北魏陶器装饰的匈奴遗风

北魏由拓跋鲜卑建立,所以北魏陶器的造型和图案特点也往往被视为拓跋鲜卑族陶器的界定标准.然而,在目前已经确认的一些早期鲜卑遗存中,却很少见到北魏时期常见的各类图案.相比之下,北魏陶器的这些图案装饰与匈奴陶器更为相似.所以乔梁先生指出:"如叭沟M3:1之盘口陶罐,肩部饰有两周弦纹之中夹一周曲线波折纹的纹饰,这类纹饰是汉代匈奴陶器中所常见的;西沟子村M1:2的小口鼓腹罐,则与蒙古诺音乌拉墓地所出同类器相似.这种由陶器表现的与匈奴文化相联系的现象,在同一地区时代略早的可能属于东部鲜卑的E群(即三道湾、善家堡遗存)遗存中却基本不见,表明拓拔鲜卑南迁‘匈奴故地’后与匈奴的联系要更多一些,这也同当时鲜卑被视为鲜卑父、匈奴母的索虏的记载相符"①.林沄先生也认为:"过去被怀疑为东汉以后到北魏时期的砑光暗纹,以及肩颈之间加凸棱,乃是西汉匈奴陶器的流行装饰手法"②.北魏陶器和匈奴陶器在图案装饰方面的相似性,不仅体现陶器表面纹饰的组合上,甚至在器底的模印符号上也可以找出完全相同的图案,说明二者具有一定的文化联系或承继关系.本文挑选了一部分具有相似性特点的北魏陶器和匈奴陶器进行比较,并在此基础上试对相关问题进行简要探讨.     

清代家具装饰纹样

清代家具的装饰材料和装饰手法极为丰富。装饰手法有雕刻、镶嵌、彩绘三种。而装饰材料则多种多样,有各种木雕、竹雕;有各色玉石、玛瑙、翡翠、水晶、孔雀石、青金石等宝石;有珍珠、玳瑁、珊瑚、螺钿、象牙、犀角、兽骨等天然材料;有金、银、铜、铁等金属;有各色珐琅、各种鸟类的羽毛、丝织品和纸帛画等,还有施各色漆加彩绘的。真可谓空前绝后。 明清家具对美有截然不同的追求。明式家具不重雕饰,主要突出家具自身的造     

古代玉器的装饰纹样

龙纹（龙形器）最早出现在距今约5000年的红山文化,古玉中的龙纹图案起源于远古的图腾,龙被视为中华民族的象征,在玉器制作中,龙更是主要的创作题材。商代玉龙,是随甲骨文的形成进行雕琢,因此与甲骨文的龙字近似,商代龙纹（龙形器）的特点是龙身短,尾巴有刃,头部角形似邹角,商代时期玉龙以片状为多,张口为多,到商晚期出现圆雕,早期龙身多为光素,中期出现双勾阴刻线,纹布有重环纹、菱形纹、云雷纹、龙背出脊较密。周代玉龙,角是钱形角,龙身比商代长,尾部刃消失,龙身的图案纹饰比商龙繁密,出现对称图案,线条走势见隙即补…     

藏族艺术的装饰纹样

注重装饰是藏族艺术本身所具有的特质之一,藏族文化中存在着众多寓意吉祥、长寿、和平、安宁的象征符号,如八吉祥徽、七珍宝、八瑞物、七政宝、五妙欲等,扎雅&;#183;罗丹西绕活佛在其《藏族文化中的佛教象征符号》中认为这些象征符号是源自印度佛教显密乘文化、中原和中东地区,而后又与藏族原有的雍仲苯教等文化相互影响、相互融合之后发展起来的,     

耀瓷装饰纹样浅析

耀瓷装饰纹样素以丰富多变著称,在中国陶瓷史和工艺美术史上享有盛誉.它题材内容广泛,组合形式多样,图案形象优美,纹样内含寓意丰富,不仅具有令人赏心悦目的装饰功能和审美价值,还反映了当时社会一定的思想意识和观念.本文试就耀瓷装饰纹样的特点谈一点浅显的看法.     

