The palace of the Diputacion del General of the Kingdom of Aragon was one of the most important buildings in Zaragoza in the 15th and 16th centuries. Containing a private chapel for its deputies and officials, important artists such as the sculptor Gil Morlanes “the Elder”, the iron-worker Master Hilario and the painters Anton de Aniano and Pedro de Aponte were commissioned to create its artistic endowment from 1500 onwards, something that would make it one of the most magnificent showcases of the figurative arts in the Crown of Aragon in the early 16th century. The work of all of them is present in the making of the grille and the altarpiece. New documentary information is supplied about both works and the historical patrimony of the building until its disappearance in the 19th century.
阿拉贡王国总督府是15、16世纪萨拉戈萨最重要的建筑之一。从1500年起，重要的艺术家，如雕塑家吉尔·莫兰尼斯(Gil Morlanes)、铁匠大师希拉里奥(Hilario)、画家安东·德·阿尼亚诺(Anton de Aniano)和佩德罗·德·阿蓬特(Pedro de Aponte)，被委托为其代表和官员建造了一个私人教堂，这将使其成为16世纪初阿拉贡王冠最宏伟的具象艺术展示之一。他们所有人的工作都体现在格栅和祭坛的制作上。新的文献资料提供了关于作品和建筑的历史遗产，直到它在19世纪消失。
{"title":"Gil Morlanes “El Viejo” y Maestro Hilario: un retablo y una reja para la capilla del Palacio de la Diputación del Reino de Aragón en Zaragoza (1500-1514)","authors":"Santos M. Mateos Rusillo","doi":"10.3989/AEARTE.2021.13","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.13","url":null,"abstract":"The palace of the Diputacion del General of the Kingdom of Aragon was one of the most important buildings in Zaragoza in the 15th and 16th centuries. Containing a private chapel for its deputies and officials, important artists such as the sculptor Gil Morlanes “the Elder”, the iron-worker Master Hilario and the painters Anton de Aniano and Pedro de Aponte were commissioned to create its artistic endowment from 1500 onwards, something that would make it one of the most magnificent showcases of the figurative arts in the Crown of Aragon in the early 16th century. The work of all of them is present in the making of the grille and the altarpiece. New documentary information is supplied about both works and the historical patrimony of the building until its disappearance in the 19th century.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"50 1","pages":"215-232"},"PeriodicalIF":0.2,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80961621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El viernes 29 de diciembre de 1628, la junta semanal celebrada por la Santa, Pontificia y Real Hermandad del Refugio y Piedad de Madrid aceptaba el ingreso como hermano del pintor de origen florentino Vicente Carducho. Esta fecha marca el inicio de un interesante e inexplorado vínculo entre el artista y la congregación religiosa, para la cual ofrecerá su colaboración y entre cuyas peticiones destaca la intervención en un desconocido retablo enviado desde Nápoles para presidir el altar mayor de la desaparecida iglesia de Nuestra Señora de la Concepción. Tales gestiones suponen una valiosa fuente de información que aporta nuevos datos sobre la actividad del pintor y la consolidación de una fructífera red de contactos recogida en su tratado Diálogos de la pintura.
1628年12月29日星期五，由马德里的神圣、教皇和皇家兄弟会(Real Hermandad del Refugio y Piedad)举行的每周会议接受了佛罗伦萨画家维森特·卡杜乔(Vicente Carducho)的兄弟身份。这个日期未知品牌开启有趣和艺术家之间的联系和协作,为将其宗教会众的要求,强调干涉一个陌生人晚期来自那不勒斯主持总坛的圣母教堂,设计。这些努力提供了宝贵的信息来源，为画家的活动提供了新的数据，并巩固了他在《绘画对话》一书中收集的富有成果的联系网络。
{"title":"Vicente Carducho y la Hermandad del Refugio en Madrid: encargos artísticos y proyección cortesana","authors":"David Mallén Herráiz","doi":"10.3989/aearte.2021.14","DOIUrl":"https://doi.org/10.3989/aearte.2021.14","url":null,"abstract":"El viernes 29 de diciembre de 1628, la junta semanal celebrada por la Santa, Pontificia y Real Hermandad del Refugio y Piedad de Madrid aceptaba el ingreso como hermano del pintor de origen florentino Vicente Carducho. Esta fecha marca el inicio de un interesante e inexplorado vínculo entre el artista y la congregación religiosa, para la cual ofrecerá su colaboración y entre cuyas peticiones destaca la intervención en un desconocido retablo enviado desde Nápoles para presidir el altar mayor de la desaparecida iglesia de Nuestra Señora de la Concepción. Tales gestiones suponen una valiosa fuente de información que aporta nuevos datos sobre la actividad del pintor y la consolidación de una fructífera red de contactos recogida en su tratado Diálogos de la pintura.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"25 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70807348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
O. Ramos-Lugo, Marta Plaza Beltrán, Jorge Rivas López
El Museo Nacional de Ciencias Naturales, atesora una de las colecciones más desconocidas y singulares de su inmenso patrimonio cultural: 57 mosaicos de plumas sobre láminas de papel. La institución incorporó, desde sus inicios como Real Gabinete en el siglo XVIII, no solo colecciones de Historia Natural sino todo tipo de objetos curiosos relacionados con el arte y el folclore, desde lugares como Asia o América. A partir del siglo XVI se reinterpretó el fondo y el formato del arte plumario aborigen americano. De nuevo contenido religioso, se elaboró en conventos por indígenas siendo muy cotizado en Europa donde, probablemente, influyó en producciones de temática profana concretas, creadas por equipos locales. Este artículo presenta este estilo de mosaicos realizados en Eger, que alcanzaron su mayor difusión en la Europa del siglo XIX. La relación entre folclore y ornitología fue su modelo de representación e identidad, que concluyó a principios del pasado siglo.
