Can the Raman spectrum of anatase in artwork and archaeology be used for dating purposes? Identification by Raman microscopy of anatase in decorative coatings on Neolithic (Yangshao) pottery from Henan,China

Scanning electron microscopy/energy dispersive X-ray analysis has earlier shown that the white background layer (slip) on painted pottery sherds (Yangshao culture, Henan, China, 4200 BC) is composed of kaolinitic clay containing titanium in the assumed form of TiO₂ at just 1 wt%. The same samples of white slip have now been studied by Raman microscopy, revealing bands characteristic of anatase, but none from the majority species, the matrix of kaolinitic clay. These results highlight the extraordinarily intense Raman scattering from even trace amounts of anatase and thus the need to recognise that, although the colours of archaeological artefacts are almost always determined by the nature of the matrix, the Raman spectrum may be determined by a highly scattering trace component such as anatase. The significance of anatase as a potential date-marker pigment on works of art and archaeological artefacts is discussed.     

仰韶文化后岗类型与大司空村类型略论

本文在现有研究的基础上,通过对地层、出土陶器及其纹饰等的比较分析,得出了一些新的认识.大司空村类型可以分出早晚两个阶段,它的源头应该在冀中地区钓鱼台类型中寻找,后岗类型与大司空村类型是仰韶文化紧密联系而又共同发展的两个地方类型.     

CHARACTERIZATION OF RED‐COLOURED SLIPS (ALMAGRA) ON ISLAMIC CERAMICS IN MUSLIM SPAIN*

Small objects found in Islamic (eleventh‐century) kilns excavated in Zaragoza (Spain) were studied to determine the nature of the red coating of almagra pottery. Ceramics with almagra decoration were completely coated with a glossy deep‐red layer, a slip, applied to the body before firing. Chemical and mineralogical studies were carried out, together with analysis of a surface treatment with organic compounds. The results of this study confirm that almagra ceramics were produced by means of a specific and elaborate process (slip preparation, firing and wax application), demonstrating the introduction of this slip into local production during the Islamic period.     

从鱼鸟相战到鱼鸟相融──仰韶文化鱼鸟彩陶图试析

在仰韶文化彩陶图中,有一些是鱼鸟纹同绘于一件器物之上。本文通过综合分析,认为其中反映了仰韶文化不同支系之间社会集团的相互关系。即“鱼”集团与“鸟”集团之间的战争与融合。     

湖北郧县大寺遗址2006年发掘简报

一、地理位置与工作概况大寺遗址位于湖北十堰市郧县城关镇后殿村,东南距郧县城区约3公里。地处汉江左岸与堰河交汇处的二级台地上。地理位置为东经110°45′26.3″,北纬32°51′08.8″。海拔高程145米(图一)。     

Archaeometric analysis of ceramic production in Tiwanaku state (c.500–1000 ce): An exploratory study

The chemical and mineralogical characterization of seven ceramic fragments produced within Tiwanaku state (c.500–1000 ce ) is reported. The instrumental techniques used included X‐ray elemental and mineralogical chemical analysis, Raman spectroscopy, and scanning and light microscopy. The results indicate there are several clay types, although they show similarities, such as the use of a plant‐based temper. The red colour of the decoration is hematite, and manganese oxides such as jacobsite are present in the black. The white colour is a mixture of gypsum and clay, and the orange is a mixture of hematite and clay. The use of colours, the quality of the clays and the temperatures reached during pottery firing point to expertise in ceramic production and to complex decision‐making processes. The multi‐elemental archaeometric approach documented here could become an important tool to shed a light on ancient ceramic technology and the internal variance of Tiwanaku pottery.     

湖南桃源出土战国彩绘陶器的科学分析

为研究湖南桃源县战国楚墓出土彩绘陶器的组成结构及保存现状,采用能量色散X射线荧光光谱法(EDXRF)、扫描电镜-能谱法(SEM-EDS)、X射线衍射法(XRD)和激光拉曼光谱法(LRS)等手段对陶器胎体成分、表面彩绘、金属涂层等进行分析检测。结果表明:这批彩绘陶器胎体成分相近,为普通易熔黏土。彩绘陶器表面的红色颜料为朱砂(HgS),黑色颜料为炭黑(C)。在彩绘陶壶、陶鼎和陶敦表面发现金属涂层装饰,通过扫描电镜能谱和X射线衍射分析,确定涂层为单质锡,属于锡涂陶的范畴。同时红外光谱测试显示锡层内面棕黑色物质为生漆,可能混合其他胶结材料。以上结果为研究战国时期彩绘陶器,特别是锡涂陶的制作工艺及发展提供了新的资料。     

