为建立果树花期树种识别的有效模型,利用ASD Field Spec 3全波段便携式光谱分析仪采集了4种果树花期花的光谱数据。利用剔除异常光谱、5点移动平滑等技术对4种果树花期花的光谱反射率进行预处理,使用连续投影算法(SPA)进行有效波长选取...为建立果树花期树种识别的有效模型,利用ASD Field Spec 3全波段便携式光谱分析仪采集了4种果树花期花的光谱数据。利用剔除异常光谱、5点移动平滑等技术对4种果树花期花的光谱反射率进行预处理,使用连续投影算法(SPA)进行有效波长选取并获得7个波长下的反射光谱,同时增加了590 nm和720 nm处2个波形差异大的光谱,与归一化植被指数(INDV)和比值植被指数(IRV)共11个特征波段作为分类建模数据,建立了偏最小二乘判别分析(PLS-DA),正交偏最小二乘判别分析(O-PL-DA)和基于误差反向传播算法的多层前向神经网络(BP)算法3种识别模型。结果表明:对测试样本的识别率由高到低依次为BP(93.90%)>O-PLS-DA(81.82%)>PLS-DA(76.36%)。综合研究认为:在优选波段的基础上,对果树花期树种判别应优选BP神经网络模型。展开更多
Giovanni Antonio Bazzi （1477-1549）, also known as I1 Sodoma, was a Milanese painter who developed his mature style in Siena during the early Cinquecento. Between 1505 and 1510, under the tutelage of the Chigi and Pe...Giovanni Antonio Bazzi （1477-1549）, also known as I1 Sodoma, was a Milanese painter who developed his mature style in Siena during the early Cinquecento. Between 1505 and 1510, under the tutelage of the Chigi and Petrucci families, Bazzi depicted mythological paintings focusing on the personifications of love both terrestrial and celestial. This paper looks at two such works. In one, there hangs on a sycamore tree a classical cartello with the Latin inscription Celestes, meaning celestial or heavenly, providing the title for the painting Amore Celeste （Celestial Love, Figure 3）. A woman, as the personification of love, stands in front of two altars. She ignites one urn with fire and at the same time pours water over another burning fire. In the second work, a tondo with the theme of Terrestrial Love and Celestial Love, Bazzi considered the mischievousness of Venus＇ children Eros and Anteros （Figure 12）. These paintings are mythological and poetical delights with complex symbolism, here analyzed in terms of their iconography in relation to classical influences and Renaissance Neoplatonic love or furor divinus. The paradoxical quest of Renaissance Neoplatonic love was to fuse pagan love with Christian love. For the humanists of the time （Bembo, Colonna, Poliziano, Ficino and Pico） this moral dilemma was a philosophical puzzle, but for artists （Botticelli, Nicoletto da Modena, Pinturicchio and Bazzi） the theme was a pictorial challenge.展开更多
文摘Giovanni Antonio Bazzi （1477-1549）, also known as I1 Sodoma, was a Milanese painter who developed his mature style in Siena during the early Cinquecento. Between 1505 and 1510, under the tutelage of the Chigi and Petrucci families, Bazzi depicted mythological paintings focusing on the personifications of love both terrestrial and celestial. This paper looks at two such works. In one, there hangs on a sycamore tree a classical cartello with the Latin inscription Celestes, meaning celestial or heavenly, providing the title for the painting Amore Celeste （Celestial Love, Figure 3）. A woman, as the personification of love, stands in front of two altars. She ignites one urn with fire and at the same time pours water over another burning fire. In the second work, a tondo with the theme of Terrestrial Love and Celestial Love, Bazzi considered the mischievousness of Venus＇ children Eros and Anteros （Figure 12）. These paintings are mythological and poetical delights with complex symbolism, here analyzed in terms of their iconography in relation to classical influences and Renaissance Neoplatonic love or furor divinus. The paradoxical quest of Renaissance Neoplatonic love was to fuse pagan love with Christian love. For the humanists of the time （Bembo, Colonna, Poliziano, Ficino and Pico） this moral dilemma was a philosophical puzzle, but for artists （Botticelli, Nicoletto da Modena, Pinturicchio and Bazzi） the theme was a pictorial challenge.
