古代中国人造蓝紫硅酸铜钡颜料

这篇文章是对四件附着有硅酸铜钡颜料的中国古代器物的研究。其中三个样品是彩陶颗粒,来自甘肃省张家川马家源遗址,它属于战国晚期（474-221BC）。另外是对山东章丘威山汉墓壁画上的（206BC-8AD）单个晶体的单独研究。一个彩陶颗粒样品和单个晶体表明有中国深蓝（BaCu2Si2O7）存在,这是一关于硅酸铜钡的新发现。相对于已知道中国蓝（BaCuSi4O10）和中国紫（BaCuSi2O6）,这种BaCu2Si2O7成分被称为中国深蓝,该彩陶颗粒的颜料层也含有中国蓝中国紫。还运用了SEM和EDX对其表面形态的分析和通过拉曼光谱对中国蓝、中国紫元素成分的分析。x射线对单个晶体的分析知道了BaCu2Si2O7化合物的结构。通过现代仪器的综合分析研究,推断前期硅酸铜石英相谱图,白色Ba2CuSi2O7成分,仅有很小的可能性在历史遗迹中找到该颜料。     

显微镜探知中国古代颜料史

2003年2008年期间,采用光学显微镜对来自全国11个省和自治区超过30处的考古工地和文博单位的彩绘文物颜料进行了分析和研究,勾勒出中国古代颜料应用的历史轮廓：本文将中国颜料应用史分成三部分论述,先秦至两汉、魏晋南北朝到清代中期、清代晚期。每个时期颜料的应用和彩绘的工艺均有各自的特点,文章配有大量精美的显微照片配合说明。先秦至两汉以中国蓝中国紫为代表,表现出当时科技活动的活跃,秦代骨白的应用也是一个有趣的例子;魏晋南北朝到清代中期是颜料发展史的平和期,这一时期构建起中国传统颜料的体系,未有太大的变化,惟有元代开始应用的苏麻离青颜料是一个关注点;清代晚期。西方工业合成颜料大量涌入是这个时期的显著特点。     

山东危山西汉墓出土陶器彩绘颜料研究

为研究山东危山西汉墓出土彩绘陶器颜料成分,采用偏光显微镜、显微拉曼光谱仪和扫描电子显微镜-能谱仪进行了分析。研究结果显示,危山汉墓陶器彩绘颜料有朱砂、铅丹、中国紫(汉紫BaCuSi2O6)、铁红、铁黑、白土等。中国紫颜料首次在山东省的发现,扩大了该颜料的使用区域,具有重要的考古学意义。另外,还在紫色颜料中分析出了BaCu2Si2O7蓝色晶体,这是继中国蓝中国紫之后的又一重大发现。     

Examination of some pigments,grounds and media from Egyptian cartonnage fragments in the Petrie Museum,University College London

A number of cartonnage fragments from the collections of the Petrie Museum, UCL, were examined to identify pigments, media and grounds. The different types of cartonnage made in ancient Egypt are reviewed. Special attention was paid to green pigments, which were shown to be of green earth, or a mixture of Egyptian blue and a yellow, usually goethite or orpiment. Green earth was found in one artefact, dated to the 9th century BC: all other examples were from the Graeco-Roman period. No copper-organometallic greens were present in the examples studied, or Egyptian green, or malachite. Binding media was identified both by ELISA and by GC/MS. A pink colourant was identified as madder, while lead white was used as a white in one example, showing the influence of Roman and Greek pigments on Egyptian art in these later periods. Plant gum, egg, and animal glue were found in different fragments, with mixed media in a few cases. Moganite was found associated with quartz in some preparatory layers by X-ray diffraction, which has not been reported previously as a constituent of ground layers in Egyptian artefacts.     