TECHNOLOGY OF PRODUCTION OF GHAZNAVID GLAZED POTTERY FROM BUST AND LASHKAR‐I BAZAR (AFGHANISTAN)

Fifteen fragments of glazed pottery were studied by scanning electron microscopy coupled with energy‐dispersive X‐ray analysis (SEM–EDS). The fragments, dated from between the 11th and the 12th centuries, are part of a group excavated at ancient Bust and Lashkar‐i Bazar (southern Afghanistan) and belonging to the International Museum of Ceramics in Faenza. All the samples are characterized by highly calcareous bodies, and all of them but one is coated with a transparent lead glaze; the last fragment is, instead, coated with a turquoise opaque lead–alkali glaze. With three exceptions, the studied fragments show underglaze decorations featuring white, red, green or black motifs applied on to a white, red or black engobe; one of the remaining glazes is applied on to a monochrome white slip and the other two directly on to the ceramic body. Optical microscopy and SEM images show that engobes and decorations were obtained by deposition of differently coloured clayey slips, the composition of which was characterized by EDS analyses. In particular, black engobes and decorative motifs were obtained by recourse to manganese and iron compounds or to chromium, magnesium and iron compounds; it appears that both possibilities could be exploited for obtaining different decorative motifs on the same object.     

POTTERY TECHNOLOGY AT THE CHALCOLITHIC SITE OF TELEILAT GHASSUL (JORDAN)

Sherds from the Chalcolithic levels at Teleilat Ghassul show evidence of a considerable degree of sophistication in pottery technology and design. The bodies are almost certainly made from a siliceous illitic clay which contained some calcium carbonate, and was obtained locally. Some unusual, yet common, sherds are composed of highly vitrified black bodies with a surface wash of a refractory white clay. These sherds indicate the production of one of the earliest known totally vitrified ceramic fabrics. The latter sherds have been examined in some detail by chemical, thermal and X-ray analysis, and optical and scanning electron microscopy.     

秦始皇帝陵园出土彩绘青铜水禽表面彩绘工艺研究

为全面了解秦始皇帝陵园出土青铜水禽表面彩绘装饰工艺的技术内涵,利用显微观察、偏光显微鉴定、拉曼光谱分析等手段,对秦始皇帝陵园K0007陪葬坑出土彩绘青铜水禽表面彩绘装饰工艺进行了系统的考察和研究。研究结果显示,白色颜料为骨白,黑色颜料为炭黑;彩绘层为多层绘制而成,在结构上与秦陵出土陶俑、陶马表面彩绘具有明显区别;彩绘绘制技法包括平涂及堆绘两种,其中堆绘主要用于羽毛纹路羽轴的绘制,施彩工具可能为毛笔或毛刷。彩绘作为青铜器的装饰工艺主要出现于秦汉时期,但并没有得到广泛应用,可能与彩绘装饰自身的脆弱性以及青铜器的功能由礼容器转变为实用器有关。     

Advances in Polychrome Ceramics in the Islamic World of the 12th Century AD

As part of a multidisciplinary programme of research on Islamic glazed pottery, the development of polychrome decoration during the 12th century AD has been investigated by examining polished sections through glazed pottery in an analytical scanning electron microscope. The two main decorative techniques used were underglaze and overglaze painting. The results suggest that true underglaze decoration, involving the application of pigment without any associated slip, was first developed in Syria, from where it spread to Iran, on to China and ultimately across wide areas of the world. In contrast, the overglaze technique used on mina'i ware was both very short‐lived and confined to Iran. The analytical results suggest that the probable explanation for this was the technical problems associated with maturing the overglaze paint and the consequent risk of unsatisfactory products.     

中国礼乐文明之源——以史前乐舞遗存为例

前仰韶时期的乐舞遗存仅作为日常生活用品,至仰韶时代晚期陶鼓乐器已为少数权力阶层拥有,龙山时代以鼓磬为组合特征的乐舞遗存标志中国礼乐明的基本形成。     

INVESTIGATION ON ROMAN LEAD GLAZE FROM CANOSA: RESULTS OF CHEMICAL ANALYSES*

Five sherds of green glazed pottery excavated at Canosa (Apulia) in Italy have been analysed by scanning electron microscopy. The aim of the investigation was to determine the chemical composition of the glazes and thus obtain information on the methods used in their production. The glazes were all of the high‐lead type, coloured green by the addition of copper. Intermediate layers, observed at the interface between the glaze and body and giving the appearance of an applied white slip, were the result of the crystallization of lead feldspar from the molten glaze. Non‐calcareous clays were used in the production of the pottery bodies. Concentration profiles from the glaze exterior to the body suggested that the glazes were produced by applying a suspension consisting of lead oxide plus silica to the bodies. On the basis of the glaze and body compositions, it is suggested that the Canosa glazed pottery was produced locally.     

