韩城大禹庙藻井画脱酸与加固保护研究

韩城大禹庙始建于1301年,1579年重建,其佛龛顶部藻井画共168格,内容为花鸟人物,色彩饱和,具有很高的历史文化价值。近年来由于自然环境的影响,藻井画出现了大面积剥离、脱落、污染、起翘、鼓泡、撕裂、脆化等病害,使该批藻井画濒临自毁,如不及时抢救修复,将永远消失。为此,在对其病害进行调研的基础上,研究了藻井画脱酸和颜料加固的方法和材料。通过实验对模拟纸样进行处理,测试了脱酸加固前后、老化前后,纸张的抗张强度、耐折度等各物理性能。结果表明,脱酸加固剂能够在保持藻井画的原貌、色泽、质感的情况下,使保护后的藻井画各物理性能有较大提高,大大延长了藻井画的保存寿命。研究结果可为韩城大禹庙藻井画的修复、提供科学依据。     

故宫符望阁内檐装修金属构件材质与制作工艺的科学分析

为探究乾隆时期清宫内檐装修用掐丝珐琅与铜鎏金构件制造的传统工艺及其科学性,本研究采用金相显微观察、扫描电镜能谱分析等方法,对故宫符望阁建筑内檐装修用掐丝珐琅和铜鎏金构件的金属部分进行了分析.实验结果显示,掐丝珐琅构件的金属部分使用纯铜材料焊接而成,所用焊料为不同配比的Cu-Zn-Sn合金,而铜鎏金构件使用黄铜材料铸造而成,并在表面錾刻出纹饰,这两类构件金属部分表面都曾进行过传统鎏金处理.依据以上分析总结出的这两类构件的制造方法与流程,与文献或相关研究记录的清代传统技术相符,还可为进一步的保护工作提供一手的资料与重要的依据.     

试论汉代镜范与镜背铭文的制作

制作工艺、审美意识对器物形态的塑造与改变至关重要。基于此,文章以汉代镜范与镜背的视觉呈现为切入,认为战国至汉代镜范的制作大致经历了模制到刻制的转变,至汉应多用刻制;同时结合镜范内腔痕迹、镜背铭文的线型特点对镜铭的制作工艺予以辨析并做出分类。     

故宫博物院藏广钟的修复比较研究

故宫博物院藏两台清乾隆时期广州钟表,其工艺的高技术水准和中西文化交流的独特性体现了古代制钟工艺的精华。通过这两台典型的广州钟表的修复研究,可了解大部分类别的广钟在明清钟表中的独特之处。这两台广钟由外观和机芯两部分构成,它们的多样工艺及复杂机械结构和功能经过一系列精细保护修复得以恢复。这项修复活动赋予了古代钟表新生,其修复实践与研究注重对原始材料和制作技术的尊重,找到修复与保护之间的恰当平衡,为古代制钟工艺的深入理解和传承提供了珍贵的实践经验。     

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%。     

荆州博物馆馆藏明清刻本纸张原料及制作工艺分析

明清刻本纸张是承载古代文化信息的重要载体,本实验使用了纤维测量仪、扫描电子显微镜、能谱仪等对荆州博物馆馆藏明清刻本进行了造纸原料及纸张制作工艺分析。分析结果表明,这批刻本纸张原料均为竹浆,在制作工艺上四套刻本均经过加填处理,填料主要成分为白垩或滑石粉,这四套刻本纸张均经过涂布处理,涂布矿物含高岭土。自古以来,荆州的造纸印刷业就较为发达,五代十国时期已有繁荣的印刷业,明清时期成为全国的主要造纸槽坊之一,产有荆川纸。结合这批刻本在原料和工艺上存在的一致性,推测这四套刻本有可能产自荆州。本研究为荆州地区明清造纸情况、刻本纸张研究提供了参考,同时可为当地古籍文物的修复用纸选择提供科学支撑。     

