached to a tree trunk or stake at 25-50 cm above ground level. More than 1 h had to pass for successive pictures of a species to be considered independent records. Records of small (<200 g) sigmodontine rodents were categorized as "sigmodontines" since it was difficult to identify them at species level. We excluded the records of domestic exotic mammals and 328 records that were impossible to identify at species level. Those sites with no records (9 stations) were excluded from the dataset.
For each species, we report the relative frequency of records at each station (# of independent records / # of camera-trap days)
WRITE. Graffiti in Shanghai and Chengdu: Looking for Chinese writing, symbols and calligraphy along the streets. Dataset
No full textThe current dataset is associated with the Open Access publication “Graffiti in Shanghai and Chengdu: Looking for Chinese writing, symbols and calligraphy along the streets” (Kervan 2024, DOI https://doi.org/10.13135/1825-263X/11610). It collects the metadata descriptions of the main artworks analyzed in the publication as formalized in the “WRITE digital archive”, that is the semantic web digital archive of the WRITE project (G.A. 949645). Each file contains the metadata related not only to the artwork(s) itself, but also to its author(s), and Calli-Writing Unit(s) (CWU – artwork content unit with calligraphic features). The artworks were selected from works included in the archive as the most representative Chinese graffiti in Shanghai and Chengdu, using calligraphy and Chinese characters. The data, here provided in a machine-readable format, are already described in a discursive way in the related publication
