Relevant bibliographies by topics / Holy Shroud in art

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  2. Dissertations / Theses
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Academic literature on the topic 'Holy Shroud in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Holy Shroud in art"

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Smith, Samantha L. "Truth and the Transunto: a copy of the Holy Shroud in Sixteenth-Century Bologna." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 59–80. http://dx.doi.org/10.5617/acta.9019.

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'Truth and the transunto' investigates the use of a hand-painted copy of the Holy Shroud which found its way to Bologna in the late sixteenth century. Used by the archbishop of Bologna, Alfonso Paleotti (1531-1610), this copy was the source of observations of the body of Christ, in the manner of an autopsy and is presented in Paleotti's book Esplicatione del Lenzuolo [...]. Early modern copies of the Holy Shroud are not however accurate copies, but present seemingly simplified replicas of the original. This article explores how such information, and indeed, level of trust, can come from these copies, which, to the modern eye, seem fallible. Previous studies have excused the strange appearance of these Shroud copies by considering them solely devotional instruments yet as the article shows, Paleotti's use of such an object shows that the copies might be better understood in the context of early modern natural historical studies and illustrations. The article draws on scholarship which discusses the emerging interest for visual evidence in early scientific practice and shows how certain types of images and image-making practices were able to evoke the idea of presence and clarify the indecipherable. Demonstrating that Paleotti's copy of the Holy Shroud was not just a religious tool, but also an epistemic image, this article shows how Paleotti's use of the term 'transunto' could be used as a valuable tool in gaining a more nuanced understanding of the concept 'copy' in Early Modern Europe. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Napoli, Paolo. "A Structural Description of the Chapel of the Holy Shroud in Torino." Nexus Network Journal 11, no. 3 (November 5, 2009): 351–68. http://dx.doi.org/10.1007/s00004-009-0003-y.

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Duvernoy, Sylvie. "Guarino Guarini’s Chapel of the Holy Shroud in Turin: Open Questions, Possible Solutions." Nexus Network Journal 9, no. 1 (March 2007): 151–54. http://dx.doi.org/10.1007/s00004-006-0035-5.

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Scott, John Beldon. "Guarino Guarini's Invention of the Passion Capitals in the Chapel of the Holy Shroud, Turin." Journal of the Society of Architectural Historians 54, no. 4 (December 1, 1995): 418–45. http://dx.doi.org/10.2307/991083.

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The Corinthian capital variant Guarini especially designed for the major order of the Chapel of the Holy Shroud in Turin serves as an example of the architect's concern with projecting meaning through architectural form. Employing construction documents from the Archivio di Stato in Turin, this study reconstructs the production history of the famous gilt-bronze "Passion capitals" of the chapel rotunda. The analysis contextualizes this unusual design, showing how Guarini responded inventively to the religious and political needs of the commission to provide an appropriately ornamented ambience for promoting the veneration of one of the central Passion relics of Christendom. Private devotional practices, Savoyard dynastic aspirations, and a moralized floral exotic all played significant roles in the creation of the new capital type as part of the larger program of the chapel. The view of Guarini that emerges from this investigation proves more tied to the prevalent expectations of seicento religiosity, patronage, and architectural culture than has often been allowed.
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Saxton, Libby. "Make Believe: Marie-José Mondzain and Cinema's Christian Economy." Paragraph 42, no. 3 (November 2019): 301–15. http://dx.doi.org/10.3366/para.2019.0308.

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This article seeks to highlight the relevance of Marie-José Mondzain's trailblazing writings on Byzantine image theory and its modern legacy, with particular reference to Image, icône, économie (Image, Icon, Economy, 1996) and Homo spectator (2007), to the revived debate about belief in cinema. Like André Bazin's and Christian Metz's classical accounts of this subject, Xavier Giannoli's film L'Apparition (The Apparition; 2018) grants a privileged role to a holy shroud and other visual fetishes; it also deals, like Mondzain, with their relations to invisible authority. I argue that Mondzain's writings and Giannoli's film enrich our appreciation of cinema's affinity with belief by staging complementary critiques of the empowerment of institutions by images.
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Robertson, Anne Walters. "The Man with the Pale Face, the Shroud, and Du Fay's Missa Se la face ay pale." Journal of Musicology 27, no. 4 (2010): 377–434. http://dx.doi.org/10.1525/jm.2010.27.4.377.