国家自然科学博物馆(national museum of natural sciences)珍藏着其巨大文化遗产中最不为人知和最独特的藏品之一:57幅纸上的羽毛马赛克。自18世纪作为皇家内阁成立以来，该机构不仅收藏了自然历史，还收藏了来自亚洲或美洲等地的各种与艺术和民间传说有关的奇特物品。从16世纪开始，美国土著普卢玛艺术的背景和形式被重新诠释。新的宗教内容，由土著居民在修道院制作，在欧洲非常受欢迎，在那里，它可能影响了当地团队创作的特定世俗主题的作品。这篇文章介绍了这种在埃格尔制作的马赛克风格，它在19世纪的欧洲得到了最广泛的传播。民间传说和鸟类学之间的关系是他们的代表和身份模型，这在上世纪初结束。
{"title":"Los mosaicos de plumas del Museo Nacional de Ciencias Naturales: una colección de “curiosidades del arte”","authors":"O. Ramos-Lugo, Marta Plaza Beltrán, Jorge Rivas López","doi":"10.3989/aearte.2021.16","DOIUrl":"https://doi.org/10.3989/aearte.2021.16","url":null,"abstract":"El Museo Nacional de Ciencias Naturales, atesora una de las colecciones más desconocidas y singulares de su inmenso patrimonio cultural: 57 mosaicos de plumas sobre láminas de papel. La institución incorporó, desde sus inicios como Real Gabinete en el siglo XVIII, no solo colecciones de Historia Natural sino todo tipo de objetos curiosos relacionados con el arte y el folclore, desde lugares como Asia o América. A partir del siglo XVI se reinterpretó el fondo y el formato del arte plumario aborigen americano. De nuevo contenido religioso, se elaboró en conventos por indígenas siendo muy cotizado en Europa donde, probablemente, influyó en producciones de temática profana concretas, creadas por equipos locales. Este artículo presenta este estilo de mosaicos realizados en Eger, que alcanzaron su mayor difusión en la Europa del siglo XIX. La relación entre folclore y ornitología fue su modelo de representación e identidad, que concluyó a principios del pasado siglo.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70807420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En la capilla de los Simancas, también del Espíritu Santo o de los Obispos, en la Mezquita-Catedral de Córdoba, se han descubierto unas pinturas murales que representan figuras de profetas atribuidas a Cesare Arbasia (1547-1614).
{"title":"Nuevas pinturas de Cesare Arbasia en la catedral de Córdoba","authors":"M.ª Ángeles Jordano Barbudo","doi":"10.3989/AEARTE.2021.10","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.10","url":null,"abstract":"En la capilla de los Simancas, también del Espíritu Santo o de los Obispos, en la Mezquita-Catedral de Córdoba, se han descubierto unas pinturas murales que representan figuras de profetas atribuidas a Cesare Arbasia (1547-1614).","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"1 1","pages":"163-171"},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89920602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Durante la realización de una investigación sobre el Castillo de Soutomaior (Pontevedra) se descubrieron algunas fotografías de un fresco pintado en una de las paredes interiores de la antigua fortaleza, en el cual se representa la leyenda de San Jorge y el Dragón. El presente trabajo ofrece los resultados obtenidos tras indagar sobre esta obra desaparecida, argumentando que su autor principal fue el pintor valenciano Joaquín Sorolla. Palabras clave: Joaquín Sorolla; Castillo de Soutomaior; Enrique Lluria; María Vinyals; Pontevedra.
