故宫符望阁建筑装饰构件中珐琅釉的分析研究

本文使用激光剥蚀电感耦合等离子体质谱、显微共聚焦拉曼及光学相干断层扫描等手段,对故宫宁寿宫花园符望阁内檐装修的两件掐丝珐琅构件的珐琅釉进行了分析研究,结果显示:黄色珐琅釉为铅-钾体系(Pb O-K2O-Si O2)玻璃,其他颜色珐琅釉基体为含硼的铅-钾-钙体系(Pb O-K2O-Ca O-Si O2)玻璃。珐琅釉的主要碱土元素助熔剂为钾,这暗示出使用的为本土配方。不同颜色珐琅釉的乳浊剂与着色剂种类各异,其使用规律与同时期玻璃、彩瓷制品存在一定的关联。样品表面气孔较多,与原料和烧制工艺有关,且存在使用蜂蜡混合颜料进行气孔填补的修补工艺。     

清代画珐琅金红彩的区分与研究

画珐琅是一种在清代自外国传入的工艺,研究画珐琅彩料的发展对于了解画珐琅工艺的发展以及后期受其影响的粉彩工艺的技术革新有着重要的意义。画珐琅彩料中金红是最初由西方传入的彩料,这种以金子为原材料制作出的艳丽粉色在中国釉上彩的发展过程中具有独特意义。但由于常规无损分析手段难以对金红彩的成分和工艺进行有效的分析,因此对于金红的研究主要集中于文献分析。针对故宫博物院藏宫廷画珐琅文物,利用配备低真空模块的电子显微镜,直接观测金红釉彩中呈色的金纳米粒子的形貌和分布,配合电子显微镜中能谱分析,验证了之前文献研究考证中的国外“卡修斯紫”配方的金红以及本土配方“掺铜金红”的存在:典型卡修斯紫配方金红彩的基底釉为铅-钾-钠玻璃,金含量4.4%,且含有11.7%的锡元素；本土掺铜金红的基底釉为铅-钾玻璃,金含量12.5%,铜含量0.2%。同时发现了一种中国本土画珐琅普遍使用但此前未被注意到的金红配方,该配方为铅-钾釉,采用砷元素作为还原剂制备金红,与采用锡元素的卡修斯紫配方的金红不同,砷含量0.2%,金含量3.9%~8.4%。     

故宫宁寿宫装饰彩瓷嵌片釉彩料的分析研究

故宫宁寿宫花园延趣楼、萃赏楼内檐装修釉上彩瓷装饰嵌片,是研究乾隆时期釉上彩瓷的珍贵标本。本研究采用X射线荧光能谱仪、显微激光拉曼光谱仪和实体显微镜,对乾隆时期釉上彩瓷样品进行无损分析。结果表明,蓝色、胭脂红色釉彩的基底釉为铅钾玻璃,白色、黄色、黄绿色、绿色釉彩的基底釉为铅玻璃。白彩的乳浊剂和着色剂为砷酸铅;蓝彩的乳浊剂为砷酸铅,着色元素为Co;黄彩为铅锡黄Ⅱ型乳浊及着色;黄绿彩为铅锡黄Ⅱ型和Cu共同作用;胭脂红彩为Au着色;绿彩为Cu着色;黑彩需覆盖透明绿彩于珠明料上才能完全发色;橘红彩为赤铁矿着色和乳浊;棕彩则为赤铁矿和Mn、Co共同着色。本研究成果可为乾隆时期釉上彩瓷的原料与工艺研究提供基础数据。     

谈掐丝珐琅 赏瑰丽之宝

正一、掐丝珐琅的历史渊源珐琅,是一种粉状的玻璃质材料,以石英、长石、硼砂、瓷土为原料,以金属氧化物为着色剂,经粉碎、熔融后而成,习惯上称为"珐琅釉"。珐琅器就是将珐琅釉通过不同的技术手段固着于金、银或铜胎的表面,达到实用美观的功效。根据其制作方法的不同,将珐琅器分为掐丝珐琅、錾胎珐琅、画珐琅三大品种。珐琅器具有金属的坚固性、玻璃的光滑性和瓷的耐蚀性,是实用与美观相结合的工艺美术品之一。     

