2007年7月31日星期二
Australian town
Kevin John Best was born in the Australian town of Hamilton in New South Wales (NSW) on the 27th January 1932. Kevin demonstrated skills as an artist at a young age, spending time as a boy sketching warships and airplanes especially during the World War II years. As was typical with many Australian boys in that era, he was a member of the Boy Scouts and spent time bushwalking (hiking) and camping in the Australian bush. His love of the Australian Bush is demonstrated in many of his paintings which evoke images of outback life, stockmen, and family moments in uniquely Australian settings.
Influences
One of her most important influences was Clement Greenberg, an important art and literary critic. Through Greenberg she was introduced to the New York art scene. Under his guidance she spent the summer of 1950 studying with Hans Hofmann (1880-1966), catalyst of the Abstract Expressionist movement.
The first Jackson Pollock show Frankenthaler saw was at the Betty Parson's Gallery in 1951. She had this to say about seeing Pollock's paintings Autumn Rhythm, Number 30, 1950 (1950), Number One (1950), and Lavender Mist:
"It was all there. I wanted to live in this land. I had to live there, and master the language."
In 1960 the term Color Field Painting was used to describe the work of Frankenthaler.[citation needed] This style was characterised by large areas of a more or less flat single color. The Color Field artists set them selves apart from the Abstract Expressionists because they eliminated the emotional, mythic or the religious content and the highly personal and gestural and painterly application.
Some of her thoughts on painting:
"A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute." (In Barbara Rose, Frankenthaler (New York: Harry N. Abrams, Inc. 1975, p. 85)
The first Jackson Pollock show Frankenthaler saw was at the Betty Parson's Gallery in 1951. She had this to say about seeing Pollock's paintings Autumn Rhythm, Number 30, 1950 (1950), Number One (1950), and Lavender Mist:
"It was all there. I wanted to live in this land. I had to live there, and master the language."
In 1960 the term Color Field Painting was used to describe the work of Frankenthaler.[citation needed] This style was characterised by large areas of a more or less flat single color. The Color Field artists set them selves apart from the Abstract Expressionists because they eliminated the emotional, mythic or the religious content and the highly personal and gestural and painterly application.
Some of her thoughts on painting:
"A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute." (In Barbara Rose, Frankenthaler (New York: Harry N. Abrams, Inc. 1975, p. 85)
Style and technique
Her career was launched in 1952 with the exhibition of Mountains and Sea. This painting is large - measuring seven feet by ten feet - and has the effect of a watercolor, though it is painted in oils. In it, she introduced the technique of painting directly on to an unprepared canvas so that the material absorbs the colors. She heavily diluted the oil paint with turpentine or kerosene so that the color would soak into the canvas. This technique, known as "soak stain" was adopted by other artists (notably Morris Louis and Kenneth Noland) and launched the second generation of the Color Field school of painting. This method would leave the canvas with a halo effect around each area to which the paint was applied.
Helen Frankenthaler
Helen Frankenthaler (born December 12, 1928) is an American post-painterly abstraction artist. Born in New York City, she was influenced by Jackson Pollock with whom she also was involved in the 1946-1960 Abstract Art Movement. She was the youngest daughter of a justice on the New York State Supreme Court. She studied at the Dalton School under Rufino Tamayo and also at Bennington College in Vermont. She later married fellow artist Robert Motherwell.
Wash (painting)
A wash is a painting technique in which a paint brush that is very wet with solvent and holds a small paint load is applied to a wet or dry support such as paper or primed canvas. The result is a smooth and uniform area that ideally lacks the appearance of brush strokes and is semi-transparent. The drybrush technique can be considered the opposite of a wash.
A wash is accomplished by using a large amount of solvent with little paint. Paint consists of a pigment and binder which allows the pigment to adhere to its support. Solvents dilute the binder, thus diluting the binding strength of the paint. Washes can be brittle and fragile paint films because of this. However, when gum arabic watercolor washes are applied to a highly absorbant surface, such as paper, the effects are long lasting. This is the reason why watercolor is the medium most often utlizing washes.
The wash technique can be achieved by doing the following:
With water-based media such as inks, acrylic paints, tempera paints or watercolor paints, a wet brush should be dipped into a pool of very wet and diluted paint. This paint pool should be evenly mixed and dispersed to prevent uneven pigment load on the brush. The loaded brush should then be applied to a dry or wet support. Washes are most often applied with large brushes over large areas. The areas in which a wash effects can be controlled with careful application of the wash, and with the use of liquid frisket or rubber cement. With oil-based media such as oil paint, a similar technique as outlined above may be used, though instead of water the paint pool should be well diluted in solvent, such as turpentine or mineral spirits. The loaded brush should be applied to a dry or solvent soaked support. Because oil paint has a longer drying time than water-based media, brushing over or blending a wash can extend or even out the appearance of the wash. American artist Helen Frankenthaler (which see) was famous for creating washy, watercolor-like effects in her oil paintings through her distinctively radical version of this method, which many sources credit her with inventing, and which is sometimes called "soak stain".
A wash is accomplished by using a large amount of solvent with little paint. Paint consists of a pigment and binder which allows the pigment to adhere to its support. Solvents dilute the binder, thus diluting the binding strength of the paint. Washes can be brittle and fragile paint films because of this. However, when gum arabic watercolor washes are applied to a highly absorbant surface, such as paper, the effects are long lasting. This is the reason why watercolor is the medium most often utlizing washes.
The wash technique can be achieved by doing the following:
With water-based media such as inks, acrylic paints, tempera paints or watercolor paints, a wet brush should be dipped into a pool of very wet and diluted paint. This paint pool should be evenly mixed and dispersed to prevent uneven pigment load on the brush. The loaded brush should then be applied to a dry or wet support. Washes are most often applied with large brushes over large areas. The areas in which a wash effects can be controlled with careful application of the wash, and with the use of liquid frisket or rubber cement. With oil-based media such as oil paint, a similar technique as outlined above may be used, though instead of water the paint pool should be well diluted in solvent, such as turpentine or mineral spirits. The loaded brush should be applied to a dry or solvent soaked support. Because oil paint has a longer drying time than water-based media, brushing over or blending a wash can extend or even out the appearance of the wash. American artist Helen Frankenthaler (which see) was famous for creating washy, watercolor-like effects in her oil paintings through her distinctively radical version of this method, which many sources credit her with inventing, and which is sometimes called "soak stain".
[edit] Weapons
The Imperial Regalia of Japan are used as weapons in the game:
The Reflector (or mirror) serves as a melee weapon with a mid attack rate and reach. Equipped as a sub-weapon, it also functions as a shield to block and counterattack enemies. Reflectors include: Divine Retribution, Snarling Beast, Infinity Judge, Trinity Mirror and Solar Flare. The Rosaries (or beads/jewels) can be strung together as a whip-like melee weapon capable of inflicting rapid hits; when equipped as a sub-weapon, the individual beads can be shot out as individual or shotgun-like projectiles that automatically aim. Has the longest reach of all the weapons. Rosaries include: Devout Beads, Life Beads, Exorcism Beads, Resurrection Beads and Tundra Beads. The Glaive (or sword) is also a melee weapon, slow to attack but each hit can be separately charged up to inflict heavy damage; used for a slam-down slash when used in air. Equipped as a sub-weapon, it can be used for a stabbing/thrust attack while on the ground, or lunging/diving attacks when used in air. Glaives include: Tsumugari, Seven Strike, Blade of Kusanagi, Eighth Wonder, and Thunder Edge. There are five weapons of each type in the game, each type differing in its basic attack power, its use as a sub-weapon, and how it interacts with Amaterasu's Celestial Brush; for example, the most powerful of each weapon carries an elemental power which Amaterasu can extract to inflict damage upon enemies. These include fire (Solar Flare reflector), ice (Tundra Beads rosary), and lightning (Thunder Edge glaive).