陕西韩城普照寺彩绘泥塑制作材料与工艺研究

普照寺位于陕西省韩城市,寺内现存有五尊精美绝伦的元代彩绘泥塑。为了解普照寺彩绘泥塑制作材料与工艺,采用光学显微镜、X射线衍射仪、显微红外光谱仪、显微拉曼光谱仪、扫描电镜-能谱仪和X光照相等技术手段进行科学分析。结果表明,普照寺彩绘泥塑内部结构为十字型交叉木骨架,粗泥层和细泥层塑土矿物成分基本一致,具有强度高、抗风化能力强和可塑性好的特点;粗泥加筋材料为麦秸秆和麦粒壳,细泥加筋材料为棉和麻;颜料层显色成分除蓝色外均为古代壁画常见的矿物颜料,存在重层重彩情况。研究结果将为普照寺彩绘泥塑的后续保护修复提供科学依据,并为陕西地区元代彩绘泥塑传统工艺的研究补充科学信息。     

唐代螺钿镜的定名及其工艺内涵

螺钿镜是我国学界对唐代独有的贝壳镶嵌镜的指称。但文献资料显示"螺钿"这一名称出现在宋以后,螺钿镜在唐代应称为钿贝镜、宝钿镜、宝装镜等。从考古出土和正仓院收藏的螺钿镜来看,其镶嵌物有蚌壳和其它宝物,属于复合镶嵌工艺,而非单一的蚌壳填嵌。     

湖北监利出土唐宋时期漆碗的制作材料及工艺研究

本文采用显微剖面分析、傅里叶变换显微红外光谱、热裂解气相色谱/质谱联用、扫描电镜能谱、X射线探伤及显微切片等分析技术,研究了湖北监利出土的一件唐宋时期四叶海棠花瓣状圆漆碗的制作材料及工艺。结果表明,该漆碗经过制胎、批灰、髹底漆以及髹面漆制作而成,其胎骨材料为杉木属,胎骨制作工艺为圈叠制胎技法,灰地层以中国大漆和干性油作为胶结材料,并以动物骨灰作为填料,髹漆层为中国大漆并添加干性油作为髹漆辅料,漆膜髹漆工艺为唐宋时期流行的“一色髹”。     

阳高云林寺彩塑制作工艺与材料研究

在对阳高云林寺彩塑现场调查的基础上,利用X射线荧光分析、X射线衍射分析、扫描电子显微镜(SEM)及能谱分析(EDS)、显微共聚焦激光拉曼光谱分析等方法对颜料的化学成分进行了分析。研究发现云林寺彩塑是遵循传统工艺制作的,同时也有裱纸、颜料混合使用、拨金等个性之处。颜料方面,红色使用了铅丹、朱砂和铁红三种,绿色颜料为巴黎绿和碱式氯化铜两种,蓝色见有蓝铜矿和群青两种,黑色为炭黑。本研究比较全面地揭示了云林寺大雄宝殿彩塑制作工艺和使用材料的情况,丰富了对古代彩塑制作工艺和材料的认识,为保护修复实施奠定了基础。     

Oldowan behavior and raw material transport: perspectives from the Kanjera Formation

The archaeological record of Oldowan hominins represents a diverse behavioral system. It has been suggested that exploitation of lithic resources by Oldowan hominins was simplistic and represented mostly use of local sources of stone. Here we investigate the raw material selection and transport behaviors of Oldowan hominins reflected in the stone artifact assemblages from the Kanjera South Formation, South Rachuonyo District, Kenya. Using geochemical methods (ED-XRF) artifacts are linked to primary and secondary source outcrops throughout southwestern Kenya. These data show that hominins selected raw materials for transport at frequencies that are significantly different from their availability on ancient landscapes. Furthermore, a substantial proportion of the assemblage represents transport over relatively long distances (>10 km). Our study further suggests that in the early stages of stone tool use hominins used a wide variety of raw materials and selected these materials at some distance from their eventual discard locations. Early hominin behavior may have incorporated an understanding of raw material source distributions across a more extensive landscape than has been previously documented. This supports the growing perspective that Oldowan technology represents a more complex behavioral pattern than is usually associated with the beginnings of hominin tool use.     