元代与康熙掐丝珐琅球形香熏辨识略谈

珐琅釉是以石英、瓷土、长石、硼砂及金属矿物为原料,经烧炼、研磨而成,与瓷器表面的釉同属玻璃态物质。将珐琅釉敷涂于金、铜等金属器表面,即称珐琅器。根据制作工艺的区别,我们可以将珐琅器大体分为掐丝珐琅与画珐琅两大类。掐丝珐琅始见于元代①,明初文物鉴赏名家曹昭称其为“大食窑”②。元代掐丝珐琅器的基本特征是:珐琅质地坚硬、细腻、肥厚、砂眼少;釉色主要包括天蓝、翠绿、深绿、红、黄、白等几种,颜色纯正、均匀、鲜艳、明快,介乎透与不透之间;掐丝熟练,丝边较光滑;纹饰仅见缠枝莲一种,花较大,叶长而尖,分三层。为使珐琅粘牢,在花…     

墨海石静百文艳——清砚三方赏鉴

正暖砚(砚床),长方形,四面以浅蓝色珐琅釉为地,饰掐丝夔龙捧寿纹。口沿铜鎏金镂空雕夔龙纹。外底中部方框内錾刻阴文"康熙年制"篆书款。砚床内盛热水或炭火,可以防止墨在寒冬腊月受冷凝固,因而名之"暖砚"。康熙朝的掐丝珐琅可以分为两大类:一类珐琅釉干涩,颜色暗淡,器表未经细致打磨而略显粗糙,鎏金较薄;另一     

台湾出土部分古代玻璃珠的科学分析

使用北京大学科技考古实验室的激光剥蚀电感耦合等离子体发射光谱分析了台湾省出土的18件古代玻璃珠子标本．结果表明这些珠子主要属于钙镁玻璃系统、钾玻璃系统、铅玻璃系统以及钠钙玻璃系统．除钠钙玻璃以外其它玻璃的制作技术均和同时期在大陆流行的玻璃制作技术同源。而成分分析结果显示钠钙玻璃可能来自印度或者东南亚,说明中古时期台湾岛是“海上丝绸之路”的重要中转站。     

介绍两座明景泰墓出土的青花、釉里红瓷器

一、景泰四年严昇墓此墓座落于景德镇市东郊竟成公社新厂大队唐家坞村口山坡上,于1974年9月,在建房挖地基时掘出。同时出土的瓷器,除破碎者外,均由我馆收集,计七件,全部饰有青花。介绍于下: 1.青花长颈双耳瓶一对(图版伍:1) 圈足、平沙底。高16、口径4.8、底径5、最大腹径8.3厘米。釉呈浅鸭蛋青色,肥厚,不开裂。因釉层内密布小气泡,使釉产生乳浊感,而影响青花的呈色。青料浓处呈     

秀美雅致的清代粉彩瓷

粉彩瓷器,是在五彩基础上受珐琅彩制作工艺的影响于康熙年间创烧的釉上彩新品种。其独特之处,是在白色彩料(玻璃白)中加入了砷作为乳浊元素。其作用是对各种色彩进行“粉化”,例如使红彩变成粉红色,绿彩变成淡绿色,蓝彩改成淡蓝色,使之色调温润柔和。同时借助改变玻璃白的加入量,使之色阶增多,“化”成一系列不同深浅浓淡的色调,这样就使釉上彩的色调品种在原来五彩基础上大大增加。此外还可使瓷器装饰画面采用中国画中的渲染手法。在粉彩没有发明之前,我国彩瓷都是单线平涂,所作花卉缺乏立体感。自从发明了玻璃白之后,在瓷器上面绘画花朵、…     

清宫雍正粉彩瓷

粉彩是我国瓷器釉上彩绘的一种独特装饰方法,也是景德镇传统彩绘瓷品种之一,因彩料中含有玻璃白粉而得名。这种“玻璃白”粉实际上是一种含氧化砷的玻璃白,由于砷的乳蚀作用,使所有颜色都“粉化”成不同深浅浓淡的色调。一个色可以分出多种色阶,描画纹饰可以更加细致入微。粉彩出现于清代康熙晚期,最初是受珐琅彩制作工艺影响而创造出来的。其烧     

Power and Ethnicity History and Anthropology

This essay reflects on the relationship between anthropological and historical scholarship of ethnicity, picking up on themes explored by Andre Gingrich, by considering the epistemological and evidentiary limitations of social scientific and historical analysis and reconstruction. Beginning with the consideration of the pioneering transdisciplinary efforts of Robert Darnton and Clifford Geertz, it argues that many of the weaknesses ascribed to such efforts are actually part of the nature of social scientific investigation which, in the terms of Peter Winch, must take into account two sets of relationships: that of the relationship between the scientist and the phenomena that he or she observes and the symbolic system that he or she shares with other scientists, which can only be understood from the social context of common activity. How these two relationships challenge social scientific analysis of ethnicity are examined through a consideration of the difficulties of applying Anthony Smith's definition of an ethnie to either Fredrik Barth's classic essay on “Pathan Identity and its Maintenance” or Helmut Reimitz's study of Frankish identity. It concludes that neither anthropologists nor historians are simply describing societies as they are or as they were but rather attempt to describe societies as witnesses within them thought they should be, and we do this for our own society, not for those of the participants, past or present.     