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Guillaume Du Fay composed his Missa Se la face ay pale, based on his ballade of the same name, during his final sojourn at the Court of Savoy in Chambééry from 1452 to 1458. It has been suggested that the piece celebrated the consummation of the wedding of Amadeus of Savoy and Yolande de France in 1452, but the basis for assigning it to this occasion ——that a song about a man whose "face is pale" for "reason of love" might refer to a bridegroom——is weak. A fresh look at this seminal composition points to a different rationale, one stemming from examination of the affective theology of the fifteenth century that influenced art in all its forms. Late medieval Passion treatises, dialogues, sermons, lives of Christ, along with related paintings often depict Christ as the man with the pale face. In his final hours on the Cross, Christ's physical aspect is described as "pale" or "pallid." The "reason" for his disfigurement is his "great love" for mankind. In sacred dialogues between Christ and the female soul ("anima"), the Man of Sorrows conveys his love and encourages her to "see" or "behold" his wounds and study his "bitter" passion. The language of Du Fay's ballade is strikingly similar: "If the face is pale / The cause is love, / That is the main cause; / And so bitter to me / Is love, that in the sea / Would I like to see myself." What prompted Du Fay to use this song in his Missa Se la face ay pale? This article proposes that an important Christological relic, the Holy Shroud, acquired by Du Fay's patron Duke Louis of Savoy in 1453 (and not moved from Chambééry to its present location in Turin until 1578), lies at the heart of the work, and that the composer incorporated theological symbols in the Mass to associate it with this sacred remnant. Recognition of early Christ-Masses such as the Missa Se la face ay pale helps to redefine the word "devotional" and illuminates the beginnings of Mass composition with secular tunes and of emotional expression in sacred music.
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Schrag, Bettina, Sophie Pitteloud, Beat Horisberger, Tony Fracasso, and Patrice Mangin. "The modern holy shroud." Forensic Science International 219, no. 1-3 (June 2012): e10-e12. http://dx.doi.org/10.1016/j.forsciint.2011.11.025.

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Casey, Michael T. "The Holy Shroud of Turin." Irish Theological Quarterly 56, no. 1 (March 1990): 60–62. http://dx.doi.org/10.1177/002114009005600105.

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Koltsova, Tatiana Mikhailovna. "Handicraft workshop of the Shenkur Holy Trinity maiden monastery of the 18th century." Secreta Artis 5, no. 2 (December 6, 2022): 30–57. http://dx.doi.org/10.51236/2618-7140-2022-5-2-30-57.

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The article is devoted to previously unknown works of pictorial embroidery of the synodal period. The artworks represent the local cultural center of the Russian North and are published for the first time. In the first half and the middle of the 18th century, a unique gold-embroidery workshop, which reached a high artistic level, was formed in the Shenkur Holy Trinity Convent on the Vaga river. The creation of liturgical fabrics in the monastery was carried out not only by nuns, but also by so-called “belitsy”, women who lived in monastic cells without being tonsured, as well as residents of the city of Shenkursk. Mother Superior Euphemia (1727- 1749) and her sister Xenia were famous craftswomen, they embroidered on multi-colored fabrics with gold, silver and silk threads. Shrouds of Christ, intercessions of the Holy Virgin and epigonations made in the Shenkur Monastery are featured in several museum collections, mainly in the North. The handicraft workshop existed in the monastery for only a short period of time: from the beginning of the 18th century until the closing of the monastery in 1764. The Vaga craftswomen created their works on the basis of the ancient Russian gold embroidery tradition. The identification and attribution of liturgical fabrics enabled one to uncover distinctive features of Shenkur products: idiosyncratic technologies, rare iconography and peculiar style dating back to the art of the Baroque era. Liturgical clothing and epigonations made by the Vaga craftswomen were ordered and purchased for the bishops' councils of Arkhangelsk and Kholmogory, they are present in the collections of Nikolo-Korelsky, Antoniev-Siya and Solovetsky monasteries. Correspondingly, Shenkur church textiles and fabrics were used in the churches of the Vologda diocese. The article offers an unprecedented systematization of a completely new unexplored layer of museum objects. A number of conclusions are drawn on account of unknown written and visual sources found in museums and archives of the country. The second half of the nineteenth century saw the revival of women's handicraft in the Shenkursky Monastery. The article is illustrated by works found in the museum collections of the Arkhangelsk region, primarily the Arkhangelsk Museum of Local Lore. The scope of the study includes a completely new significant range of cultural monuments belonging to North Russian tradition. The results can be widely used in identifying and attributing works of pictorial embroidery.
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Schiltz, Katelijne. "Adrian Willaert’s Hymn for the Holy Shroud." Journal of the Alamire Foundation 4, no. 1 (January 2012): 57–72. http://dx.doi.org/10.1484/j.jaf.1.102607.