The Reflector (or mirror) serves as a melee weapon with a mid attack rate and reach. Equipped as a sub-weapon, it also functions as a shield to block and counterattack enemies. Reflectors include: Divine Retribution, Snarling Beast, Infinity Judge, Trinity Mirror and Solar Flare. The Rosaries (or beads/jewels) can be strung together as a whip-like melee weapon capable of inflicting rapid hits; when equipped as a sub-weapon, the individual beads can be shot out as individual or shotgun-like projectiles that automatically aim. Has the longest reach of all the weapons. Rosaries include: Devout Beads, Life Beads, Exorcism Beads, Resurrection Beads and Tundra Beads. The Glaive (or sword) is also a melee weapon, slow to attack but each hit can be separately charged up to inflict heavy damage; used for a slam-down slash when used in air. Equipped as a sub-weapon, it can be used for a stabbing/thrust attack while on the ground, or lunging/diving attacks when used in air. Glaives include: Tsumugari, Seven Strike, Blade of Kusanagi, Eighth Wonder, and Thunder Edge. There are five weapons of each type in the game, each type differing in its basic attack power, its use as a sub-weapon, and how it interacts with Amaterasu's Celestial Brush; for example, the most powerful of each weapon carries an elemental power which Amaterasu can extract to inflict damage upon enemies. These include fire (Solar Flare reflector), ice (Tundra Beads rosary), and lightning (Thunder Edge glaive).
Celestial Brush
Unique to Ōkami is the Celestial Brush. Players can bring the game to a pause and call up a canvas, where the player can draw onto the screen using the left analog stick to control the Celestial Brush. While many gamers felt that the Celestial Brush aspect of the game would have made Ōkami a better title for Nintendo's Wii console, Atsushi Inaba of Clover Studio has stated that Ōkami is primarily an action game, and the Wii controller would not be well suited for the overall gameplay contained within the game.[3] This feature is used in combat, puzzles, and as general gameplay. For example, the player can create strong wind by drawing a loop, cut enemies by drawing a line through them, or create bridges by painting one amongst many other abilities. These techniques are learned through the course of the game by completing constellations to release the Celestial Brush gods from their hiding spots. The Celestial Brush bears similarities to the use of mouse gestures to perform miracles in the desktop computer game Black & White, in which the player, just like in Ōkami, takes on the role of a god. You basically control the very fabric of time but your ink pots will run out if used too much in one go, making you lose your powers for a short period of time.
Gameplay
Ōkami has the player controlling the main character, Amaterasu, in a woodcut, water-color style, cel-shaded environment, which looks like an animated Japanese ink-illustration. The gameplay style is a mix of action, platform, and puzzle gaming genres, and has been noted by many reviewers to have numerous similarities in overall gameplay style to The Legend of Zelda series, an inspiration that director Hideki Kamiya, a self-acclaimed Zelda-fan, has admitted.[citation needed] The main story is primarily linear, directed through by Amaterasu's guide Issun, though numerous side quests and optional activities allow for the player to explore the game world and take the story at their own pace.
Combat is staged in a ghostly virtual arena, and Amaterasu can fight enemies using a combination of weapons, fighting techniques, and brush methods, to dispatch the foes. At the end of combat, money (as yen) is rewarded to Amaterasu, with bonuses for completing a battle quickly and without taking damage. The money can be spent on numerous items from merchants across the land, including healing goods, better weapons, tools, and key items for completing quests. The money can also be used to buy new combat techniques at dojos through the land. Additionally, rare Demon Fangs can be earned through combat which can be traded for additional, unique items that are beneficial in gameplay but not required to complete the game.
By completing quests, side quests, and small additional activitives (such as making trees bloom into life, or feeding wild animals), Amaterasu earns Praise, which can then be spent to increase various statistics of the character, such as the amount of health and number of ink wells for Celestial brush techniques.
The art in Ōkami is highly inspired by Japanese watercolor and wood carving art of the Ukiyo-e style, such as the work of Hokusai.
Combat is staged in a ghostly virtual arena, and Amaterasu can fight enemies using a combination of weapons, fighting techniques, and brush methods, to dispatch the foes. At the end of combat, money (as yen) is rewarded to Amaterasu, with bonuses for completing a battle quickly and without taking damage. The money can be spent on numerous items from merchants across the land, including healing goods, better weapons, tools, and key items for completing quests. The money can also be used to buy new combat techniques at dojos through the land. Additionally, rare Demon Fangs can be earned through combat which can be traded for additional, unique items that are beneficial in gameplay but not required to complete the game.
By completing quests, side quests, and small additional activitives (such as making trees bloom into life, or feeding wild animals), Amaterasu earns Praise, which can then be spent to increase various statistics of the character, such as the amount of health and number of ink wells for Celestial brush techniques.
The art in Ōkami is highly inspired by Japanese watercolor and wood carving art of the Ukiyo-e style, such as the work of Hokusai.
Story
The quiet village of Kamiki, filled with beautiful cherry trees, had a price to pay in order to maintain their peace. Each and every year a festival is held, during which a maiden must be sacrificed to the eight-headed serpent, Orochi, signalled by a white arrow being launched into the house of his chosen sacrifice. In the 100th year since Orochi's arrival, as the time for the sacrifice drew near, a pure white wolf the village dubbed "Shiranui" would appear and stalk the village's streets at night. A swordsman in the village, Nagi (Izanagi in the Japanese version), detested Shiranui, believing her to be one of Orochi's agents, and repeatedly tried to drive the wolf away. When the night of the festival finally arrived, Nagi's beloved, Nami (Izanami in the Japanese version) was chosen to be slain. Determined both to save the woman he loved and to put an end to the village's burden, Nagi went to Orochi's lair to slay the beast. Alas, he was defeated and about to be killed when Shiranui stepped in and took over the battle. Using strange skills, the wolf battled valiantly against Orochi, but still could not defeat the serpent.
Battered and beaten, Shiranui released a powerful howl to the heavens. Strengthened by the howl, Nagi struggled to his feet and took up his sword once more, leaping onto Orochi and defeating the creature. Shiranui, filled with poison and fur dyed crimson with her own blood, was carried back to the village by Nagi where she was praised as Kamiki's savior - and then died. A shrine was built in the image and honor of Shiranui, and the sword that had saved the village was interred in the "Moon Cave" where the battle had taken place, and used to seal Orochi away. One hundred years of peace passed, and a man disturbs the sword at the "Moon Cave", unleashing Orochi, who is not quite as fictional as the intruder had believed. Orochi immediately begins covering the entire world in darkness and evil. In response, Sakuya the wood sprite, guardian of the village, goes to the shrine dedicated to Shiranui and brings the statue to life as Amaterasu, the Ōkami, reincarnation of Shiranui and sun goddess incarnated in the form of a white wolf.
