Morakot Ketklao, 2000. translation by Name Lastname 01
Presentation Titled, Gallery Name, Institution, Province, Country
Tell about this project in detail: what is about, like you tell anyone what going on in this project. Others emperor of China commands, in AD 175, that the six main classics Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. His purpose is to preserve them for posterity The emperor of China classics Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has unexpected result.
abstract
The idea or concept about this project. Others emperor of China commands, in AD 175, that the six main classics Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. His purpose is to preserve them for posterity The emperor of China classics Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has unexpected result. Confucian scholars are eager to own these important texts. preserve them for posterity in what is held to be authentic version of the text. But his enterprise has unexpected result. Confucian scholars are eager to own these important texts. version of the text. But his enterprise has an unexpected result. His purpose is to preserve them for posterity in what is held to be authentic version of the text.
Physics of Color
Engraved texts: 2nd - 8th century AD
The emperor of China commands, in AD 175, that the six main classics of Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result.
Confucian scholars are eager to own these important texts. Now, instead of having them expensively written out, they can make their own copies. Simply by laying sheets of paper on the engraved slabs and rubbing all over with charcoal or graphite, they can take away a text in white letters on a black ground - a technique more familiar in recent centuries in the form of brass-rubbing.
Subsequent emperors engrave other texts, until quite an extensive white-on-black library can be acquired. It is a natural next step to carve the letters in a raised form (and in mirror writing) and then to apply ink to the surface of the letters. When this ink is transferred to paper, the letters appear in black (or in a colour) against the white of the paper - much more pleasant to the eye than white on black.
This process is printing. But it is the Buddhists, rather than the Confucians, who make the breakthrough.
Temptation of St. Anthony, c.1480. It was entirely natural for Michael Wolgemut or one of his assistants to use Schongauer's engraving as source material when they wanted to illustrate the medieval legend of Simon Magus. (Simon boasted that he could fly, and did so with the aid of invisible demons, but St. Peter prayed to God.
Temptation of St. Anthony, c.1480. Most Northern painters worked with a common repertoire of images, which they copied from other artists and from pattern books and revised for their own use. It was entirely natural for Michael Wolgemut or one of his assistants to use Schongauer's engraving as source material when they wanted to illustrate the medieval legend of Simon Magus. (Simon boasted that he could fly.
Color perception
Development of theories of color vision
The emperor of China commands, in AD 175, that the six main classics of Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them expensively written out, they can make their own copies. Simply by laying sheets of paper on the engraved slabs and rubbing all over with charcoal or graphite, they can take away a text in white letters on a black ground - a technique more familiar in recent centuries in the form of brass-rubbing. Subsequent emperors engrave other texts, until quite an extensive white-on-black library can be acquired. It is a natural next step to carve the letters in a raised form (and in mirror writing) and then to apply ink to the surface of the letters. When this ink is transferred to paper, the letters appear in black (or in a colour) against the white of the paper - much more pleasant to the eye than white on black. This process is printing. But it is the Buddhists, rather than the Confucians, who make the breakthrough.
CONFUCIANISM K'ung Fu-tzu, or "K'ung the Master"--lived from 551 to 479 BCE
Tzu--Kung asked: "Is there one principle upon which one's whole life may proceed?" The Master replied, "Is not Reciprocity such a principle?--what you, do not put before others."
Vertical Nonstandard color perception
Robots and Accessories Color deficiency
The emperor of China commands, in AD 175, that the six main classics of Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them expensively written out, they can make their own copies. Simply by laying sheets of paper on the engraved slabs and rubbing all over with charcoal or graphite, they can take away a text in white letters on a black ground - a technique more familiar in recent centuries in the form of brass-rubbing. Subsequent emperors engrave other texts, until quite an extensive white-on-black library can be acquired. It is a natural next step to carve the letters in a raised form (and in mirror writing) and then to apply ink to the surface of the letters.
Left: The Bulls of Bordeaux. Lithography had a difficult enough time being accepted as a legitimate technique, let alone as a "high" art form. In 1825. Right: Bulls of Bordeaux. Francisco Goya, 1825. Lithography had a difficult enough time being accepted as a legitimate technique, let alone as a "high" art form. In 1825, Goya produced
a series of lithographs titled The Bulls of Bordeaux that was very successful.