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Dissertations / Theses on the topic "Holy Shroud in art"

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Dopko, Cynthia Hogan. "Reassessment a mummy shroud from the North Carolina Museum of Art /." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-04122004-163107/.

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The purpose of this research has been to reassess the dating and iconography of a Roman period mummy shroud entitled, Mummy Portrait of a Young Man from the Fayum, in the collection of the North Carolina Museum of Art. This reevaluation benefited greatly from the recent international scholarship and museum exhibitions done on mummy portraits from Roman Egypt in the past few years. The research for the North Carolina shroud involved analyzing, in detail, the unique symbolic arrangement depicted on the shroud by evaluating each of the object?s four registers individually as well as assessing the composition as a whole. This research found that the symbolic content of the shroud, as a whole, possesses a cohesive iconographical message. The registers of the shroud depict the individual, his mummification, revivification, and subsequent rebirth into an afterlife, if read from top to bottom. Further, this research has concluded that the numerous symbols on the shroud support this ritual transformation as well as point to its relationship with the Isiac or Serapion mystery cult. The fourth century date of this shroud has been redated to the third century and the stylistic features of the shroud?s design point to an Er-Rubayat provenance. It is hoped that this research will benefit the North Carolina Museum of Art, and enter this mummy shroud into the on-going international scholarship on mummy portraits from Roman Egypt.
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Deacon, Vivien. "The rock-art landscapes of Rombalds Moor, West Yorkshire : standing on holy ground." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21345/.

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This study adopts a landscape approach to all the rock-art sites on Rombalds Moor in West Yorkshire, 252 unmoved sites, to consider views of and from the sites. British rock-art is generally believed to date from the later Neolithic to the later Bronze Age, but a case is made for it perhaps beginning in the later Mesolithic. What is known of environments for the Moor over this whole period provides a basis for a reconstruction of rock-art landscapes. A case is made for the applicability of ethnography from the whole circumpolar region to the personal construction of people’s landscapes in prehistoric Britain. All sites were visited, and the sites and their views recorded, both as written records and as photographs. The data was analysed at four spatial scales, from the whole Moor down to the individual rock. Several large prominent carved rocks, interpreted as natural monuments, were found to be visible from many much smaller rock-art sites. Several clusters of rock-art sites were identified. An alignment was also identified, composed of carved stones perhaps moved into position, and other perhaps-moved carved stones were also identified. The possibility that far-distant views might be significant was also indicated by some of the findings. The physicality of carving arose as a major theme. The natural monuments are all difficult or dangerous to carve, leading to considerations of risk, including being seen to embrace risk. Conversely, the more common, simple sites mostly required the carver to kneel or crouch down. This leads to comparisons with what is known of North American rock-art, where some highly visible sites were carved by religious specialists, and others, much smaller and inconspicuous, were carved by ordinary people. This was not an expected finding for British rock-art, and further research is indicated.
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Bell, Aileen E. "The white knight: Edwin Austin Abbey's "Quest for the Holy Grail" in the Boston Public Library." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278796.