古埃及墓葬彩绘材料研究

分析研究了八件古埃及墓葬出土器物,这些器物包括部分传统殡葬遗存,包括木乃伊裹尸、面具、木棺和礼仪器具等。时代大约为古埃及晚期（公元前800到公元400年）,展现出不同的彩绘工艺和风格。本文将提供有关颜料、充填物、调合剂的分析结果。还将讨论古代工艺、时代、老化以及保护问题。另外,还对多种颜料分析手段进行了评估。     

CHEMICAL AND MINERALOGICAL ANALYSES OF GALLO-ROMAN WALL PAINTING FROM DIETIKON,SWITZERLAND

Around 90 samples of Roman wall painting dating from the first to the third century AD were analysed using different analytical techniques: X-ray diffraction, X-ray fluorescence, infrared spectrometry, scanning electron microscopy, energy dispersive spectrometry, optical microscopy and physico-chemical tests. The identified pigments are: ash, calcite, carbon black, celadonite, cinnabar, Egyptian Blue, glauconite, goethite, hematite and red lead. Pigment mixtures were used to get other colours such as brown, pink or purple. Three types of plaster were used: a first, and most dominant, with river sand, a second with crushed tile for damp places and a third, to which cinnabar was exclusively applied, was prepared with crushed calcite crystals.     

中国钴着色材料的分类和来源

中国历史上的钴显色材料有颜料、玻璃、陶瓷釉。花绀青、钴蓝属历史颜料;钴显色蓝色玻璃可能始于西汉;钴显色蓝色陶瓷釉始于战国陶胎釉珠,唐朝唐三彩陶瓷釉发展成多个品种。钴显色材料有国产钴土矿类和进口Smalt类。原料矿中带入的锰、铁、镍、砷、铋等杂质对色彩有一定影响。     

改性胶原蛋白用于书画粉化颜料加固的适用性探讨

胶矾水是书画装裱和修复中常用的材料,但同时也是导致纸张酸化的重要原因之一。为探讨改性胶原蛋白用于书画粉化颜料加固的适用性,以鱼胶、壳聚糖及魔芋葡甘聚糖等为原料,考察了固色剂对宣纸及着色颜料性能的影响。结果表明:固色剂处理后,固色剂在纸张纤维表面形成薄膜,明显改善了纸张的力学性能,并且固色剂对颜料的老化起到一定的延缓作用。本研究将对书画装裱中传统工艺的科学化起到一定的指导意义。     

探究南通民间蓝印花布

探究南通民间蓝印花布的历史渊源、工艺流程和美学价值,探究南通对民间蓝印花布的保护做法和引发的思考,旨在提高我们对保护民间蓝印花布重要性的认识,使民间蓝印花布得到更有力的保护和健康的发展。     

青海瞿昙寺壁画颜料的研究

通过对青海瞿昙寺画郎和建筑彩绘所用的22个绘画颜料样品的 x-射线衍射和同位素 x 荧光分析.共分析出20多种无机矿物颜料,此外.还有蓝钯、黄钯有机颜料。本文对这些颜料的分析结果进行丁综合论述.并与敦煌石窟、麦积山石窟、炳灵寺石窟等的彩绘颜料进行了研究。     

Analytical study of Roman and Arabic wall paintings in the Patio De Banderas of Reales Alcazares’ Palace using non-destructive XRD/XRF and complementary techniques

A portable XRD/XRF system and complementary laboratory techniques were employed to improve the knowledge of the procedures used to create Roman and Arabic wall paintings. Integrated physico-chemical investigations were conducted on fragments of artworks collected from the archaeological excavation of the Patio de Banderas in the Reales Alcazares’ Palace of Seville (Spain), and a comparative study on the pigments from both historical periods was performed. As a result, pigments such as vermilion, red ochre, yellow ochre, green earth, Egyptian blue, carbon and phosphor-based black pigments were detected in Roman samples; however, in the Arabic fragments, only haematite was observed. In addition, the size and shape of the particles of the wall paintings were studied with an XRD 2-dimensional detector and SEM-EDX.     

陕西安康紫阳北五省会馆壁画颜料分析研究

陕西安康紫阳北五省会馆壁画是目前陕西省境内发现的最大的一处建筑壁画,为了解其颜料组成,本工作采用X射线荧光、偏光显微镜、X射线衍射、激光显微拉曼光谱及扫描电镜能谱分析相结合的分析方法,对颜料样品进行了分析。结果表明,北五省会馆壁画除正殿发现一处红色染料外,其他均为无机颜料;红色颜料主要是铅丹、朱砂、铁红;绿色颜料为氯铜矿、石绿、斜氯铜矿;蓝色颜料的主要成分是普鲁士蓝、smalt、石青;黄色颜料为雌黄、铁黄;褐色颜料的主要成分是铁红及铅丹的变色产物二氧化铅;黑色为炭黑;白色颜料主要是铅白,且多使用铅白作为调色颜料。研究结果对于了解清代民间壁画的制作工艺,丰富对陕西建筑壁画的认识具有重要意义。     