THE TECHNOLOGY OF ‘GLAZED’ RESERVED SLIP WARE—A FINE CERAMIC OF THE HARAPPAN PERIOD*

‘Glazed’ Reserved Slip Ware (RSW) is a high‐quality glossy bichrome pottery of the Indus Valley civilization, and dates to the mature Harappan period (c. 2600–1900 bc ). Scanning electron microscopy with energy‐dispersive X‐ray analysis indicates that the surface coat on RSW is composed of a pale grey vitrified clay slip, which overlies a black slip with significantly higher iron oxide. Hence the term ‘sintered’ Reserved Slip Ware is to be preferred. X‐ray diffraction analysis indicates that both the pale and black slips contain hercynite, mullite and quartz, but observation by scanning electron microscopy shows that the black slips contain higher amounts of coarser‐grained hercynite. The elemental data suggest that different clays were used to make the bodies and the slips. However, key element ratios are very close in associated black and pale slips. The grey slip may have been produced by elutriation of the fine, iron oxide‐rich clay that was used to prepare the black slip. The pale grey slip was laid over the black and removed by combing to produce a bichrome effect, which evoked semi‐precious materials such as agate. RSW was a specialist product that required significantly higher input skill and resources than the majority of Harappan clay‐based ceramics. It is a further example of the range of sophisticated Harappan ceramic wares, which included faience, fired steatite and stoneware.     

陕西靖边五庄果墚遗址发掘简报

五庄果墚遗址位于陕西省靖边县黄蒿界乡小界村西北部,距离县城约30公里,现为省级文物保护单位。遗址中心位于五个连绵的山峁上,相传该处曾有五户人家居住,因而得名五庄果墚。五庄果墚遗址面积约30万平方米以上,文化内涵以仰韶时代晚期至龙山时代早期遗存为     

大汶口文化“”符号新解

分析新石器时代大汶口文化遗址出土的陶尊上刻划符号“”,结合仰韶文化庙底沟类型彩陶鸟纹的演变、良渚文化玉器上刻划的鸟纹图像,大汶口文化陶尊上刻划的符号“”应是鸟的简化和变形,是巫师借用来沟通天地的巫术符号。     

新郑唐户新石器时代遗址调查

新郑唐户新石器时代遗址的仰韶文化内涵丰富,依据采集的大量陶器的器物特征,可分为早、中、晚三期,这对于解决遗址性质、区分区域类型、排列文化谱系以及今后这一带新石器时代的考古发掘与研究,都具有重要的参考价值.众多文献记载,新郑是传说中的黄帝故里,该遗址的南部传为"黄帝口",其仰韶文化遗存又十分丰富,这可能与传说时代黄帝氏族的重要中心聚落有关.     

试论水北遗址仰韶文化遗存的分期

水北遗址位于陕西省彬县炭店乡水北村(图一),面积为12万平方米。1959年,中国社会科学院考古研究所曾对该遗址进行调查,发现有钵、盆、罐、尖底瓶、缸、瓮等遗物[1][2]。2005年陕西省考古研究院等单位对水北遗址进行了发     

山西夏县辕村遗址发掘简报

辕村遗址是以新石器时代和夏商时期遗存为主体的古代聚落遗址。2006年的发掘,共发现房址4座、陶窑1座、灰坑39个、沟8条、墓葬3座,出土陶器、石器、骨器、角器等遗物,分别属于仰韶文化中期、二里头文化、二里冈文化、汉代与宋代等时期。该遗址的发掘,对于探索本地域的古代文化面貌及聚落形态演变等具有重要的意义。     

地理资源造成史前南北陶器装饰风格的差异

新石器时代,南北陶器装饰已出现不同面貌,大体说来,黄河中上游为一种,表现为彩绘的样式：长江中游为一种,表现出素面刻划的特征。造成差异的原因,地理资源即无机质矿物颜料的多寡是第一位的,这一推论大体符合彩陶分布状况,和历史献记载以及现代探矿资料。