Amaterasu, the game's protagonistAmaterasu must search Nippon (the native name for Japan) for the 13 brush spirits to gain the power to defeat Orochi and heal the land. Throughout the journey, Amaterasu is hounded by Waka, a strange but powerful individual that seems to have the gift of foresight, and further teases Amaterasu and Issun to his own mysterious ends.
The 100th anniversary of the original defeat of Orochi, celebrated now by a festival held at Kamiki village, is quickly approaching while Amaterasu is in the process of removing the curse from other parts of the land. Returning just in time for the night of the festival, events begin to unfold exactly as they did 100 years ago: Orochi summons an arrow to indicate the chosen sacrifice: Kushi, the sake maker in Kamiki and romantic interest of Susano, a descendant of the great warrior Nagi. It is discovered that Susano himself was the one who disturbed the sword to begin with, as he despised the pressure of being Nagi's descendant and did not believe that his ancestor really defeated an evil spirit. To stop the constant pressure to be a hero, he wanted to prove to the village that the story of Nagi was nothing but a myth and there was no evil serpent sealed by Nagi's sword. Susano pulled the legendary sword out, releasing Orochi into the world. As it was 100 years ago, both Amaterasu and Susano return to the Moon Cave to defeat Orochi again and rescue Kamiki; as Orochi finally dies, a black evil spirit is seen to rise from the body and drift northward, but not unnoticed by Amaterasu.
After leaving Kamiki again, Amaterasu continues to search for more brush techniques and to investigate the mysterious spirit that left Orochi's body. Along the way, she encounters two more similar spirit foes - Blight, which had taken residence inside the Emperor and caused him to breath out a strange mist that was slowly killing the people and lands nearby, and a Ninetails who had the same god powers as the gods and was sending evil spirits out from a mysterious island in order to try to take over the land. After both are defeated by Amaterasu, the same type of black spirit leaves the bodies and drifts northward. Following these spirits, Amaterasu is led to the snow-covered parts of the land. There, a village of humans that can assume animal forms is found and one gifted young girl has gone missing; without her prayer, an evil force would be unleashed upon the lands and the people implore Amaterasu to find her. Amaterasu discovers that the girl has fallen back through a doorway in time to 100 years prior in Kamiki Village, and to rescue her, Amaterasu must work with Shiranui and Nagi to defeat Orochi (as had originally been explained at the start of the story). Upon returning to the present, Amaterasu then proceeds to encounter two final evil beings, known as Lechku and Nechku, giant mechanical owls, which are the source of the evil threatening the village.
There, a legend of a mysterious "Ark of Yamato" is discovered. The Ark seems to have fallen from the heavens 200 years ago and crashed into a frozen lake (Laochi Lake), and opened up to reveal hordes of evil demons that immediately began to spread across the land. Some of these demons would go on to become Orochi, Blight, Lechku, Nechku and Ninetails, and thus the black forms seen heading northward after their defeat would be these demons returning to their point of origin. Further discovery indicates that before the Ark crashed, a race called Celestial Beings had found the Ark and thought it would usable for transporting around the Celestial Plains, but it was found out too late that the Ark already had residents, and was effectively a prison ship for the evil demons. All but one of the Celestial Beings were killed before the Ark crashed, the last one fleeing the destruction. Amaterasu, with the spiritual and physical help of many others guided by the encouragement of Issun, is able to defeat all the remaining demon foes, including those she previously fought before but have returned here.
It is finally revealed that Waka was the last member of the Moon Tribe and had known Amaterasu's spirit prior to the crash of the Ark, And the Ruler of Darkness, Yami, pictured as a seal in a giant, mechanical ball lies waiting for them in the Ark. And by guiding Amaterasu to the Ark and destruction of the evil spirits, Waka is finally able to return to the Celestial Plains alongside Amaterasu, using the freed Ark as their means of return.
Battered and beaten, Shiranui released a powerful howl to the heavens. Strengthened by the howl, Nagi struggled to his feet and took up his sword once more, leaping onto Orochi and defeating the creature. Shiranui, filled with poison and fur dyed crimson with her own blood, was carried back to the village by Nagi where she was praised as Kamiki's savior - and then died. A shrine was built in the image and honor of Shiranui, and the sword that had saved the village was interred in the "Moon Cave" where the battle had taken place, and used to seal Orochi away. One hundred years of peace passed, and a man disturbs the sword at the "Moon Cave", unleashing Orochi, who is not quite as fictional as the intruder had believed. Orochi immediately begins covering the entire world in darkness and evil. In response, Sakuya the wood sprite, guardian of the village, goes to the shrine dedicated to Shiranui and brings the statue to life as Amaterasu, the Ōkami, reincarnation of Shiranui and sun goddess incarnated in the form of a white wolf.
Amaterasu, the game's protagonistAmaterasu must search Nippon (the native name for Japan) for the 13 brush spirits to gain the power to defeat Orochi and heal the land. Throughout the journey, Amaterasu is hounded by Waka, a strange but powerful individual that seems to have the gift of foresight, and further teases Amaterasu and Issun to his own mysterious ends.
The 100th anniversary of the original defeat of Orochi, celebrated now by a festival held at Kamiki village, is quickly approaching while Amaterasu is in the process of removing the curse from other parts of the land. Returning just in time for the night of the festival, events begin to unfold exactly as they did 100 years ago: Orochi summons an arrow to indicate the chosen sacrifice: Kushi, the sake maker in Kamiki and romantic interest of Susano, a descendant of the great warrior Nagi. It is discovered that Susano himself was the one who disturbed the sword to begin with, as he despised the pressure of being Nagi's descendant and did not believe that his ancestor really defeated an evil spirit. To stop the constant pressure to be a hero, he wanted to prove to the village that the story of Nagi was nothing but a myth and there was no evil serpent sealed by Nagi's sword. Susano pulled the legendary sword out, releasing Orochi into the world. As it was 100 years ago, both Amaterasu and Susano return to the Moon Cave to defeat Orochi again and rescue Kamiki; as Orochi finally dies, a black evil spirit is seen to rise from the body and drift northward, but not unnoticed by Amaterasu.
After leaving Kamiki again, Amaterasu continues to search for more brush techniques and to investigate the mysterious spirit that left Orochi's body. Along the way, she encounters two more similar spirit foes - Blight, which had taken residence inside the Emperor and caused him to breath out a strange mist that was slowly killing the people and lands nearby, and a Ninetails who had the same god powers as the gods and was sending evil spirits out from a mysterious island in order to try to take over the land. After both are defeated by Amaterasu, the same type of black spirit leaves the bodies and drifts northward. Following these spirits, Amaterasu is led to the snow-covered parts of the land. There, a village of humans that can assume animal forms is found and one gifted young girl has gone missing; without her prayer, an evil force would be unleashed upon the lands and the people implore Amaterasu to find her. Amaterasu discovers that the girl has fallen back through a doorway in time to 100 years prior in Kamiki Village, and to rescue her, Amaterasu must work with Shiranui and Nagi to defeat Orochi (as had originally been explained at the start of the story). Upon returning to the present, Amaterasu then proceeds to encounter two final evil beings, known as Lechku and Nechku, giant mechanical owls, which are the source of the evil threatening the village.