The Bulls of Bordeaux. Lithography had a difficult enough time being accepted as a legitimate technique, let alone as a "high" art form. In 1825,
Nonstandard color perception
Color deficiency
The emperor of China commands, in AD 175, that the six main classics of Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them expensively written out, they can make their own copies. Simply by laying sheets of paper on the engraved slabs and rubbing all over with charcoal or graphite, they can take away a text in white letters on a black ground - a technique more familiar in recent centuries in the form of brass-rubbing. Subsequent emperors engrave other texts, until quite an extensive white-on-black library can be acquired. It is a natural next step to carve the letters in a raised form (and in mirror writing) and then to apply ink to the surface of the letters. When this ink is transferred to paper, the letters appear in black (or in a colour) against the white of the paper - much more pleasant to the eye than white on black. This process is printing. But it is the Buddhists, rather than the Confucians, who make the breakthrough. Version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them expensively written out, they can make their own copies. Simply by laying sheets of paper on the engraved slabs and rubbing all over with charcoal or graphite, they can take away a text in white letters on a black ground - a technique more familiar in recent centuries in the form of brass-rubbing. Subsequent emperors engrave other texts, until quite an extensive white-on-black library can be acquired. It is a natural next step to carve the letters in a raised form (and in mirror writing) and then to apply ink to the surface of the letters. When this ink is transferred to paper, the letters appear in black (or in a colour) against the white of the paper - much more pleasant to the eye than white on black. This process is printing. But it is the Buddhists, rather than the Confucians.
The Bulls of Bordeaux. Francisco Goya, 1825. Lithography had a difficult enough time being accepted as a legitimate technique, let alone as a "high" art form. In 1825, Goya produced a series of lithographs titled The Bulls of Bordeaux that was very successful.
The Bulls of Bordeaux. Lithography had a difficult enough time being accepted as a legitimate technique, let alone as a "high" art form. In 1825,
Nonstandard color perception
Color deficiency
The emperor of China commands, in AD 175, that the six main classics of Confucianism be carved in stone. His purpose is to preserve them for posterity in what is held to be authentic version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them expensively written out, they can make their own copies. Simply by laying sheets of paper on the engraved slabs and rubbing all over with charcoal or graphite, they can take away a text in white letters on a black ground - a technique more familiar in recent centuries in the form of brass-rubbing. Subsequent emperors engrave other texts, until quite an extensive white-on-black library can be acquired. It is a natural next step to carve the letters in a raised form (and in mirror writing) and then to apply ink to the surface of the letters. When this ink is transferred to paper, the letters appear in black (or in a colour) against the white of the paper - much more pleasant to the eye than white on black. This process is printing. But it is the Buddhists, rather than the Confucians, who make the breakthrough. Version of the text. But his enterprise has an unexpected result. Confucian scholars are eager to own these important texts. Now, instead of having them expensively written out, they can make their own copies. Simply by laying sheets of paper on the engraved slabs and rubbing all over with charcoal or graphite, they can take away a text in white letters on a black ground - a technique more familiar in recent centuries in the form of brass-rubbing. Subsequent emperors engrave other texts, until quite an extensive white-on-black library can be acquired. It is a natural next step to carve the letters in a raised form (and in mirror writing) and then to apply ink to the surface of the letters. When this ink is transferred to paper, the letters appear in black (or in a colour) against the white of the paper - much more pleasant to the eye than white on black. This process is printing. But it is the Buddhists, rather than the Confucians.
The Bulls of Bordeaux. Lithography had a difficult enough time being accepted as a legitimate technique, let alone as a "high" art form. In 1825, Goya produced a series of lithographs titled The Bulls of Bordeaux that was very successful.
researcher: 01 Name Last Name | 02 Name Last Name | 03 Name Last Name
co/researcher: 01 Name Last Name | 02 Name Last Name | 03 Name Last Name
assistance researcher :01 Name Last Name | 02 Name Last Name | 03 Name Last Name
support by :01 Name Last Name | Collection of the artist
year of research :2000
Presentation INFO
Presentation titled:Presentation Titled
Presentation curate by: 01 Name Last Name | 02 Name Last Name | 03 Name Last Name
venue:Gallery Name | Institution | Province | Country
event date:20 February 2008 - 20 March 2009
day of Presentation:20 February 2008 | 06:00 pm.
Presentation titled:Exhibition Titled
Presentation curate by: 01 Name Last Name | 02 Name Last Name | 03 Name Last Name
venue: Gallery Name | Institution | Province | Country
event date:20 February 2008 - 20 March 2009
day of Presentation:20 February 2008 | 06:00 pm.
Presentation titled:Exhibition Titled
Presentation curate by: 01 Name Last Name | 02 Name Last Name | 03 Name Last Name
venue: Gallery Name | Institution | Province | Country
event date:20 February 2008 - 20 March 2009
day of Presentation:20 February 2008 | 06:00 pm.
special thanks to
01 Name Last Name | 02 Name Last Name | 03 Name Last Name
04 Name Last Name | 05 Name Last Name | 06 Name Last Name
07 Name Last Name | 08 Name Last Name | 09 Name Last Name