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The Boston Public Library was founded on the principle that it would serve the needs of Boston's entire populace, without respect to class, race, or gender. However, despite this democratic ideology, the nineteenth-century library, in its practices and artistic expressions, articulated an elite conception of the perfect American. Edwin Austin Abbey's Quest for the Holy Grail (1890--1902), painted for the library building of McKim, Mead, and White (begun 1883), embodies the cosmopolitan, Protestant, Anglo-Saxon, and masculine values of Boston's elite through its American Renaissance style, its subject, and its iconography. In particular, the figure of Galahad, the hero of Abbey's mural, conforms to models of spirituality, race, and manhood that legitimated the power and social position of the financial, political, and cultural elite that administered and constructed the library.
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Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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Wehmeier, Jennifer ML. "Constructing a pantheon of allies princely portraits and all'antica palace decorations in Renaissance Italy during the reign of Holy Roman Emperor Charles V /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610113721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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O'Brien, MaryEllen. "The ars moriendi tradition a hermeneutic of the art of holy dying in history and contemporary practice /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Stevens, Anthea. "Sine macula sunt : the Holy Innocents and their portrayal in Italian art c. 1200 to c. 1500." Thesis, Courtauld Institute of Art (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540536.

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Ki, Dongyoun. "Holy War in Exodus 14-15 a comparison of the concept of war in Exodus 14-15 with that of the ancient Near East /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Bushnell, Taissa. "Thronis meis binis : validation through history in the court art of Charles IV." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31093.

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Bohemian art of the second half of the fourteenth century is closely associated with the personality of Charles IV, Emperor of the Romans and King of Bohemia (1316--1378). In an effort to legitimize his reign as ruler of the Holy Roman Empire and to raise the profile of his ancestral Bohemian lands, he leaned on the power of history to reveal his heritage as stemming, on one side, from an illustrious line of emperors including Charlemagne, and on the other, from the dynasty of Bohemian sovereigns. He recognized that art could display this legitimization and so implemented a programme of historicism in his artistic commissions. His impact on Bohemian art was indirect as well: his ideas influenced the art patronage of his closest court advisers, as seen in this paper through the examples of two illuminated manuscripts, the Evangeliary of John of Opava and the Liber viaticus.
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Wood, Mary Catherine Lee. "Statuary at the Evangelical Lutheran Church of the Holy Trinity in Lancaster, Pennsylvania Matthew, Mark, Luke, John, and a community with a mission /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 83 p, 2007. http://proquest.umi.com/pqdweb?did=1338866141&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Books on the topic "Holy Shroud in art"

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Borello, Laura, Piercarlo Grimaldi, and André Carénini. Sindone: Immagini di Cristo e devozione popolare. [Torino]: Omega, 1998.

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Andrew, Hurley, ed. The brotherhood of the Holy Shroud. New York: Bantam Books, 2007.

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Andrew, Hurley, ed. The brotherhood of the Holy Shroud. New York: Dell, 2007.

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Cicco, Maurizio De. La Sindone di Rublev: Studio sull'identità dei due volti. Firenze: Angelo Pontecorboli editore, 2015.

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Le icone di Cristo e la Sindone: Un modello per l'arte cristiana. Cinisello Balsamo (Milano): San Paolo, 2000.

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Turriziani, Simona. Da San Pietro in Vaticano la tavola di Ugo da Carpi per l'altare del Volto santo. Genova: Sagep editori, 2022.

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Maria, Zaccone Gian, ed. La Sindone e il suo museo. [Turin, Italy]: UTET libreria, 2010.

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Giardelli, Paolo. Mandylion. Genova: LOG, 2002.

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Giardelli, Paolo. Mandylion. Genova: LOG, 2002.

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Resch, Andreas. Das Antlitz Christi: Grabtuch, Veronika. Innsbruck: Resch, 2005.

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Book chapters on the topic "Holy Shroud in art"

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Crawshaw, Julie. "Holy Island." In Art Worlding, 71–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003046752-4.

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Napoli, Paolo. "A Structural Description of the Chapel of the Holy Shroud in Torino." In Nexus Network Journal, 351–68. Basel: Birkhäuser Basel, 2009. http://dx.doi.org/10.1007/978-3-7643-8978-9_4.

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Kühnel, Bianca. "The Holy Land as a Factor in Christian Art." In Cultural Encounters in Late Antiquity and the Middle Ages, 463–504. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.celama-eb.3.3201.