There, a legend of a mysterious "Ark of Yamato" is discovered. The Ark seems to have fallen from the heavens 200 years ago and crashed into a frozen lake (Laochi Lake), and opened up to reveal hordes of evil demons that immediately began to spread across the land. Some of these demons would go on to become Orochi, Blight, Lechku, Nechku and Ninetails, and thus the black forms seen heading northward after their defeat would be these demons returning to their point of origin. Further discovery indicates that before the Ark crashed, a race called Celestial Beings had found the Ark and thought it would usable for transporting around the Celestial Plains, but it was found out too late that the Ark already had residents, and was effectively a prison ship for the evil demons. All but one of the Celestial Beings were killed before the Ark crashed, the last one fleeing the destruction. Amaterasu, with the spiritual and physical help of many others guided by the encouragement of Issun, is able to defeat all the remaining demon foes, including those she previously fought before but have returned here.
It is finally revealed that Waka was the last member of the Moon Tribe and had known Amaterasu's spirit prior to the crash of the Ark, And the Ruler of Darkness, Yami, pictured as a seal in a giant, mechanical ball lies waiting for them in the Ark. And by guiding Amaterasu to the Ark and destruction of the evil spirits, Waka is finally able to return to the Celestial Plains alongside Amaterasu, using the freed Ark as their means of return.
Ōkami
Ōkami (大神, Ōkami? lit. "great god") is a video game developed by Clover Studio for the PlayStation 2 video game console. It was released in 2006.
Set in an unspecified period of classical Japanese history, Ōkami combines several Japanese myths and legends to tell the story of how the land was saved from darkness by the Shinto sun goddess, named Amaterasu, who has taken the form of a white wolf. It features a distinct sumi-e-inspired cel-shaded visual style and the Celestial Brush, a gesture-system to perform miracles.
Ōkami was one of the last few PlayStation 2 games selected for release prior to the release of the PlayStation 3. Clover Studio was closed by Capcom a few months after its release. Although it suffered from poor sales, Ōkami earned high acclaim from reviewers and earned, among other awards, the title of IGN's 2006 Game of the Year.
Set in an unspecified period of classical Japanese history, Ōkami combines several Japanese myths and legends to tell the story of how the land was saved from darkness by the Shinto sun goddess, named Amaterasu, who has taken the form of a white wolf. It features a distinct sumi-e-inspired cel-shaded visual style and the Celestial Brush, a gesture-system to perform miracles.
Ōkami was one of the last few PlayStation 2 games selected for release prior to the release of the PlayStation 3. Clover Studio was closed by Capcom a few months after its release. Although it suffered from poor sales, Ōkami earned high acclaim from reviewers and earned, among other awards, the title of IGN's 2006 Game of the Year.
2007年7月29日星期日
Modern windmills
The most modern generations of windmills are more properly called wind turbines, or wind generators, and are primarily used to generate electric power. Modern windmills are designed to convert the energy of the wind into electricity. The largest wind turbines can generate up to 6MW of power (for comparison a modern fossil fuel power plant generates between 500 and 1,300MW).
2007年7月25日星期三
[edit] Drybrush
Drybrush is used to obtain a rough, textured appearance, such as the edges of beach grass, a rocky exposed hill surface, tree bark or sunlight skipping on the surface of water. A brush is loaded with relatively thick paint then lightly pulled over the dry surface of the medium. Some artists hold the brush with just two or three fingers at the very end of the handle so just the weight of the brush glides along the surface.
The paint adheres and covers only the higher points and ridges of the surface but stays out of the deeper areas. The method is especially effective on Rough and Cold Press (medium rough) paper. It is not very useful on smooth surfaces.
The paint adheres and covers only the higher points and ridges of the surface but stays out of the deeper areas. The method is especially effective on Rough and Cold Press (medium rough) paper. It is not very useful on smooth surfaces.
Techniques
Traditionally, watercolor paint is applied with brushes, but it may be applied with other implements in experimental approaches or mixed with other materials (usually acrylic or collage).
The paint is thinned before application to allow for lighter areas within the painting. This transparency provides watercolor its characteristics of brightness, sparkle, freshness, and clarity of color since light has passed through the film of paint and is reflected back to the viewer through the film.
According to a tradition, dating from at least the early 20th century, the white of the paper is the only white used in transparent watercolor. Opaque paint is seldom used for whites or to overpaint.
Watercolor techniques have the reputation of being quite demanding; it is more accurate to say that watercolor techniques are unique to watercolor. Maintaining a high quality of value differences and color clarity are typically the most difficult properties to achieve and maintain.
The medium is effective in portraiture, figurative art, and photorealism.
Watercolor proponents prize it as a studio medium for its lack of odor and ease of cleanup, and also as a plein air medium for its portability and quick drying.
Fingerpainting originated in China with watercolor paints.
The paint is thinned before application to allow for lighter areas within the painting. This transparency provides watercolor its characteristics of brightness, sparkle, freshness, and clarity of color since light has passed through the film of paint and is reflected back to the viewer through the film.
According to a tradition, dating from at least the early 20th century, the white of the paper is the only white used in transparent watercolor. Opaque paint is seldom used for whites or to overpaint.
Watercolor techniques have the reputation of being quite demanding; it is more accurate to say that watercolor techniques are unique to watercolor. Maintaining a high quality of value differences and color clarity are typically the most difficult properties to achieve and maintain.
The medium is effective in portraiture, figurative art, and photorealism.
Watercolor proponents prize it as a studio medium for its lack of odor and ease of cleanup, and also as a plein air medium for its portability and quick drying.
Fingerpainting originated in China with watercolor paints.
Brushes
Brushes for watercolor are made to hold water and are softer as compared to the stiffer brushes used for acrylic and oil paint.
Watercolor brushes come in various shapes including flat, round, mop, and fan. There are numerous specialty brushes; for example, a long thin brush originally designed to paint the lines of rope (rigging) on a seascape is called a "rigger".
Artists typically have a few favorites and do most work with just one or two brushes. A single brush can produce many lines and shapes. A "round" for example, can create thin and thick lines, wide or narrow strips, curves, and other painted effects. A flat brush when used on end can produce thin lines or dashes in addition to the wide swath typical with these brushes.
Brush hairs come from a variety of sources including the very expensive hair of the Kolinsky Sable, the ear hair of the ox or other cattle, and others. "Camel" is used to describe hairs from several sources, none of which is from a camel.
Brush hairs can be natural, synthetic, or a combination. Brush prices vary considerably depending on the type of hair and the quality of the manufacture. A good brush will hold a fair amount of water and will keep and return to its original shape even after much use.
Brushes are numbered to indicate the size of the brush, the larger numbers for the larger brushes. A typical manufacturer's offering of brushes might go from a very small "0" to the larger size "20" or more. Flat, wide brushes are usually described by the width of the brush such as "1/2 inch" or "1 inch". There are no common standards for brush sizes. A "10" Round from two manufacturers might be slightly different in size.
Watercolor brushes come in various shapes including flat, round, mop, and fan. There are numerous specialty brushes; for example, a long thin brush originally designed to paint the lines of rope (rigging) on a seascape is called a "rigger".