{"title":"Interpretación de San Jorge y el Dragón. Una obra olvidada de Joaquín Sorolla en el castillo de Soutomaior","authors":"Diego Piay Augusto","doi":"10.3989/AEARTE.2021.11","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.11","url":null,"abstract":"Durante la realización de una investigación sobre el Castillo de Soutomaior (Pontevedra) se descubrieron algunas fotografías de un fresco pintado en una de las paredes interiores de la antigua fortaleza, en el cual se representa la leyenda de San Jorge y el Dragón. El presente trabajo ofrece los resultados obtenidos tras indagar sobre esta obra desaparecida, argumentando que su autor principal fue el pintor valenciano Joaquín Sorolla. Palabras clave: Joaquín Sorolla; Castillo de Soutomaior; Enrique Lluria; María Vinyals; Pontevedra.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"14 1","pages":"172-180"},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90428003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores Maria Campo Alange’s (1902-1986) work as an art critic. Her writings have been mostly ignored in scholarly literature, perhaps because they do not conform to the dominant trends of Spanish art criticism of her time. Such a marginal position, I contend, was related to Campo Alange’s unique personality, but also to her precarious situation as a woman intellectual within the context of Francoism, which banned women from participating in the public sphere. Distancing herself from the “trending topics” of the time allowed her to find her own space and to identify a blind spot in the mainstream narrative of Spanish art criticism: the contribution of women artists to modern art.
{"title":"Pensar fuera del marco: María Campo Alange, crítica de arte protofeminista","authors":"Patricia Mayayo","doi":"10.3989/AEARTE.2021.08","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.08","url":null,"abstract":"This article explores Maria Campo Alange’s (1902-1986) work as an art critic. Her writings have been mostly ignored in scholarly literature, perhaps because they do not conform to the dominant trends of Spanish art criticism of her time. Such a marginal position, I contend, was related to Campo Alange’s unique personality, but also to her precarious situation as a woman intellectual within the context of Francoism, which banned women from participating in the public sphere. Distancing herself from the “trending topics” of the time allowed her to find her own space and to identify a blind spot in the mainstream narrative of Spanish art criticism: the contribution of women artists to modern art.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"34 1","pages":"133-142"},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81037098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article details, documents, and analyzes the paintings of the main altarpiece of the church of Saint Peter in Sabinan, completed in 1653 by the Aragonese artist Jusepe Martinez, court painter ad honorem. It also explores the iconographic models on which the artist likely based the composition. A detailed study of these canvases highlights the characteristics of Martinez artistic production, which straddled classicism, learned from Guido Reni and Domenichino during his Roman stay, and Caravaggio’s naturalism. Jusepe Martinez embodies the influence of Italian art on Aragonese painting.
{"title":"Las pinturas del retablo mayor de Sabiñán (Zaragoza): aportación al catálogo crítico de obras de Jusepe Martínez, pintor de Felipe IV","authors":"Rebeca Carretero Calvo","doi":"10.3989/AEARTE.2021.07","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.07","url":null,"abstract":"This article details, documents, and analyzes the paintings of the main altarpiece of the church of Saint Peter in Sabinan, completed in 1653 by the Aragonese artist Jusepe Martinez, court painter ad honorem. It also explores the iconographic models on which the artist likely based the composition. A detailed study of these canvases highlights the characteristics of Martinez artistic production, which straddled classicism, learned from Guido Reni and Domenichino during his Roman stay, and Caravaggio’s naturalism. Jusepe Martinez embodies the influence of Italian art on Aragonese painting.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"34 1","pages":"117-132"},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87437044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maestro Bartolome is one of the most representative masters of Hispano-Flemish painting in Castile. This article examines the stylistic features of the altarpiece of Saint Mark and Saint Catherine (Cathedral of Siguenza) to suggest the involvement of Maestro Bartolome in its completion. Documentary evidence reveals a painter named Bartolome living in Almazan (Soria) in 1504. The technical and formal characteristics of his style are well understood thanks to recent publications on maestro Bartolome’s collaboration with Fernando Gallego.