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Hundley, Catherine E. "The people of Holy Sepulchre, Cambridge, in the 12th century." In Medieval Art, Architecture and Archaeology in Cambridge, 69–85. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003244981-4.

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Junkelmann, Marcus. "Bonaparte's Egyptian Campaign in Contemporary French Art." In Napoleon and the French in Egypt and the Holy Land, edited by Aryeh Shmuelevitz, 143–54. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463225643-018.

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Fernie, Eric. "The Anglo-Saxon Church of the Holy Trinity at Great Paxton." In Medieval Art, Architecture and Archaeology in Cambridge, 392–94. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003244981-19.

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Terry-Fritsch, Allie. "Franciscan Art and Somaesthetic Devotion in the Italian Renaissance Holy Lands." In Aesthetic Theology in the Franciscan Tradition, 252–74. New York : Routledge, 2020. | Series: Routledge research in art and religion: Routledge, 2019. http://dx.doi.org/10.4324/9780429318658-12.

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Gebhart, Émile, and Edward Maslin Hulme. "The Holy See and the Spiritual Franciscans. Popular Art and Poetry." In Mystics and Heretics in Italy at the End of the Middle Ages, 202–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315646824-6.

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Gullino, Maria Lodovica. "Plant Diseases in the Holy and Classical Texts and in the Art." In Spores, 3–7. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69995-6_1.

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Piras, Andrea. "THE SHAPING OF THE HOLY SELF: ART AND RELIGIOUS LIFE IN MANICHAEISM." In Studying the Near and Middle East at the Institute for Advanced Study, Princeton, 1935–2018, edited by Sabine Schmidtke, 443–49. Piscataway, NJ, USA: Gorgias Press, 2018. http://dx.doi.org/10.31826/9781463240035-057.

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Conference papers on the topic "Holy Shroud in art"

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Hermann, Daniel, Manfred Wirsum, Douglas Robinson, and Philipp Jenny. "Experimental and Numerical Investigation of Vaned Hub and Shroud Wall Contoured Diffusers Designed to Improve Flexibility and Efficiency of an Open Impeller Centrifugal Compressor Stage." In ASME Turbo Expo 2021: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/gt2021-59255.

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Abstract State-of-the-art centrifugal compressor stages are required to provide both a flexible and a highly efficient operation. To extend the stable operating range and to improve the design-point polytropic total-to-total efficiency of an open impeller centrifugal compressor stage, three vaned contoured diffusers characterized by geometric modifications of the hub and shroud wall in the vaneless space upstream the diffuser vanes and within the diffuser passages were designed. In this paper, a shroud wall, a hub wall and a hub and shroud wall contoured diffuser and a state-of-the-art baseline diffuser are experimentally examined. For the hub-contoured diffuser an operating range extension of 5.3% was measured at design stage Mach number. For the shroud-contoured diffuser an improvement of polytropic total-to-total efficiency by up to 0.3% is observed. The experimental data including normalized total-to-static pressure ratio and 5-hole-probe data is utilized to validate the numerical setup. By means of the CFD simulations the hub- and the shroud-contoured diffuser designs are analyzed and the hub-contoured diffuser’s effect on the local flow at diffuser vane leading edge is investigated. The results illustrate the local effect of the hub-contoured diffuser design on the flow field in the examined centrifugal compressor stage.
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Dean, Lionel Theodore. "Holy Ghost." In ACM SIGGRAPH 2009 Art Gallery. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1667265.1667282.

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Erixån, Annika. "Holy Cow." In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185911.

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Polk, Andrew. "Dark monarch lingering shroud." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312511.

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Schrapp, Henner, Arne Dodegge, Volker Gümmer, Neil W. Harvey, Jörn Städing, and Jens Friedrichs. "Reducing Compressor Shroud Leakage Flows by Raising the Stator Hub Line: Low Speed Tests." In ASME Turbo Expo 2019: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/gt2019-91611.