Understanding Prehistoric Lithic Raw Material Selection: Application of a Gravity Model

Provenance studies can tell us which sources of lithic raw material were used in the past, but can they tell us why? After all, many factors can have entered into a person’s choice to use one source rather than another. Those factors can be grouped into two categories, the geologic/geographic characteristics of the source itself (quality, abundance, size of pieces, etc.), and the human factors (direction of travel, time available, social restrictions, etc.). This paper demonstrates how the geologic/geographic characteristics can be quantified and calculated together to give one value, the attractiveness of the source, which can then be used in a gravity model approach to predict which sources ‘should’ have been used more than others. Deviations from the predicted pattern point to situations where the human factors were of greater or lesser importance. The values are also used to delineate geographical areas within which particular sources would be likely to be used (‘areas of influence’), which gives us a useful new way of understanding the landscape within which the prehistoric group lived.     

敦煌莫高窟第45窟彩塑高保真三维重建方法研究

彩塑三维重建是精确获取文物的三维几何和纹理信息的数字化技术,对于文物保护、数字档案建立、考古研究、展览展示以及移动数字博物馆建设等都具有重要的意义。莫高窟彩塑作为一种不可移动文物,受采集空间及丰富的纹理信息的影响,现有的三维重建方法尚不能在保证重建精度的基础上,准确还原文物表面的色彩信息。为此,通过研究和设计双相机结构光的FOTOMOULD三维重建系统,对莫高窟第45窟彩塑菩萨三维重建,在获取高精度几何信息的同时,达到了色彩、纹理、细节等高度还原的效果。     

Evidence of early medieval soda ash glass in the archaeological site of San Genesio (Tuscany)

The early medieval period marks an important turning point in the history of glassmaking, since it comprises the transition period between the mineral-based silica-soda-lime glass of the Roman tradition and the plant ash-based glass. With the aim of expanding the knowledge on the glass recipes and technologies of this period, 37 glass samples were analyzed, originating from the archaeological excavations of San Genesio (Tuscany) and dated from the fourth to the eleventh century. The major and minor element concentrations were measured with SEM-EDX, while the trace elements were quantified with LA-ICP-MS. The results were compared with published compositions of glass samples of similar age in order to highlight differences and similarities. The results offer a very interesting view on the glass circulation in the religious/residential/manufacturing center of San Genesio in the early medieval period. Most of the glass has a typical late-Roman composition, but some glass fragments are identified as soda ash glass. These are among the earliest medieval ash-fluxed glasses ever found in the Italian peninsula.     

Study of medieval glass fragments from Savona (Italy) and their relation with the glass produced in Altare

Altare was in the medieval and post-medieval period an important glassmaking center in the Liguria region in Northern Italy. The first historical evidence of glassmaking in Altare is dated to the twelfth century. In spite of that, due to the continuity of glassmaking up to the present time and the contemporaneous intensive urbanization of the territory, no medieval glass from Altare or its immediate vicinity has been analyzed up to now. In this work, glass from archaeological excavations in the center of Savona, city with close ties with the glassmaking center, was studied. Glass fragments, dated from the tenth to the sixteenth century were selected from the collections of the Archaeological Museum in Savona and non-destructively analyzed with quantitative PIXE-PIGE. The resulting compositions, compared with known glass productions of the same time and evaluated on the basis of historical documents, offer an interesting panorama on the variety of glass circulation in Liguria.     