常熟彩衣堂彩画蓝色颜料研究

常熟彩衣堂建筑彩画是江南地区古建筑彩画中的杰出代表,可一直存在彩画的部分色彩与传统图案用色难以对应的问题。为明确彩衣堂彩画蓝色颜料的使用情况,在前期研究工作成果的基础上,对采集的样品采用光学显微镜、激光显微拉曼光谱仪、X射线荧光分析仪等进行了综合分析。结果表明彩衣堂彩画使用了蓝色有机颜料花青和矿物颜料石青,蓝色纹样处一般只有作为底色的花青残留,从而使得显现的颜色与传统图案用色无法匹配。     

A Discussion on the Emergence and Development of Ancient Chinese Artificial Barium Copper Silicate Pigments from Simulation Experiments

The ancient Chinese barium copper silicate minerals mainly comprise Chinese purple (BaCuSi₂O₆) and Chinese blue (BaCuSi₄O₁₀), which were widely used from the late Warring States Period to the late Eastern Han Dynasty. In order to clarify the raw material of the pigment, a series of simulation experiments was conducted to produce Chinese purple pigment under varying mineral conditions. The minerals that we applied in the experiment were quartz as the source of silicon, malachite and copper oxide as the sources of copper, barite and witherite as the sources of barium and lead oxide as the source of lead. Simulation experiments showed that the barium copper silicate minerals and the purple pigment can be produced easily when witherite is used as the barium‐containing raw material. From the perspective of mineral resources, the birth of the ancient Chinese pigment associated with a unique barium mineral resource. The Chinese copper‐based pigments are assumed to have been developed independently and are presumably an outcome of historical developments in glazing techniques.     

Anomalies in Red and Blue II: Towards an understanding of the roles of setting, values, and demography in the 2004 and 2008 U.S. presidential elections

Counties identified as anomalous in the 2004 US presidential election - large metropolitan counties and majority-minority counties that voted Republican and non and small-metropolitan counties that voted Democratic, are the subject of a qualitative analysis to assess why they were exceptions to the conventional wisdom of a Red and Blue America polarized along metropolitan-non-metropolitan and modern versus traditional dimensions. Contacts with professional colleagues, and with media and partisan representatives, and visits to selected counties provided valuable insights and helped us to assess the extent to which the county votes in 2008 reinforced or changed the broad Red and Blue dimensions derived from 2000 to 2004.     

The first direct evidence of pre-columbian sources of palygorskite for Maya Blue

Maya Blue, a nano-structured clay–organic complex of palygorskite and indigo, was used predominantly before the Spanish Conquest. It has fascinated chemists, material scientists, archaeologists and art historians for decades because it is resistant to the effect of acids, alkalis, and other reagents, and its rich color has persisted for centuries in the harsh tropical climate of southern Mesoamerica. One of its components, palygorskite, is part of modern Maya indigenous knowledge, and ethnohistoric and archaeological data suggest that its modern sources were probably utilized in Prehispanic times. Yet no direct evidence verifies that palygorskite was actually mined from these sources to make Maya Blue. Here we characterize these sources compositionally, and compare our analyses to those of Maya Blue from Chichén Itzá and Palenque. We demonstrate that the palygorskite in most of these samples came from modern mines, providing the first direct evidence for the use of these sources for making Maya Blue. These findings reveal that modern Maya indigenous knowledge about palygorskite, its mining, and its source locations, is at least seven centuries old.     