{"title":"El maestro Bartolomé en la catedral de Sigüenza. Una hipótesis en relación al retablo de San Marcos y Santa Catalina","authors":"F. J. Ramos Gómez","doi":"10.3989/AEARTE.2021.06","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.06","url":null,"abstract":"Maestro Bartolome is one of the most representative masters of Hispano-Flemish painting in Castile. This article examines the stylistic features of the altarpiece of Saint Mark and Saint Catherine (Cathedral of Siguenza) to suggest the involvement of Maestro Bartolome in its completion. Documentary evidence reveals a painter named Bartolome living in Almazan (Soria) in 1504. The technical and formal characteristics of his style are well understood thanks to recent publications on maestro Bartolome’s collaboration with Fernando Gallego.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"59 1","pages":"101-116"},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82180856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Arcadio Torres Martín fue un destacado anticuario; protagonista del tráfico de obras de arte desde España a EE. UU. en los años anteriores a la Guerra Civil, durante la posguerra y la dictadura de Franco. Estudioso del arte, miembro de la Institución Cultural Tello Téllez de Meneses (Palencia), tomó parte en la venta de obras de arte procedentes de San Andrés de Arroyo (Palencia), las tablas de Juan de Flandes procedentes de San Lázaro de Palencia y el ábside de San Martín de Fuentidueña (Segovia), entre otras. Contó con la confianza de ciertos obispos y gestó un lucrativo negocio de antigüedades en paralelo a su destacada posición social como amante del arte. Acompañó a personajes destacados, como al hispanista W. S. Cook o al embajador estadounidense en España, en sus visitas a monumentos españoles y ofertó obras al Metropolitan Museum of Art de Nueva York.
阿卡迪奥·托雷斯martin是一位杰出的古物学家;从西班牙到美国的艺术品贩运的主角。哦。在内战前、战后和佛朗哥独裁统治期间。艺术学者,教育机构成员Tello tellez Meneses(之地),参加买卖艺术品来自圣安德烈斯·贝克(之地),胡安·弗兰德斯来自圣拉撒路表之地和圣马丁圆Fuentidueña(塞尔维亚),等等。他得到了一些主教的信任，并经营着一个利润丰厚的古董生意，与此同时，他作为艺术爱好者的杰出社会地位。他陪同西班牙学者w·s·库克(W. S. Cook)和美国驻西班牙大使参观西班牙纪念碑，并向纽约大都会艺术博物馆(Metropolitan Museum of Art)赠送作品。
{"title":"Arcadio Torres Martín y sus negocios al servicio del tráfico de obras de arte desde España a Estados Unidos","authors":"María José Martínez Ruiz","doi":"10.3989/AEARTE.2021.09","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.09","url":null,"abstract":"Arcadio Torres Martín fue un destacado anticuario; protagonista del tráfico de obras de arte desde España a EE. UU. en los años anteriores a la Guerra Civil, durante la posguerra y la dictadura de Franco. Estudioso del arte, miembro de la Institución Cultural Tello Téllez de Meneses (Palencia), tomó parte en la venta de obras de arte procedentes de San Andrés de Arroyo (Palencia), las tablas de Juan de Flandes procedentes de San Lázaro de Palencia y el ábside de San Martín de Fuentidueña (Segovia), entre otras. Contó con la confianza de ciertos obispos y gestó un lucrativo negocio de antigüedades en paralelo a su destacada posición social como amante del arte. Acompañó a personajes destacados, como al hispanista W. S. Cook o al embajador estadounidense en España, en sus visitas a monumentos españoles y ofertó obras al Metropolitan Museum of Art de Nueva York.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"29 1","pages":"143-162"},"PeriodicalIF":0.2,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81610205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article looks anew at The 1929 Barcelona International Exposition, focusing on its material and visual culture, its commercial pavilions, its attractions, and its configuration of space in order to demonstrate how the design of this event connects with the dynamics of urban culture and the experience of modernity. Through it, we will see the centrality of sensory experience, the visual regime of the fair as related to the circulation of knowledge in the 19th century, and the participation of consumerism in the creation of new urban spaces, new forms of entertainment, and modern styles such as Art Deco. The objective will be to demonstrate the extent to which the 1929 event made urban culture and the emergence of consumer society more concrete, as first suggested in the Exposition of 1888.
{"title":"La cultura urbana como espectáculo: la experiencia de modernidad en la Exposición Internacional de Barcelona 1929","authors":"Ana Rodríguez Granell","doi":"10.3989/AEARTE.2021.04","DOIUrl":"https://doi.org/10.3989/AEARTE.2021.04","url":null,"abstract":"This article looks anew at The 1929 Barcelona International Exposition, focusing on its material and visual culture, its commercial pavilions, its attractions, and its configuration of space in order to demonstrate how the design of this event connects with the dynamics of urban culture and the experience of modernity. Through it, we will see the centrality of sensory experience, the visual regime of the fair as related to the circulation of knowledge in the 19th century, and the participation of consumerism in the creation of new urban spaces, new forms of entertainment, and modern styles such as Art Deco. The objective will be to demonstrate the extent to which the 1929 event made urban culture and the emergence of consumer society more concrete, as first suggested in the Exposition of 1888.","PeriodicalId":44318,"journal":{"name":"ARCHIVO ESPANOL DE ARTE","volume":"106 1","pages":"51-68"},"PeriodicalIF":0.2,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79040250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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