Artists typically have a few favorites and do most work with just one or two brushes. A single brush can produce many lines and shapes. A "round" for example, can create thin and thick lines, wide or narrow strips, curves, and other painted effects. A flat brush when used on end can produce thin lines or dashes in addition to the wide swath typical with these brushes.
Brush hairs come from a variety of sources including the very expensive hair of the Kolinsky Sable, the ear hair of the ox or other cattle, and others. "Camel" is used to describe hairs from several sources, none of which is from a camel.
Brush hairs can be natural, synthetic, or a combination. Brush prices vary considerably depending on the type of hair and the quality of the manufacture. A good brush will hold a fair amount of water and will keep and return to its original shape even after much use.
Brushes are numbered to indicate the size of the brush, the larger numbers for the larger brushes. A typical manufacturer's offering of brushes might go from a very small "0" to the larger size "20" or more. Flat, wide brushes are usually described by the width of the brush such as "1/2 inch" or "1 inch". There are no common standards for brush sizes. A "10" Round from two manufacturers might be slightly different in size.
History
One early form of watercolor painting, that is not normally included in the category, is buon fresco painting — wall-painting using pigments in a water medium on wet plaster, which goes back to Egyptian and Roman antiquity. One well-known example of buon fresco is the Sistine Chapel by Michelangelo, begun in 1508 and completed in 1514.
Watercolor painting, usually referred to as brush painting in East Asian contexts, has a long history in many parts of the world. In Chinese and Japanese painting it has been the dominant medium, often in monochrome black or brown, when it tends to be called ink. India, Ethiopia and other countries also have long traditions.
Watercolor has also been used for manuscript illumination since at least Egyptian times, and was a major part of European manuscript painting on vellum (often mixed with tempera). Paper spread from the Islamic world, via Islamic Spain, to Europe, where it was being manufactured in Germany and Italy before 1400. From the introduction of the old master print around 1400, most prints were colored after printing until at least the latter part of the century, although the practice continued in some cases, such as English satirical prints, until the nineteenth century (JMW Turner and Thomas Girtin were both employed at this as teenagers).
Watercolor painting was also used in cartoons and large paintings. In Germany, Albrecht Dürer (1471-1528) painted watercolors, including the earliest pure landscape studies. An important school of watercolor painting in Germany was led by Hans Bol (1534-1593) as part of the Dürer Renaissance.
JMW Turner, Alpine Scene, 1802, Tate Britain.Other famous artists have used watercolor painting, including Van Dyck, Claude, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists, including several who worked in Britain, and originated the British school.
From the seventeenth century to the present, the British school of watercolor, which especially features landscape subjects, has been perhaps the most continuous and widely followed tradition in Europe. Among the most famous of the artists are: Alexander Cozens, William Gilpin, Thomas Gainsborough, Francis Towne, Paul Sandby, Thomas Girtin, John Sell Cotman, Samuel Palmer, William Blake, John Constable, JMW Turner, and Richard Parkes Bonnington.School BrushArtist BrushFine Art Supplies
The beginnings of the "California Style" of watercolor painting began in the 1920s and is described in California Watercolors 1850-1970. Milford Zornes is recognized as a leader in the California Style watercolor movement. His style differed from the traditional use of watercolors in which color was added to detailed pencil drawings. His work is characterized by the application of transparent washes of color to large sheets of paper, allowing the white to show through and define shapes.
Watercolor painting, usually referred to as brush painting in East Asian contexts, has a long history in many parts of the world. In Chinese and Japanese painting it has been the dominant medium, often in monochrome black or brown, when it tends to be called ink. India, Ethiopia and other countries also have long traditions.
Watercolor has also been used for manuscript illumination since at least Egyptian times, and was a major part of European manuscript painting on vellum (often mixed with tempera). Paper spread from the Islamic world, via Islamic Spain, to Europe, where it was being manufactured in Germany and Italy before 1400. From the introduction of the old master print around 1400, most prints were colored after printing until at least the latter part of the century, although the practice continued in some cases, such as English satirical prints, until the nineteenth century (JMW Turner and Thomas Girtin were both employed at this as teenagers).
Watercolor painting was also used in cartoons and large paintings. In Germany, Albrecht Dürer (1471-1528) painted watercolors, including the earliest pure landscape studies. An important school of watercolor painting in Germany was led by Hans Bol (1534-1593) as part of the Dürer Renaissance.
JMW Turner, Alpine Scene, 1802, Tate Britain.Other famous artists have used watercolor painting, including Van Dyck, Claude, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists, including several who worked in Britain, and originated the British school.
From the seventeenth century to the present, the British school of watercolor, which especially features landscape subjects, has been perhaps the most continuous and widely followed tradition in Europe. Among the most famous of the artists are: Alexander Cozens, William Gilpin, Thomas Gainsborough, Francis Towne, Paul Sandby, Thomas Girtin, John Sell Cotman, Samuel Palmer, William Blake, John Constable, JMW Turner, and Richard Parkes Bonnington.School BrushArtist BrushFine Art Supplies
The beginnings of the "California Style" of watercolor painting began in the 1920s and is described in California Watercolors 1850-1970. Milford Zornes is recognized as a leader in the California Style watercolor movement. His style differed from the traditional use of watercolors in which color was added to detailed pencil drawings. His work is characterized by the application of transparent washes of color to large sheets of paper, allowing the white to show through and define shapes.
2007年7月23日星期一
Philip de László
Philip Alexius de László (30 April 1869 - 22 November 1937) was a Hungarian painter known particularly for his portraits of royal and aristocratic personages.
De László was born in Budapest as Laub Fülöp Elek (Hungarian style with the surname first), the eldest son of a tailor. The family changed its name to László in 1891, and his name became "Laszlo de Lombos" after being made a nobleman in 1912 by Emperor Franz Joseph. The Emperor had previously sat for a portrait in 1896. The family later shortened the name to "de Laszlo
As a young man, de László apprenticed to a photographer while studying art, eventually earning a place at the National Academy of Art, where he studied under Bertalan Székely and Károly Lotz. He followed this with studies in Munich and Paris. De László's 1900 portrait of Pope Leo XIII earned him a Grand Gold Medal at the Paris International Exhibition. In 1903 he moved from Budapest to Vienna, and ultimately to England in 1907. He remained based in London for the rest of his life while traveling the world to fulfill commissions. His patrons who sat for portraits awarded him numerous honors and medals, including King Edward VII making him a Member of the Royal Victorian Order in 1909.
De László was born in Budapest as Laub Fülöp Elek (Hungarian style with the surname first), the eldest son of a tailor. The family changed its name to László in 1891, and his name became "Laszlo de Lombos" after being made a nobleman in 1912 by Emperor Franz Joseph. The Emperor had previously sat for a portrait in 1896. The family later shortened the name to "de Laszlo
As a young man, de László apprenticed to a photographer while studying art, eventually earning a place at the National Academy of Art, where he studied under Bertalan Székely and Károly Lotz. He followed this with studies in Munich and Paris. De László's 1900 portrait of Pope Leo XIII earned him a Grand Gold Medal at the Paris International Exhibition. In 1903 he moved from Budapest to Vienna, and ultimately to England in 1907. He remained based in London for the rest of his life while traveling the world to fulfill commissions. His patrons who sat for portraits awarded him numerous honors and medals, including King Edward VII making him a Member of the Royal Victorian Order in 1909.
