A MONITORING METHOD OF COLOR DECAYING FOR COLORED PATTERNS IN ARCHITECTURAL HERITAGE

<p><strong>Abstract.</strong> As a special part of architectural heritage, the colored pattern is not only artwork to decorate the architecture, but information reflecting specific historical era. So it has great cultural and artistic value. However, the colored pattern is one of the most sensitive types of cultural relics, which is sensitive to natural environment changes and highly vulnerable to erosion. In order to strengthen the protection of colored patterns in history architectures, it is necessary to monitor the status quo of them.</p><p>This work introduces a monitoring method of color decaying for colored patterns in architecture: set up the illuminants, adjust the illuminants, detect the color information and calculate the color difference. Based on the color difference by CIE DE2000 formula, the color decaying status of the pattern can be evaluated. The monitoring period should be at least three months.</p><p>About four years’ work has been carried out for colored patterns in the Long Corridor of the Summer Palace, and the color differences &amp;Delta;E₀₀ are about from 2 to 5, some can be over 9. In result, most colored patterns keep in good health condition. Color decaying happens every time and there are slight changes in most colored patterns. In 2nd quarter 2017, aware changes happened in nearly all the patterns. According to the color difference to evaluate the color decaying of the colored patterns, it is an efficient method to analyze the health status of colored patterns.</p>

DIFFERENT STYLE OF COLOR

While drawing, the artist takes care of what colors should be applied as per the theme. The color used in miniatures is mostly vivid. Most of the mineral colors have been used in Rajasthani, Jain and Pal style paintings. The reason for this is the unavailability of the then colors. Dark blue, red and yellow colors are used extensively in paintings. The color of Rajasthani paintings is bright and vivid in color. Because this picture is free from external effects due to less means of movement. The Mughal-style paintings show a soft-colored pattern of Persia. The relative color of Rajasthani is less bright. Appropriate colors have been used in textile ornaments. Different colors have been used in Jama, Patka, Pajama and Turban. चित्र बनाते समय कलाकार इस बात का ध्यान रखता है कि विषयानुरूप कौन से रंग लगाने चाहिये। लघु चित्रों में प्रयुक्त रंग अधिकांशतः चटकीले है। राजस्थानी, जैन तथा पाल शैली के चित्रों में अधिकांश खनिज रंगो का प्रयोग किया गया है। इसका कारण तत्कालीन रंगो की अपलब्धि भी हैै। गहरे नीले, लाल और पीले रंगो का प्रयोग चित्रों में बहुतायत से मिलता है। राजस्थानी चित्रों की वर्णिका शोख और चटकीले रंगो की है। क्योंकि आवागमन के साधन कम होने की वजह से ये चित्र वाह्य प्रभाव से मुक्त है। मुगल शैली के चित्रों में फारस की कोमल रंगो वाली पद्वति दिखाई देती है। राजस्थानी की आपेक्षा रंगो में चटकीलापन कम है। वस्त्रों आभूषणों में उचित रंगो का प्रयोग किया गया है। जामा, पटका, पाजामा और पगड़ी में भिन्न-भिन्न रंग प्रयोग किये गये है।

Inheritance of the Anasazi Pattern of Partly Colored Seedcoats in Common Bean

Inheritance of Anasazi pattern of partly colored seedcoats in common bean (Phaseolus vulgaris L.) was studied in a genetic stock t ana B V Anasazi BC3 5-593, whose Anasazi pattern is derived from Plant Introduction (PI) 451802. Line 5-593 is a determinate, Florida dry bean breeding line (with small black seeds) used as the recurrent parent in the development of many genetic stocks. The F2 from the cross t ana B V Anasazi BC3 5-593 × t z virgarcus BC3 5-593 segregated for two nonparental phenotypic classes and was consistent with the hypothesis that a single recessive gene, with tentative symbol ana, produces the Anasazi pattern with t Z ana and a new partly colored pattern Anabip with t z ana. Thus, the Anasazi factor is not an allele at the Z locus. Analysis of 57 random F3 progenies from the cross t ana B V Anasazi BC3 5-593 × t z virgarcus BC3 5-593 supported a genetic model where: 1) with t Z the Anasazi phenotype is controlled by a single recessive gene ana, i.e., genotype t Z ana, 2) the Anabip phenotype has the genotype t z ana, and 3) t Z/z ana produces a restricted Anasazi pattern. The allelism test cross t z ana Anabip BC3 5-593 × t z lers white BC3 5-593 produced complementation in the F2, demonstrating nonallelism of Ana (actually Bip) with the L locus. The allelism test cross t z ana Anabip BC3 5-593 × t z bip bipunctata BC3 5-593 failed to show complementation in F1 and F2, demonstrating allelism of Ana with the Bip locus. Using bulk segregant analysis, molecular markers linked in coupling to the Ana (OM9200, 5.4 cM) and Bip (OJ17700, 6.0 cM) genes were discovered. Allelism was also suggested by the result that the same linkage distance and recombination pattern were observed when the Ana marker was used to score the bipunctata population. We propose the gene symbol bipana for the recessive allele at the Bip locus that produces Anasazi pattern with genotype t Z bipana and the Anabip pattern with genotype t z bipana. Although bipana and bip are both recessive to Bip, their interactions with the Z locus are extraordinarily different. The pattern restrictive power of bipana expresses partly colored pattern with t Z, whereas bip requires t z to express partly colored pattern.