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Abstract The paper describes experimental investigations of an alternative shrouded stator concept in a 2.5 stage low speed compressor. The idea of this new concept is to raise the stator hub line by a small amount, thus decelerating the flow upstream of the shroud cavity due to the into wind step and raising the static pressure. Downstream of the cavity the out of wind step changes the streamline curvature thus lowering the static pressure locally. As a result, the static pressure difference across the shroud is lower and the shroud flow is reduced. Tests were done at three seal gap heights under stator 1, both with a “neutral” (in–line) hub and a six percent “bump shroud”, i.e. the hub is raised by six percent annulus height. Performance measurements show the impact of the “bump shroud” geometry on the overall behavior of the compressor, i.e. efficiency and pressure ratio and the variation of these quantities with varying seal gap height. While the efficiency and pressure ratio of the compressor inevitably reduce with increasing seal gap height, the sensitivity of both is reduced by using “bump shrouds”. At small seal gap heights the “bump shroud” design behaves similarly to the neutral one, while at the design seal gap height it is superior. Thus, both the efficiency and the pressure ratio are less sensitive against seal gap height variations if the compressor is equipped with a raised hub line — leading to a more robust product. A similar behavior is seen at near stall conditions. The analysis of five hole probe measurements reveals the reason for the improved efficiency. The stator 1 losses were significantly reduced by the introduction of the “bump shroud”. This is mostly due to the reduced amount of shroud flow and the subsequent reduction of hub cross–flow in the stator. A comparison of losses with and without the raised hub line show not only a reduction of the losses near the hub, but also adjacent to the suction side of the stator due to reduced migration of hub boundary layer fluid onto the vane.
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Tjandradipura, Carina, Imam Santosa, and Gregorius Adhitama. "Lighting Aspect in Supporting Religiosity at The Holy Spirit Cathedral Denpasar Bali." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338632.

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Bohn, Dieter E., Ingo Balkowski, Hongwei Ma, Christian Tu¨mmers, and Michael Sell. "Influence of Open and Closed Shroud Cavities on the Flowfield in a 2-Stage Turbine With Shrouded Blades." In ASME Turbo Expo 2003, collocated with the 2003 International Joint Power Generation Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/gt2003-38436.

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An important goal of the development of turbine bladings is to increase the efficiency for an optimized use of energy resources. This necessitates the most possible insight into the complex flow phenomena in multi-stage turbine bladings. This paper presents a combined numerical and experimental investigation of the flow field in a 2-stage axial turbine with shrouded blades, where the axial gap between the shroud and the endwall is varied between 1mm (closed cavities) and 5 mm (opened cavities). In the experimental setup at the Institute of Steam and Gas Turbines, Aachen University, the turbine is operated at a low pressure ratio of 1.4 with an inlet pressure of 3.2 bar. The rotating speed is adjusted by a water brake, which is integrated into a swing frame running in hydrostatic bearings. The rotor power dissipates in the water brake, which enables a very accurate angular momentum determination. The mass flow is measured through a calibrated nozzle installed upstream of the turbine inlet at an accuracy of better than 1%, from which stage efficiencies can be derived. For both geometric configurations (open and closed shroud cavities), the flow field at both inlet and outlet is measured using 5-hole probes as well as temperature probes at three operating conditions. The test rig is especially designed to investigate the influence of the cavity size. Therefore, the radial gaps between shroud and casing is held near zero in order to prevent an axial flow through the cavities. The experimental results are used as boundary conditions for corresponding numerical multi-stage calculations of the 3D flow through the 2-stage turbine, using the highly accurate steady Navier-Stokes inhouse computer code, CHT-Flow. The flow field measurements and the numerical simulations give deeper insight into some of the cavity-related flow field phenomena. The measurement results as well as the simulations indicate that the stator leading edge has little influence on the inlet flow field. The flow through the shroud cavities has a significant influence on the field and therefore on the machine’s performance.
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8

Tamunobere, Onieluan, Christopher Drewes, and Sumanta Acharya. "Heat Transfer to an Actively Cooled Shroud With Blade Rotation." In ASME Turbo Expo 2014: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/gt2014-27103.