Brush care
A natural hair brush utilized in one medium (oil paint, acrylic, watercolor, etc.) should not be used again in a different medium. The nature of each medium and accompanying solvent effects the hairs of the brushes differently. Using brushes across mediums can cause them to distress prematurely. This information does not apply to synthetic hair brushes. Paint and solvent residue should be cleaned from brushes immediately after use. After removing most of the paint from the bristles manually with an appropriate solvent, detergent and water should be used to clean the brush further. After a thorough cleaning, natural hair brushes benefit from using a brush conditioner on the hairs to restore oils. A conditioner can be worked into the bristles which can then be shaped to a point and left to dry. Before the next painting session, the conditioner should be removed with water. Art materials manufacturers have produced a variety of specialized products designed for specific brush types and medium usage. Brushes should not be left bristle-end down in solvent for a prolonged period. Doing so will cause distress to the brush shape and may cause the bristles to splay out and loose their original shape. Different methods of suspending brushes in solvent exist (including a metal spring, mesh or clamp) that grip brush handles and do not allow the bristles of the brush to touch the bottom of the solvent container. Also, leaving brushes in solvent for a prolonged period can cause damage to the bristles themselves by stripping oils and swelling, to the ferrule, to the adhesive used to hold bristles in place, and to the wooden handle.
Ammonia, Ammonium Hydroxide
Grocery store; "ammonia" - ammonium hydroxide - Make sure it is marked "clear". It contains soap if it foams when you shake it.
Welding supply; "ammonia" - anhydrous ammonia in cylinders
Welding supply; "ammonia" - anhydrous ammonia in cylinders
Alum, potassium aluminum sulfate
General; astringent to shrink mucus membranes
General; "styptic pencil"
General; mordant for clothing dyes (RIT brand and others)
Natural health store; "deodorant stone"
General; "styptic pencil"
General; mordant for clothing dyes (RIT brand and others)
Natural health store; "deodorant stone"
Equipment
The practice of kitchen chemistry involves the use of many common household items, some of which are listed below.
safety equipment eye goggles latex gloves apron pot holder fire extinguisher water supply sink/drain disposal ventilation to exterior reaction vessels stainless steel pot oven-safe glass cookware
safety equipment eye goggles latex gloves apron pot holder fire extinguisher water supply sink/drain disposal ventilation to exterior reaction vessels stainless steel pot oven-safe glass cookware
Kitchen chemistry
Kitchen chemistry is the practice of chemistry using common household chemicals and common household equipment. Often used by amateur scientists for education and entertainment.
The reagent index below contains common sources of nearly-pure chemicals for amateur chemists.
The reagent index below contains common sources of nearly-pure chemicals for amateur chemists.
Lithopone
Available from fine art supply houses in a compound with zinc oxide. This compound is known as "Lithipone" pigment. Also available in very pure form from radiology labs and medical supply as a radio contrast agent for x-rays and CAT scans. May be available from a well-stocked pottery and ceramics supply store.
Safety information
The Material Safety Data Sheet (MSDS) available for each listed chemical contains safe handling instructions, storage, recommended personal protection equipment and instructions in case of ingestion/inhalation. Chemists are advised to read and understand the properties of each chemical before using it in a reaction.
Ollivanders
Ollivanders is a magic wand shop described as narrow and shabby, with a sign that reads Ollivanders: Makers of Fine Wands since 382 BC in peeling gold letters over the door. The only display is a single wand lying on a purple cushion in the dusty window and inside there are countless narrow boxes piled neatly right up to the ceiling.
Mr. Ollivander, the pale-eyed, white-haired shopkeeper, makes and sells magic wands to witches and wizards as they enter school or break their old wands. He remembers each and every wand he has ever sold. To determine the best wand for a witch or wizard, Mr Ollivander measures various body parts (including, in Harry's case, between his nostrils) and then checks the reactions of various wands to the buyer, a process he refers to as "the wand choosing the wizard."
In Philosopher's Stone, Harry tried a great many wands before he found one suited to his magical personality — an 11 inch, holly and phoenix feather wand. Mr. Ollivander only uses phoenix feathers, dragon heartstrings and unicorn hair as the cores of his wands. Therefore, Harry, Ron (unicorn hair and willow, 14 inches), and Hermione (dragon heartstring and vine-wood) unite all three Ollivander wand cores. [2]
Harry and Lord Voldemort's wands have the same core: a feather each from Albus Dumbledore's phoenix, Fawkes. The magical effects of the brother wands when used against each other later allowed Harry Potter to successfully ward off Voldemort due to Priori Incantatem.
Other wands known to have been purchased here include:
James Potter: Mahogany, 11". Mr Ollivander comments that it was pliable and excellent for Transfiguration. Lily Evans: Willow, 10 1/4". Mr Ollivander comments that it was swishy and nice wand for Charm work. Rubeus Hagrid: Oak, 16". Mr Ollivander comments that it was rather bendy. Lord Voldemort : Yew, 13 1/2", phoenix feather. Cedric Diggory: Ash, 12 1/4", single unicorn hair from the tail of what Mr Ollivander considered a particularly fine male unicorn. Neville Longbottom: Cherry, unicorn hair (his second wand). Draco Malfoy: hawthorn.[3] The shop closed when Mr Ollivander went missing on 31 July, 1996 in mysterious circumstances, strongly suspected to be linked with rising Death Eater activity. One of his last customers was Neville Longbottom.
Mr. Ollivander, the pale-eyed, white-haired shopkeeper, makes and sells magic wands to witches and wizards as they enter school or break their old wands. He remembers each and every wand he has ever sold. To determine the best wand for a witch or wizard, Mr Ollivander measures various body parts (including, in Harry's case, between his nostrils) and then checks the reactions of various wands to the buyer, a process he refers to as "the wand choosing the wizard."
In Philosopher's Stone, Harry tried a great many wands before he found one suited to his magical personality — an 11 inch, holly and phoenix feather wand. Mr. Ollivander only uses phoenix feathers, dragon heartstrings and unicorn hair as the cores of his wands. Therefore, Harry, Ron (unicorn hair and willow, 14 inches), and Hermione (dragon heartstring and vine-wood) unite all three Ollivander wand cores. [2]
Harry and Lord Voldemort's wands have the same core: a feather each from Albus Dumbledore's phoenix, Fawkes. The magical effects of the brother wands when used against each other later allowed Harry Potter to successfully ward off Voldemort due to Priori Incantatem.
Other wands known to have been purchased here include:
James Potter: Mahogany, 11". Mr Ollivander comments that it was pliable and excellent for Transfiguration. Lily Evans: Willow, 10 1/4". Mr Ollivander comments that it was swishy and nice wand for Charm work. Rubeus Hagrid: Oak, 16". Mr Ollivander comments that it was rather bendy. Lord Voldemort : Yew, 13 1/2", phoenix feather. Cedric Diggory: Ash, 12 1/4", single unicorn hair from the tail of what Mr Ollivander considered a particularly fine male unicorn. Neville Longbottom: Cherry, unicorn hair (his second wand). Draco Malfoy: hawthorn.[3] The shop closed when Mr Ollivander went missing on 31 July, 1996 in mysterious circumstances, strongly suspected to be linked with rising Death Eater activity. One of his last customers was Neville Longbottom.