Garibaldi and Mazzini: thought and action

Abstract

The relationship between Mazzini and Garibaldi is described in its ideological roots and in its political developments, in order to show their different attitude towards the Italian unification. Although their first misunderstanding happened during the Roman Republic in 1849, Mazzini's influence is still strong in the organization and in the success of the liberation of Two Sicilies in 1860, particularly through Francesco Crispi. The final personal break was caused by the unlucky experience of the Mentana expedition (1867), when Garibaldi failed to free Rome. Fundamental ideas as democracy, republic, social justice, humanity and universal brotherhood have been however always common to them. The two protagonists of Risorgimento never intended accepting the role to which their fateful encounter prompted them – the one to provide the brawn and the other the brains for Italy's liberation. Just as Mazzini never renounced involving himself in the operational decisions of the movement, Garibaldi never gave up his own way of thinking and looking at things.     

千泉、白水城和恭御城考辨

根据汉籍史料和阿拉伯地理文献,区分了中外史料记述的不同,考辨了千泉、白水城和恭御城的方位。玄奘所言"千泉",当在今哈萨克斯坦的梅尔克;玄奘所言千泉与阿拉伯地理学家所记之千泉,并非指称同一地方。玄奘所记白水城与阿拉伯地理学家所记之白水城(Isfijab)不能相等同;玄奘所记"白水",似应"泉"字之讹,即为阿拉伯地理学家所记之千泉(Abarjaj);而玄奘所记"恭御城"是阿拉伯地理学家所记之白水城。     

解读《边城》和《苔丝》中的画面与音乐

《边城》和《德伯家的苔丝》(简称《苔丝》)分别是中英两国“乡土文学”的典型代表沈从文和哈代的主要代表作。两位作家将画面与音乐视为文字之外的语义载体,填补了文字所不能表达的空白,丰富了作品的主题意境。     

原真性与完整性:质疑、新知与启示

在世界遗产理论发展路程中,对遗产原真性及完整性的质疑和思考是推动理论不断丰富完善的一股重要动力。完整性适用于所有遗产地,整体保护政策正是对完整性这一命题的呼应和阐释。对遗产原真性的质疑主要表现在非物质文化遗产方面,特别是活态遗产,现在遗产界已经越来越认识到非物质遗产不能简单套用物质遗产的原真性,非物质文化遗产环境的原真性要素也可以表现为一种"演进中的原真性"。因质疑而思考,进而获得新知。这一途径启示我们,应以一种开放性的、持续完善的思维和态度来对待遗产事业。     

Geography and psychoanalysis: Tensions and possibilities

I am concerned in this paper with the diversity of psychoanalysis, a feature of the discipline which we can connect with diasporas and the re-working of ideas in different locales. I try to demonstrate how experience and environment have contributed to the development of psychoanalysis. Key to the production of knowledge are the journeys of theorists, practitioners and ideas. Following Liz Bondi, I stress the importance of acknowledging the connection between experience, theory and practice in our own work. I suggest that geographers can follow those psychoanalysts who have moved from the clinic to broader political projects but that they should engage with recent critical research in psychoanalysis if a dialogue is to develop.     

Dictatorships and Revolutions in Portugal and Chile: Ethnography,Memory and Invisibilities

This article discusses the relation between ethnography and underexposure of memory. Displaying similar characteristics, the ethnographies we developed in Portugal and Chile dealt precisely with this thematic in different chronological periods. We are going to point out our fieldwork convergences, specifically in what concerns the data recollection process.     

真品与高仿、粗仿青花瓷热释光及成分分析对比实验

为了防止有人以假乱真,扰乱古董市场的健康发展,为此通过三种青花瓷碎片(真品、高仿、粗仿)的热释光及微探针型X荧光分析对比,找出三者的不同。结果表明,热释光法可以直接给出真伪。从X荧光得到成分来对比此三种瓷片的异同结果,建议用瓷胎的多个主、微量元素一起来分析对比,才易于得到正确的结论。     

Engineers and engineering history: problems and perspectives

In past decades, the history of engineers and engineering has seen spectacular development. Despite this, major interrogations are still left unanswered. This article examines some of these pending questions, like the type of relation that exists between engineering knowledge and practice, or the complex articulation between continuities and discontinuities that characterizes engineering history. Finally, the article proposes to focus on engineering rationality as a possible way to address some of these issues. In order to do so, engineering rationality is not to be confused with some kind of generic and abstract logic. On the contrary, it must be historicized.