北朝联珠纹装饰纹样的组合

<正>联珠纹,由连续的圆珠构成,有时成条带状,排列在主纹或织物的边缘,有时做菱格形,其内填以花卉、动物等,更常见的是围成珠圈环绕主纹。联珠纹在我国很早就有,如我国的原始彩陶和商周时代     

白金宝原始陶器造型与装饰初探

从原始社会起,地处北陲的黑龙江古代先民,就用其辛勤的劳动为我国文明、历史留下了珍贵的文化遗产。今天我们所看到的大庆地区出土的白金宝遗址原始社会的陶器,就是其中重要的一个组成部分。这些陶器不仅为研究当时当地的历史发展和社会生活提供了生动形象的资料,同时对于研究大庆地区古代史、人类发展史等都有很重要的价值。本文拟从纹饰和造型两个方面,以篦纹和直筒罐为例,对白金宝原始陶器进行初步的研究。     

浅谈明代雕漆装饰纹样的演变

正雕漆是中国漆器门类中重要的一种,包括剔红、剔黑、剔黄、剔绿、剔彩、剔犀等重要品种。明代雕漆在继承元代雕漆工艺的基础上,进一步发展,创造了剔彩,而且在纹饰上比元代更加丰富,既有写实的花鸟纹,又有古代神话及历史典故、龙凤瑞兽等题材。有明一代,在漫长的300余年间,受当时统治者、文化氛围、政治制度等多方面因素的影响,明代早中晚期流行的雕漆纹饰题材有所     

北朝忍冬纹装饰纹样的类型

忍冬纹是我国北朝时期广为流行的主要外来装饰纹样,其叶瓣形态有单叶、双叶、多叶等多种,作为一种边饰,它主要被应用在石窟寺、墓葬、器物等装饰之上,这种看似简单的题材,被古代的艺术匠师们演绎得多彩多姿,如：波状形、桃形、环形、龟甲形等。由于忍冬纹的形式富于变化,所以产生出很多的型和式来。而对这些型、式进行分析研究,对北朝的文化研究有着重要的意义。     

北朝莲花纹装饰纹样的组合

莲花纹是我国传统的装饰纹样之一,早在春秋时期就已出现在青铜器和陶器的装饰上。如1923年在河南新郑县李家楼出土的青铜器“莲鹤方壶”,壶盖上装饰双层展瓣莲花,莲心中有一只振翅欲飞的鹤,莲瓣纹的造型与真实的莲瓣非常接近,这种以莲瓣作壶盖装饰的简练表现方式,是此时期比较典型的一种装饰方法。     

Technological investigation of the decorative coatings on Yangshao pottery from Henan,China

Yangshao pottery sherds dated to c. 4200 bc from two archaeological sites in Henan province, China, were examined to determine the technological aspects of their decoration. The selected samples comprised plain and painted pottery, some of which have a white background slip and black or red decoration on the surface. Various analytical techniques including SEM/EDS, XRD and FTIR were applied in the study. Observations show that some pieces were wheel‐thrown. The refinement of the body fabric varies. Surface finishing includes simple burnishing, slipping and brushing. The black decoration on the surface is manganese black. The white background layer is kaolinitic clay slip. No organic binders or decorations were detected. The results of these analyses will help our understanding of the production steps involved in the craft production of Yangshao pottery.     

新石器时代彩陶纹饰赏析

新石器时代的彩陶,纹样之变化丰富,手法之熟练巧妙,堪称中国图案之精华,研究和继承新石器时代的彩陶艺术,对繁荣和发展我们的民族艺术,是大有裨益的。     

A provenance study of Mycenaean pottery from Northern Israel

The occurrence of imported Mycenaean pottery in the Late Bronze Age southern Levant is one of the most conspicuous aspects of Eastern Mediterranean trade connections during this period. A group of 183 Mycenaean pottery vessels from 14 sites in northern Israel, from both coastal and inland settlement contexts were analyzed by Neutron Activation Analysis. The results indicate that the vast majority of these vessels have a similar profile and can be provenanced to the north-eastern Peloponnese or more specifically, to the Mycenae/Berbati workshop in the Argolid. Possible interpretations of these results are presented and discussed against the historical and cultural background of the Late Bronze Age Eastern Mediterranean.     