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In this paper, an experimental study of the shroud heat transfer behavior and the effectiveness of shroud cooling under the conditions of rotation is undertaken in a single stage turbine at low rotation speeds. The shroud consists of a periodic distribution of cooling holes that are 1 mm in diameter (D). The holes are angled at 45 degrees in a repeating pattern consisting of 5 unique hole pitches around the shroud circumference. Measurements of the normalized Nusselt number and film cooling effectiveness are done using liquid crystal thermography. These measurements are reported for the no coolant case, nominal blowing ratios of 1.0, 1.5, 2.0, 2.5 and 3.0, and rotation speeds of 300, 400, 500, 600 and 700 RPM. The results with no coolant injection show that the high Nu/Nu0 region migrates upstream toward the shroud leading edge with increasing rotation. The cooling results show that increasing the blowing ratio increases the area-averaged film cooling effectiveness in the shroud hole region for all rotation speeds studied. Furthermore, increasing the blade rotation speed increases the area-averaged Nusselt numbers and decreases the area-averaged film cooling effectiveness in the shroud hole region for all blowing ratios studied. As in the no-coolant case, with increasing rotation speeds, the high Nu/Nu0 region migrates upstream toward the shroud leading edge and disrupts the cooling effectiveness in this region. Finally, the results show that decreasing the shroud coolant hole spacing changes the lateral heat transfer profile from a periodic sinusoidal distribution for a shroud hole spacing of P/D = 10.4 to a more even distribution for a smaller P/D = 4.8.
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9

Hermann, Daniel, Manfred Wirsum, Douglas Robinson, and Philipp Jenny. "Experimental and Numerical Study of an Open Impeller Centrifugal Compressor Stage Utilising 3D Diffuser End Wall Contouring for Operating Range Extension." In ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-14782.

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Abstract Highly efficient and concurrent flexible operation are heavy demands on today’s centrifugal compressor units. Diffuser end wall contouring is a measure to delay the incipience of instability and therefore to extend the compressor’s operating range while maintaining efficient performance. In the presented paper, a hubside wall contouring, applied in the vaneless space upstream the diffuser’s leading edge and within the diffuser passage of a state-of-the-art centrifugal compressor with an open impeller is examined. CFD computations are performed for both a baseline diffuser design with parallel channel walls and the hub-side wall contoured diffuser design. Comparisons of characteristic and diffuser stability decisive flow variables are made in perpendicular sections along an extrapolated camber line of the diffuser vane for full span, near shroud and near hub wall. In operating points near the stability limit at two different stage Mach numbers, the stabilizing effect of the hub-side wall contouring on the diffuser flow is clearly shown. In a scale-model test rig, experimental data including pneumatic 5-hole probe data for a full diffuser blade-to-blade passage, static wall pressures at various planes as well as total temperature was measured. The experimental data is utilized for validation of the presented numerical calculations. The flow stabilizing effect of the hub-wall contouring is clearly visible in the measurements, which showed 8% range extension at highest stage Mach number Mu2 = 1.16 and a range extension of 2% at design stage Mach number Mu2 = 1.0.
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Tamunobere, Onieluan, and Sumanta Acharya. "Turbine Blade Tip Cooling With Blade Rotation: Part II — Shroud Coolant Injection." In ASME Turbo Expo 2015: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/gt2015-42564.

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In this paper, blade-tip cooling is investigated with coolant injection from the shroud alone and a combination of shroud coolant injection and tip cooling. The blade rotates at a nominal speed of 1200 RPM, and consists of a cut back squealer tip with a tip clearance of 1.7% of the blade span. The blade consists of tip holes and pressure side shaped holes, while the shroud has an array of angled holes and a circumferential slot upstream of the rotor section. Different combinations of the three cooling configurations are utilized to study the effectiveness of shroud cooling as a complementary method of cooling the blade tip. The measurements are done using liquid crystal thermography. Blowing ratios of 0.5, 1.0, 2.0, 3.0 and 4.0 are studied for shroud slot cooling and blowing ratios of 1.0, 2.0, 3.0, 4.0 and 5.0 are studied for shroud hole cooling. For cases with coolant injection from the tip, the blowing ratios used are 1.0, 2.0, 3.0 and 4.0. The results show an increase in film cooling effectiveness with increasing blowing ratio for shroud hole cooling. The increased effectiveness from shroud hole cooling is concentrated mainly in the tip-region below the shroud holes and towards the blade suction side and the suction side squealer rim. Slot cooling injection results in increased effectiveness on the blade tip near the blade leading edge up to a maximum blowing ratio, after which the cooling effectiveness decreases with increasing blowing ratio. The combination of the different cooling methods results in better overall cooling coverage of the blade tip with the shroud hole and blade tip cooling combination being the most effective. The level of coolant protection is strongly dependent on the blowing ratio and combination of blowing ratios.
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Reports on the topic "Holy Shroud in art"