Magical Menagerie
The Magical Menagerie is a magical creature shop that, besides selling magical creatures, also offers advice on animal care and health. The shop is very cramped, noisy and smelly, due to every inch being covered with cages. Among the creatures in the Magical Menagerie are enormous purple toads, A Firecrab, poisonous orange snails, a fat white rabbit that can turn into a silk top hat and back, cats of every colour, ravens, Puffskeins, and a cage of sleek black rats that play skipping games with their tails.
When Harry, Ron Weasley and Hermione Granger visit in Harry Potter and the Prisoner of Azkaban, a witch wearing heavy black spectacles helps them. Ron buys Rat Tonic for his pet rat Scabbers, while Hermione buys herself a cat, Crookshanks. Crookshanks had apparently been in there for ages because no one wanted him.
When Harry, Ron Weasley and Hermione Granger visit in Harry Potter and the Prisoner of Azkaban, a witch wearing heavy black spectacles helps them. Ron buys Rat Tonic for his pet rat Scabbers, while Hermione buys herself a cat, Crookshanks. Crookshanks had apparently been in there for ages because no one wanted him.
Madam Malkin's Robes for All Occasions
Madam Malkin's is a clothing shop next to Flourish & Blotts. It sells wizarding robes, including the standard Hogwarts-required plain black work robes, and dress robes. Madam Malkin, a squat witch known to wear mauve robes, and her assistants will tailor the robes to fit right in her shop.
Harry Potter has two meetings with Draco Malfoy in Madam Malkin's shop. This is where Harry meets the first wizard of his own age, Malfoy, for the very first time in Philosopher's Stone. Harry is rather bewildered by the questions Draco asks, as Harry is still unfamiliar with so many aspects of the wizarding world. A second meeting occurs just before the beginning of Harry's sixth year, in Half-Blood Prince, at Hogwarts.
Malkin is an archaic term for a crotchety old woman.
Harry Potter has two meetings with Draco Malfoy in Madam Malkin's shop. This is where Harry meets the first wizard of his own age, Malfoy, for the very first time in Philosopher's Stone. Harry is rather bewildered by the questions Draco asks, as Harry is still unfamiliar with so many aspects of the wizarding world. A second meeting occurs just before the beginning of Harry's sixth year, in Half-Blood Prince, at Hogwarts.
Malkin is an archaic term for a crotchety old woman.
The Leaky Cauldron
The Leaky Cauldron is a pub and inn for wizards, offering food, drinks and rooms to rent. It was founded by Daisy Dodderidge (1467–1555) in 1500 "to serve as a gateway between the non-wizarding world and Diagon Alley." The current barman and innkeeper is Tom.
There are a number of rooms available; Harry has stayed in Room 11, which has a talking mirror and windows that allow him to look out onto Charing Cross Road. The inn also has a bar, several private parlour rooms and a large dining room for guests to dine. People often stay at The Leaky Cauldron when they come up to London on shopping trips; there is no mention of other wizarding hotels or inns in Diagon Alley.
The rear of The Leaky Cauldron opens onto a "chilly little courtyard" just off of Diagon Alley, but the pub faces onto Charing Cross Road. As such, it is a means of passing from between Diagon Alley and Muggle London.
There are a number of rooms available; Harry has stayed in Room 11, which has a talking mirror and windows that allow him to look out onto Charing Cross Road. The inn also has a bar, several private parlour rooms and a large dining room for guests to dine. People often stay at The Leaky Cauldron when they come up to London on shopping trips; there is no mention of other wizarding hotels or inns in Diagon Alley.
The rear of The Leaky Cauldron opens onto a "chilly little courtyard" just off of Diagon Alley, but the pub faces onto Charing Cross Road. As such, it is a means of passing from between Diagon Alley and Muggle London.
Gringotts Wizarding Bank
Gringotts is the only known bank of the wizarding world and it is operated primarily by goblins. Wizards and witches keep their money and other valuables in vaults that are protected by very complex and strong security measures. Gringotts also offers Muggle-Wizarding currency exchange.
A snowy white building, near the intersection of Knockturn Alley and Diagon Alley, Gringotts towers over all neighbouring shops. Customers pass through a set of bronze doors and then silver ones before entering the lobby. The main floor is paved with marble and has long counters stretching along its length. The vaults extend for miles under the city and are accessible through rough stone passageways and then by means of magic carts that travel speedily along their tracks. PS Ch.5 The inscription on the front door reads:
Enter, stranger, but take heedOf what awaits the sin of greedFor those who take, but do not earn,Must pay most dearly in their turn.So if you seek beneath our floorsA treasure that was never yours,Thief, you have been warned, bewareOf finding more than treasure there. When Harry first visited Gringotts, he was told by Hagrid that one would have to be mad to try to rob Gringotts.PS Ch.5 Goblins are extremely greedy and would protect their money and valuables at any cost, which makes them ideal guardians for the valuables of the wizarding world. Also according to Hagrid, apart from Hogwarts, Gringotts is considered "the safest place in the world fer anything yeh want to keep safe-".[1] It is rumoured that dragons guard the especially high security vaults.
There are a number of methods to opening the vaults. Most vaults, such as Harry's, use small golden keys. Higher security vaults may have various enchantments upon the doors. For example, the door to Vault 713 [2] needs to be stroked by a certified Gringotts goblin, which causes it to melt away. If anyone but a Gringotts goblin touches the door, the person will be sucked into the vault, which is checked for trapped thieves about once every 10 years.
Gringotts Vault 713 held a small grubby bag, inside of which was the Philosopher's Stone. Albus Dumbledore sent Hagrid to retrieve it while he escorted Harry. PS Ch.5 Later that very same day, Professor Quirrell broke into the vault under orders of Lord Voldemort. Although he was unsuccessful in obtaining the Philosopher's Stone, the break-in shocked the wizarding world because it was practically unheard of for Gringotts to be robbed. The culprit was not caught.
In Harry Potter and the Deathly Hallows, Harry, Ron and Hermoine, aided by a reluctant Griphook in exchange for Godric Gryffindor's sword, attempt to access the vault of Bellatrix Lestrange where a Horcrux, Hufflepuff's cup is likely to be hidden. However, when they go into Bellatrix's vault, which is stocked with all manners of treasure, including Hufflepuff's cup, the Horcrux, they find out that the treasure has had Gemino and Flagrante charms placed on them, causing them to glow red-hot and multiply rapidly whenever they are touched. To add fuel to fire, they are betrayed by Griphook, who summons goblins to capture them, knowing that they would not willingly give up the sword. The trio escape with the Horcrux by clambering onto a half-blind dragon which escapes from Gringotts, however, Griphook has taken the sword. The trio inside the vault and the subsequent escape via dragon is illustrated in the U.K. Edition and the U.S. deluxe edition of the book.
While Gringotts is largely staffed by goblins, including Griphook and Ragnok, it is known that the bank does employ humans. Bill Weasley worked as a curse-breaker for Gringotts in Egypt, retrieving artifacts from ancient Egyptian tombs and pyramids.[3] Fleur Delacour took a part-time job with Gringotts after participating in the Triwizard Tournament, apparently to improve her English skills.