Organic geochemical analysis of archaeological medicine pots from Northern Ghana. The multi-functionality of pottery

Sherds from pots found layered under a granite boulder in the Tong Hills of the Upper East Region of Northern Ghana seem, based on their deposition context to have been used for the preparation of medicines. Organic geochemical and isotopic analyses of these sherds and a modern day analogue reveal an n-alkanoic acid composition that is consistent with their being used in the preparation of plant derived substances. Isotopic analyses of the modern medicine pot indicate a contribution of n-alkanoic acids derived from plants that use C₄ carbon fixation, most likely maize, sorghum and/or millet suggesting that this pot was used for cooking C₄ based plant substances, perhaps, based on current analogy, staple porridge type food. The modern medicine pot could thus have had a prior use. The absence of C₄ plant residues in the archaeological sherds suggests that either staple foodstuffs differed radically to today, or, more likely, were not prepared in vessels that were to be used for medicinal purposes.     

The effects of geographical distances on pottery assemblage similarities: a case study from Northern Iroquoia

A basic premise of archaeology is that the more frequently two human populations interacted with one another the more similar was their material culture. A corollary of this is that the closer two human populations are to one another geographically, the more frequently they will interact. This corollary has been expressed in the archaeological study of northern Iroquoia since the 1950s on the basis of historical ethnic territories. The expectation has been that after ca. A.D. 1000 to 1300 there was more interaction between village populations within these historical territories than between village populations located in different historical territories. Here I test this corollary with pottery decoration data from 114 northern Iroquoian village sites dating from c. A.D. 1350 to 1640. Results indicate that geographic distance has little effect on pottery assemblage similarity.     

The ethnoarchaeology of pottery production

Reina, Ruben E. and Robert Hill. The Traditional Pottery of Guatemala. Austin: The University of Texas Press, 1978. 323 pp. 419 figures, 10 maps, 3 tables, 10 color plates. $35.

Lackey, Louana M. The Pottery of Acatlán: A Changing Mexican Tradition. Norman: The University of Oklahoma Press, 1982. 164 pp. 18 color plates, 68 black and white photographs, 3 maps. $19.95.     

The influence of different tempers on the composition of pottery

The modification of the raw clay by the potter to produce a paste suitable for the intended purposes adds a layer of obfuscation to the problem of provenancing the original clay source by chemical fingerprinting. By preparing different pastes from the same commercially available raw clay and their chemical analysis by Instrumental Neutron Activation Analysis, an experiment under controlled conditions (tempers, mixing ratios, firing temperatures and sampling methods) sheds light on the influence of different tempers.     

西汉初期粉彩陶俑的保护研究

为了探索研究出土脆弱粉彩陶俑的保护方法,采用偏光显微粉末法(PS-PLM)对11种颜色颜料进行了分析鉴定。用X一射线衍射对文物表面土壤溶盐的成分及含量进行了测试,测得干土含盐量高达2.5%。先用WO-WO2型有机硅对粉彩进行预加固,再用8%Na2[Na4(Po3)6]溶液多层纸张贴敷法对粉彩俑进行了脱盐处理,然后进行保色,拼对粘接,再加固和表面保护,保护后的粉彩俑色彩鲜艳,无炫光,触摸弹击粉彩不掉色,保持了器物的原貌。达到理想的保护效果。     

山东史前时期的陶塑艺术

陶塑艺术的产生与发展有着悠久的历史,在山东地区,生活在这里的先民们通过世世代代的劳动,不仅发明了陶器,同时也创作出一些优美的陶塑艺术作品。据考古资料介绍,在距今大约8000多年以前的后李文化遗址中就有许多陶塑艺术品的发现,这些陶塑艺术品不仅形体较小,且造型简单,制作粗