当鼎铭文考释

前两年,山西省新世纪文物发展中心从晋南临猗县收购了一件汉代铜鼎,鼎腹侧刻有铭文,我有幸看到此鼎,颇感兴趣。现将该鼎的时代与铭文考释如下,供有关学者研究参考。鼎呈扁圆形,盖与腹子母扣合。腹为敛口,口舌内折。附耳微内倾,蹄足内侧平齐。腹中部有凸棱一周,外底中间凸出一小道铸痕。隆盖上分置三环钮,钮系扁长条作桥形,顶端有乳突。鼎盖略大于鼎腹,可能为早年后配。鼎整体素面,腹面銮金,鼎腹相当完整（附照片地在鼎腹上部一侧横排直刻铭文一行,为“当赔一斗．半升”六字,其中“赐”字疑后填（见图片）。通高18．6、口径1…     

草原上的文物宝库-内蒙古博物馆

“敕勒川，阴山下，天似穹庐，笼盖四野。天苍苍，野茫茫，风吹草低见牛羊”。这首古老的《敕勒歌》，描绘的是1500多年前阴山南麓草原（今内蒙古土默特平原）的苍莽景色。岁月悠悠，星移斗转，如今，敕勒川上早已建起了青色的城——呼和浩特（蒙古语“青城”之意）。在这座城市的街心花园旁边，有一座乳白色的古典式三层楼房，楼顶上有一匹昂首奔腾的骏马雕像，每天都有许多游人走进大楼里，他们乘兴而来，满意而归，并且在典雅的白楼前摄影留念。这座建筑，就是被称为“草原上文物宝库”的内蒙古博物馆（图一）。内蒙古博物馆成立于1957年…     

论徽州碑刻资料的主要内容和学术价值

地处皖、浙、赣三省交界之地的徽州山区,历史文化底蕴极为丰厚,这里不仅保存下来的文书文献资料汗牛充栋,浩若烟海,而且散存于徽州一府六县(即徽州府歙县、休宁、婺源、绩溪、黟县和祁门县)城乡各地的碑刻资料极其丰富.这些碑刻文字所反映的徽州社会经济和历史文化领域的内容十分广泛,是徽学研究中不可多得的第一手原始资料.更为重要的是,这些珍贵的第一手资料过去从未引起过徽学研究者的注意,有些碑刻因自然和人为的原因,还正在受到不断的毁坏.因而,开展对包括碑刻在内的徽州文化遗存的调查与研究,不仅有为徽学研究提供第一手资料的作用,而且还有着更为重要的抢救徽州文化遗产的意义.于是,本着抢救和积累徽州文化遗存文字资料的目的,我们对徽州碑刻资料进行了深入的调查与研究.     

化学保护的副作用及其对策的探索性研究:(Ⅰ)多层化学保护

化学防护和化学加固是目前保护土、石、砖等材质的不可移动文物的常用方法.所用化学材料主要是有机硅等憎水性有机化合物.这些材料能起到一定的防水和加固作用,但也存在不少问题,有的导致了更严重的破坏.其中,憎水性保护层的起壳剥落是最常见的破坏现象,特别当环境干湿循环频繁,文物本体或地下可溶性盐含量较高的情况下,憎水性化学保护层很容易从文物本体上起壳剥落,造成文物的加速腐蚀破坏.为了减小此类破坏的危害程度,本工作探讨了化学保护剂在混合使用和多层配合使用条件下的防护和加固效果.结果发现,以憎水性较弱的化学材料做基底渗透,以憎水性较强的化学材料做表而保护,由此构成的多层保护措施可以降低化学保护层起壳剥落的危害.其主要原因是,多层保护形成的憎水梯度分散了吸湿膨胀形成的界面拉应力,也缓解了盐结晶析出产生的膨胀应力.     

Tools slippage and the Tel Dan inscription

Two extreme views exist as to the structure of Lam 1: one is that there is no structure at all, while the other is that we have a very sophisticated and intricate structure. The author of this article, in rejecting - as would many scholars - both extremes, underlines the unique occasion of the poem - the aftermath of 586 BCE - and the traumatic experiences that are being commemorated, and argues for a dramatic composition involving role-play in the annual commemoration of the greatest tragedy in the history of Israel.     

《中华赤色邮政湘赣省总局》丝绸局牌的复制

根据对国家一级革命物的考证,确定它为手工束综提花机织成的提花丝织绫,从采集到的原始数据,结合传统的纺织工艺技术资料,设计复原织造手段及相关工艺,复制出物基体坯绸。按物做旧如旧的原则,先进行织物的老化处理,再做旧,使复制物尽量与原物相一致。     

The Monument to Victory in Bolzano: desacralisation of a fascist relic

The Monument to Victory in Bolzano, raised to remember Italian soldiers who fell in the First World War and to celebrate the victory over the Austro-Hungarian army, was contested from the moment of its installation in 1928. The German-speaking inhabitants of Bolzano were offended by its expression of Italian patriotism and the monument continued to symbolise the antagonism between the Italian- and the German-speaking population in the period following the end of Second World War. The monument’s explicit fascist propaganda attracted strong polemical reactions and some political groups even asked for it to be demolished. A recently-opened permanent exhibition in the crypt of the monument explores the twentieth-century dictatorships of Italy and their impact on Bolzano. Its historicisation offers a new interpretation of the monument – not one based on a schism between the populations of Bolzano, but rather one proposing reconciliation. This historicisation happens through the contextualisation of the monument, an efficient tool for the ‘desacrilisation’ of politically charged buildings; by exposing the detested ideology that they represent, they are stripped of their original ‘sacred’ character. This process also shows that it is possible for controversial, politically significant structures to become legitimate parts of a country’s modern heritage.     

红外成象技术在文物中的应用

建立了一套CCD红外摄像系统,可用于文物中模糊图象的识读。