A snowy white building, near the intersection of Knockturn Alley and Diagon Alley, Gringotts towers over all neighbouring shops. Customers pass through a set of bronze doors and then silver ones before entering the lobby. The main floor is paved with marble and has long counters stretching along its length. The vaults extend for miles under the city and are accessible through rough stone passageways and then by means of magic carts that travel speedily along their tracks. PS Ch.5 The inscription on the front door reads:
Enter, stranger, but take heedOf what awaits the sin of greedFor those who take, but do not earn,Must pay most dearly in their turn.So if you seek beneath our floorsA treasure that was never yours,Thief, you have been warned, bewareOf finding more than treasure there. When Harry first visited Gringotts, he was told by Hagrid that one would have to be mad to try to rob Gringotts.PS Ch.5 Goblins are extremely greedy and would protect their money and valuables at any cost, which makes them ideal guardians for the valuables of the wizarding world. Also according to Hagrid, apart from Hogwarts, Gringotts is considered "the safest place in the world fer anything yeh want to keep safe-".[1] It is rumoured that dragons guard the especially high security vaults.
There are a number of methods to opening the vaults. Most vaults, such as Harry's, use small golden keys. Higher security vaults may have various enchantments upon the doors. For example, the door to Vault 713 [2] needs to be stroked by a certified Gringotts goblin, which causes it to melt away. If anyone but a Gringotts goblin touches the door, the person will be sucked into the vault, which is checked for trapped thieves about once every 10 years.
Gringotts Vault 713 held a small grubby bag, inside of which was the Philosopher's Stone. Albus Dumbledore sent Hagrid to retrieve it while he escorted Harry. PS Ch.5 Later that very same day, Professor Quirrell broke into the vault under orders of Lord Voldemort. Although he was unsuccessful in obtaining the Philosopher's Stone, the break-in shocked the wizarding world because it was practically unheard of for Gringotts to be robbed. The culprit was not caught.
In Harry Potter and the Deathly Hallows, Harry, Ron and Hermoine, aided by a reluctant Griphook in exchange for Godric Gryffindor's sword, attempt to access the vault of Bellatrix Lestrange where a Horcrux, Hufflepuff's cup is likely to be hidden. However, when they go into Bellatrix's vault, which is stocked with all manners of treasure, including Hufflepuff's cup, the Horcrux, they find out that the treasure has had Gemino and Flagrante charms placed on them, causing them to glow red-hot and multiply rapidly whenever they are touched. To add fuel to fire, they are betrayed by Griphook, who summons goblins to capture them, knowing that they would not willingly give up the sword. The trio escape with the Horcrux by clambering onto a half-blind dragon which escapes from Gringotts, however, Griphook has taken the sword. The trio inside the vault and the subsequent escape via dragon is illustrated in the U.K. Edition and the U.S. deluxe edition of the book.
While Gringotts is largely staffed by goblins, including Griphook and Ragnok, it is known that the bank does employ humans. Bill Weasley worked as a curse-breaker for Gringotts in Egypt, retrieving artifacts from ancient Egyptian tombs and pyramids.[3] Fleur Delacour took a part-time job with Gringotts after participating in the Triwizard Tournament, apparently to improve her English skills.
Flourish & Blotts
Flourish & Blotts sells a great variety of books, including textbooks for Hogwarts courses and other books of general magical interest. In the back there is a corner devoted solely to Divination, which includes a small table stacked with titles like Predicting the Unpredictable: Insulate Yourself against Shocks and Broken Balls: When Fortunes Turn Foul. Another small display contains the book Death Omens: What to Do When You Know the Worst is Coming.
There is usually a display of gold-embossed spellbooks the size of paving slabs in the window, but in Prisoner of Azkaban, the front window holds an iron cage filled with hundreds of copies of The Monster Book of Monsters. To deal with the vicious books, set for the third year Care of Magical Creatures class by Professor Hagrid, the harassed manager had to gear up with thick gloves and jab at them with a knobbly walking stick, as the books tend to rip each other apart. The manager says that he had thought he'd seen the worst when "we bought two hundred copies of The Invisible Book of Invisibility - cost a fortune and we never found them ..." PA Ch.4
In Chamber of Secrets, celebrity author Gilderoy Lockhart signs copies of his autobiography, Magical Me, from 12:30–4:30p.m., drawing a huge crowd of fans (mostly middle-aged women).CS Ch.4 This is also where Lucius Malfoy slips Tom Riddle's diary into Ginny Weasley's battered old Transfiguration book, thus bringing about the start of the events in Chamber of Secrets.
There is usually a display of gold-embossed spellbooks the size of paving slabs in the window, but in Prisoner of Azkaban, the front window holds an iron cage filled with hundreds of copies of The Monster Book of Monsters. To deal with the vicious books, set for the third year Care of Magical Creatures class by Professor Hagrid, the harassed manager had to gear up with thick gloves and jab at them with a knobbly walking stick, as the books tend to rip each other apart. The manager says that he had thought he'd seen the worst when "we bought two hundred copies of The Invisible Book of Invisibility - cost a fortune and we never found them ..." PA Ch.4
In Chamber of Secrets, celebrity author Gilderoy Lockhart signs copies of his autobiography, Magical Me, from 12:30–4:30p.m., drawing a huge crowd of fans (mostly middle-aged women).CS Ch.4 This is also where Lucius Malfoy slips Tom Riddle's diary into Ginny Weasley's battered old Transfiguration book, thus bringing about the start of the events in Chamber of Secrets.
2007年7月12日星期四
global fine art supplies
Thank you for visiting the website of Shanghai Beaux-Arts Co., Ltd., We are one of the leading exporters, manufacturers and suppliers created to distribute the finest quality Art Materials to our Global Customers.
Beaux-Arts found is mainly concentrated on Artist brush, Easels, Palette, Color Sketch, etc... With its rich industrial experience and standard implementation management, Beaux-Arts is gradually becoming the most important leading art material supply in China.
As a professional Artist company, we have the most comprehensive line to competitively provide a wide selection premium quality, fine arts and crafts materials:
Artist Brush
Chinese Calligraphy
Canvas
Easel And Painting Box
Pad and Paper
Paint
Sculpture and Pottery Tool
Drawing Accessories
Frame Line
Picture Frame
Beaux-Arts has been attaching great importance to advantageous industries. Our goal remains to bring our customers a better Art material purchasing experience, information, and instruction. We invite you to use us as your professional art material reference source!
Beaux-Arts found is mainly concentrated on Artist brush, Easels, Palette, Color Sketch, etc... With its rich industrial experience and standard implementation management, Beaux-Arts is gradually becoming the most important leading art material supply in China.
As a professional Artist company, we have the most comprehensive line to competitively provide a wide selection premium quality, fine arts and crafts materials:
Artist Brush
Chinese Calligraphy
Canvas
Easel And Painting Box
Pad and Paper
Paint
Sculpture and Pottery Tool
Drawing Accessories
Frame Line
Picture Frame
Beaux-Arts has been attaching great importance to advantageous industries. Our goal remains to bring our customers a better Art material purchasing experience, information, and instruction. We invite you to use us as your professional art material reference source!
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