Pliny the Elder and Sr–Nd isotopes: tracing the provenance of raw materials for Roman glass production

In Roman and Byzantine times, natron glass was traded throughout the known world in the form of chunks. Production centers of such raw glass, active from the 4th to 8th century AD, were identified in Egypt and Syro-Palestine. However, early Roman primary glass units remain unknown from excavation or scientific analysis. The ancient author Pliny described in 70 AD that besides Egyptian and Levantine resources, also raw materials from Italy and the Gallic and Spanish provinces were used in glass making. In this study, the primary provenance of 1st–3rd century AD natron vessel glass is investigated. The use of combined Sr and Nd isotopic analysis allows the distinguishing and characterizing of different sand raw materials used for primary glass production. The isotope data obtained from the glass samples are compared to the signatures of primary glass from known production centers in the eastern Mediterranean and a number of sand samples from the regions described by Pliny the Elder as possible sources of primary glass. Eastern Mediterranean primary glass has a Nile dominated Mediterranean Nd signature (higher than −6.0 ? Nd), while glass with a primary production location in the western Mediterranean or north-western Europe should have a different Nd signature (lower than −7.0 ? Nd). Most Roman glass has a homogeneous ⁸⁷Sr/⁸⁶Sr signature close to the modern sea water composition, likely caused by the (intentional) use of shell as glass raw material. In this way, strontium and neodymium isotopes now prove that Pliny's writings were correct: primary glass production was not exclusive to the Levant or Egypt in early Roman days, and factories of raw glass in the Western Roman Empire will have been at play.     

Raw material quality and Oldowan hominin toolstone preferences: evidence from Kanjera South,Kenya

The role of raw material quality in Oldowan technology has not been fully explored. There are numerous studies suggesting Oldowan hominins preferred certain types of stone for artifact manufacture. Previous studies of the artifact assemblage from the early Pliocene Oldowan locality of Kanjera South (South Rachuonyo District, Kenya) show that raw material selection and transport was an important aspect of Late Pliocene hominin adaptations. Yet the exact properties of stones that hominins were selecting remain enigmatic. Two potentially important features of artifact raw material are durability and fracture predictability. We investigate fracture predictability through mechanical tests of stone and investigations of the affect of stone properties on fracture patterns in archaeological collections. We investigate stone durability with actualistic studies of edge attrition combined with further mechanical tests of various lithologies. Oldowan hominins at Kanjera appear to have selected raw materials based on their durability. The ability for a stone to fracture consistently does not appear to be as important in hominin toolstone preference as previously assumed. Hominins that produced the assemblages at Kanjera South appear to have incorporated an extensive understanding of various attributes of raw material in the transport and production of stone artifacts. When combined with previous research on the transport patterns at Kanjera, the results of this study provide evidence for a more complex raw material acquisition strategy than has previously been suggested for Late Pliocene Oldowan hominins.     

Glass from the Archaeological Museum of Adria (North-East Italy): new insights into Early Roman production technologies

In the present study, the first archaeometric data on an ample selection of intentionally coloured (or decoloured) Early Roman glass (1st–2nd centuries AD) from the Archaeological Museum of Adria (Rovigo, Italy) are reported. The analysed samples are 61 in total, both transparent and opaque, and were characterised from the textural (SEM-EDS), mineralogical (XRPD) and chemical (XRF, EPMA, LA-ICP-MS) points of view. This combined approach allowed us to identify the raw materials and production technologies employed in the manufacture of glassware. Results for the transparent samples show that they are all silica-soda-lime glasses. Most of them, independently of colour, have compositions close to those of typical Roman glass, produced with natron as flux. No relationships were identified among chemical compositions, types or production techniques, but a dependence on bulk composition was identified for some particular colours, revealing the careful and intentional selection of raw materials. This is the case of Sb-colourless glass, produced with sand of high purity, a group of intensely coloured objects, mainly emerald green and black, produced with soda ash as flux, and some blue examples produced with various sources of sand or soda ash as flux. Two main types of opacifiers were identified for the opaque samples: calcium antimonate for white, mauve and blue glasses, and lead antimonate for the yellow ones; in one case, a yellow lead-tin antimonate was also identified. As regards the opaque glasses, most of the samples opacified with calcium antimonate are silica-soda-lime in composition, similar to the typical Roman glass. Instead, samples opacified with lead and/or lead-tin antimonates are lead glasses, suggesting different production technologies.