中国壁画颜料成分组成的探讨

中国壁画颜料的成分很复杂,应用历史也很长,唐代乾陵壁画是中国壁画技术应用的里程碑。本文研究源于三个公元8世纪的壁画,比较了中国古文中有关矿物颜料与植物染料的描述。当我致力于搞清各种颜料名称及成分时,我遇到了很大的困难,大量的颜料名称混杂不易辩别矿物颜料和有机颜料。壁画中大量应用的是本地产的矿物颜料,如：朱砂、赤土、孔雀石、蓝铜矿、雄黄、雌黄、高岭土、白垩土等。除了已知的矿物颜料和名称外,还有一些未确定的成分,如云母,很少在艺术史书籍中提及。壁画研究中最少涉入的领域是植物染料的应用,我认为植物染料是一种真正的壁画颜料,公元五世纪的书籍“起名要素”就是一个佐证。最重要的是,我从几种例子中发现了证据,就是植物成分与其它植物染料或矿物颜料混合应用在壁画中。本文希望能促进人们对不同物质在各种环境中习性的认识和了解,以期对保护实践活动有所帮助。我希望对壁画材料提一点自己的看法。     

Central petén blue pigment: A maya blue source outside of Yucatán,México

Much of the research on Maya Blue has focused on locating palygorskite sources in northern Yucatán, México. To that end, Arnold et al. (2007) reported seven discriminate source mineral locations for palygorskite used in the manufacture of Maya Blue. Recently, a blue pigment was excavated from the archaeological site of Ixlú, El Petén, Guatemala and LA-ICP-MS and INAA analyses were conducted to determine if the pigment had the traditional Maya Blue structure and if it was from one of the seven mineral sources in México. Geochemical analyses demonstrate that the Ixlú pigment has the traditional Maya Blue structure, but it was manufactured from clays in central Petén, Guatemala. These new data suggest that the knowledge of Maya Blue manufacture was transferred and not the actual pigment and they reveal another source for Maya Blue manufacture outside of the Yucatán peninsula.     

埃及晚期的木基质彩画：赛加拉和法国博物馆

埃及文明在矿物方面的知识总是超出了我们的想象。这方面就包括使用多种黄色矿物绘制颜色相近的色彩。对这些颜料的准确鉴定将拓展人们在彩画方面的研究。画家所使用的颜料非常丰富,除了同时代直接从埃及地面采集的自然颜料外,还有大量像埃及蓝这类合成颜料的应用。对法国的这些藏品的研究将使人们可以追溯几个世纪以来这些颜料的演变和替代过程以及一些从其它地区尤其是东方国家引进颜料的过程。一些颜料的稳定性及其它特性使得其保存状况令人惊讶。卢浮宫博物馆在塞加拉的任务是进行一个埃及晚期（公元前378年一公元前341年）典型群葬墓的发掘工作。发掘出的木质棺材上记载了该墓葬的埋藏时间是Nectanebo二世法老执政的第2年,这是埃及第三十王朝的最后一任法老。该研究涉及以木质为基材的出土物,它包括二十个完整的或破碎成碎块的像盒子一样的棺材。研究通过在双筒显微镜下对文物进行微量取样,而后将样品进行扫描电子显微镜一能谱分析以及显微拉曼光谱分析,从而确定样品中矿物的成分。此外还对样品进行微量化学分析以确定其残存的痕量胶料。彩色颜料包括埃及彩画同时代的传统颜料一黑色,白色,红色,黄色,蓝色,绿色和镀金,同时还包括一些不常见的粉红色或橘色颜料,它是一种外来的、易碎的颜料,成分为五硫化二砷,又称雄黄。     

The Volterran Urns: Etruscan Painting and Travertine Supply

The artistic evolution of the Volterran cinerary urns is a good representation of Etruscan painting from the fourth to the first century bc . The interest generated by this type of object directed our research towards the study of the Volterran artefacts, including the analysis of the pigments as well as that of the rocks used for the coffers. The entire colour range shown by the painted urns has been sampled and investigated through Raman microscopy and scanning electron microscopy. Rock samples were taken both from the urns and from outcrops in ancient carbonate rock quarries near Volterra, from where they may potentially have been sourced. A set of 30 samples was collected and submitted to stable carbon and oxygen isotope analyses. The results obtained showed that the pigments used for the decoration of the Volterran urns were basically constituted by red ochre, Egyptian blue, carbon black and gypsum. The identification of lead‐based pigments and barium sulphates further informed us about old restorations undergone by several urns. As far as the provenance issue is concerned, the isotopic data indicate that the rocks used for the four urns were favourably comparable to those outcropping at Pignano, while two other urns were more similar to those sampled along the Elsa River at Colle Val d'Elsa.