1

Evans, Julie, Kendra Sikes, and Jamie Ratchford. Vegetation classification at Lake Mead National Recreation Area, Mojave National Preserve, Castle Mountains National Monument, and Death Valley National Park: Final report (Revised with Cost Estimate). National Park Service, October 2020. http://dx.doi.org/10.36967/nrr-2279201.

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Vegetation inventory and mapping is a process to document the composition, distribution and abundance of vegetation types across the landscape. The National Park Service’s (NPS) Inventory and Monitoring (I&M) program has determined vegetation inventory and mapping to be an important resource for parks; it is one of 12 baseline inventories of natural resources to be completed for all 270 national parks within the NPS I&M program. The Mojave Desert Network Inventory & Monitoring (MOJN I&M) began its process of vegetation inventory in 2009 for four park units as follows: Lake Mead National Recreation Area (LAKE), Mojave National Preserve (MOJA), Castle Mountains National Monument (CAMO), and Death Valley National Park (DEVA). Mapping is a multi-step and multi-year process involving skills and interactions of several parties, including NPS, with a field ecology team, a classification team, and a mapping team. This process allows for compiling existing vegetation data, collecting new data to fill in gaps, and analyzing the data to develop a classification that then informs the mapping. The final products of this process include a vegetation classification, ecological descriptions and field keys of the vegetation types, and geospatial vegetation maps based on the classification. In this report, we present the narrative and results of the sampling and classification effort. In three other associated reports (Evens et al. 2020a, 2020b, 2020c) are the ecological descriptions and field keys. The resulting products of the vegetation mapping efforts are, or will be, presented in separate reports: mapping at LAKE was completed in 2016, mapping at MOJA and CAMO will be completed in 2020, and mapping at DEVA will occur in 2021. The California Native Plant Society (CNPS) and NatureServe, the classification team, have completed the vegetation classification for these four park units, with field keys and descriptions of the vegetation types developed at the alliance level per the U.S. National Vegetation Classification (USNVC). We have compiled approximately 9,000 existing and new vegetation data records into digital databases in Microsoft Access. The resulting classification and descriptions include approximately 105 alliances and landform types, and over 240 associations. CNPS also has assisted the mapping teams during map reconnaissance visits, follow-up on interpreting vegetation patterns, and general support for the geospatial vegetation maps being produced. A variety of alliances and associations occur in the four park units. Per park, the classification represents approximately 50 alliances at LAKE, 65 at MOJA and CAMO, and 85 at DEVA. Several riparian alliances or associations that are somewhat rare (ranked globally as G3) include shrublands of Pluchea sericea, meadow associations with Distichlis spicata and Juncus cooperi, and woodland associations of Salix laevigata and Prosopis pubescens along playas, streams, and springs. Other rare to somewhat rare types (G2 to G3) include shrubland stands with Eriogonum heermannii, Buddleja utahensis, Mortonia utahensis, and Salvia funerea on rocky calcareous slopes that occur sporadically in LAKE to MOJA and DEVA. Types that are globally rare (G1) include the associations of Swallenia alexandrae on sand dunes and Hecastocleis shockleyi on rocky calcareous slopes in DEVA. Two USNVC vegetation groups hold the highest number of alliances: 1) Warm Semi-Desert Shrub & Herb Dry Wash & Colluvial Slope Group (G541) has nine alliances, and 2) Mojave Mid-Elevation Mixed Desert Scrub Group (G296) has thirteen alliances. These two groups contribute significantly to the diversity of vegetation along alluvial washes and mid-elevation transition zones.
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