北京故宫和辽宁黄瓦窑清代建筑琉璃构件 的比较研究

为了更好地揭示清代不同地区建筑琉璃构件的原料、烧制工艺及其性能关系,本工作以北京故宫和辽宁黄瓦窑清代建筑琉璃构件为研究对象,利用WDXRF、EDXRF测定琉璃构件胎、釉的化学组成,利用热膨胀仪和理论计算方法测试计算胎、釉的热膨胀系数。在此基础上,研究了两地清代建筑琉璃构件胎釉的化学组成规律和胎釉热膨胀系数的匹配性关系。结果表明:两地琉璃构件釉料的化学组成基本一致,而琉璃构件胎体原料不同,北京故宫清代琉璃构件胎体化学组成属于硅-铝体系,辽宁黄瓦窑的琉璃构件则属于硅-铝-镁体系,因此两地胎釉热膨胀系数的匹配关系也不同。     

南京大报恩寺塔建筑琉璃构件的科技研究

南京大报恩寺塔是明初重要的皇家琉璃建筑,是代表中国文化的标志性建筑之一,和罗马大斗兽场、比萨斜塔、中国万里长城等一道被称为中世纪世界七大奇迹,具有极高的历史、文化、科技研究价值。本文以南京大报恩寺塔的建筑琉璃构件为研究对象,利用WDXRF、EDXRF、XRD、OM、热膨胀仪、高温测试仪等测试方法研究其胎釉化学组成、烧制温度、结构及物理性能;探讨南京大报恩寺塔建筑琉璃构件胎体原料来源和釉料配方的传承发展关系,揭示其制备工艺技术中所蕴含的科技内涵。     

A Comparative Study of the Early High‐Fired Ceramic Shards from Dongtiaoxi,Zhejiang (China)

There is a generally accepted view that there is an obvious distinction between proto‐porcelain and stamped stoneware. However, some early shards unearthed from the Dongtiaoxi region (northern Zhejiang) inspire people to rediscuss the relationship between them, because it is difficult to identify them as proto‐porcelain or stamped stoneware. In this work, we have collected samples from three of the earliest kiln sites (Piaoshan, Beijiashan and Nanshan) in the Dongtiaoxi region. We have analysed the chemical composition, firing temperature and phase composition of the samples. Comparing samples from the three kiln sites, we find that, from Piaoshan and Beijiashan to Nanshan, there has been progression in the manufacturing technology. The Shang proto‐porcelain and the stamped stoneware from Nanshan have similar raw materials, firing temperatures and body phase compositions—and they have obviously different decorative appearances, such as glazing or stamping. For ceramics from Piaoshan and Beijiashan, there is no clear distinction between glazed and unglazed samples. We believe that in the Dongtiaoxi region, the difference in the decoration between proto‐porcelain and stoneware became obvious up to the time of the Nanshan production but that, subsequently, two different paths for the development of high‐fired ceramics began to diverge.     

故宫清代年款琉璃瓦釉的成分及相关问题研究

在故宫古建大修中发现一批带有清代年款的琉璃瓦件,这些瓦件的制作原料、烧制工艺反映了当时的技术水平,同时也反映了国家对建筑琉璃生产的管理状况。本文着眼于琉璃瓦釉的研究,开展了成分分析、釉烧温度分析,并探讨了成分变化的原因、以及成分变化对釉的性能和胎釉匹配性的影响。研究结果表明:雍正至宣统时期,釉中PbO含量呈降低的趋势、SiO2含量呈升高的趋势,特别是雍正至乾隆时期变化较为明显。这一变化可能与乾隆元年对雍正朝琉璃瓦釉料用铅量的核减有关。釉的成分变化导致釉的流动点温度升高,釉的热膨胀系数降低。乾隆时期出现了一批胎釉热膨胀系数匹配性较好的瓦件。     

利用激光拉曼对宋代官窑青瓷样品釉烧温度的研究

本文利用激光拉曼光谱仪和能量色散X-射线荧光光谱仪对21件取自故宫博物院院藏宋代官窑完整器及42件取自杭州老虎洞官窑窑址的青瓷样品表面釉层进行了测量与分析。通过计算瓷釉样品拉曼光谱中位于500cm-1附近宽带与位于1000cm-1附近宽带的面积比值(Ip值)及利用EDXRF分析样品的元素成分,讨论了这些样品的主要助熔剂成分Ca O、K2O含量与Ip值之间的关系,并通过对成分具有两类典型官窑瓷器釉料特征且在不同烧成温度下烧制的模拟釉块进行拉曼分析,对宋官窑青瓷样品的釉烧温度进行了讨论。     

故宫养心殿燕喜堂古建筑琉璃构件的釉面损毁研究

故宫建筑琉璃构件面临最主要的病变是琉璃釉层的大面积脱落,以养心殿燕喜堂最为典型的琉璃筒瓦为研究对象,分析釉层和胎体的成分、形貌以及热性能等,同时进行不同条件下的模拟循环试验发现:环境温湿度变化剧烈,会引起琉璃样品的釉层脱落,其中样品釉层越厚、胎釉与胎体的热扩散性能和热膨胀性能差异越大,样品釉层脱落的速率会越快。分析原因主要在于琉璃样品从高温急剧降到低温等循环过程发生的“淬火”,样品从高温下降至冷冻室冰水混合物中表面釉层的温度下降速率相对最大,这种温度的急剧变化会引起釉层张应力以及胎釉界面热应力的分布不均,釉层脱落破坏最为严重。对比琉璃样品发生破坏时的模拟实验条件和实际环境条件,与夏季的高温/暴雨最为相似,推测可能成为破坏古建筑琉璃釉面脱落的最主要因素之一。研究成果可为后期文物保护和修复方案的提出提供科学依据。     

Elemental Characterization by EDXRF of Imperial Longquan Celadon Porcelain Excavated from Fengdongyan Kiln,Dayao County

A mass of Longquan porcelain shards carved with ‘Guan’ or the dragon patterns were unearthed in the early Ming Dynasty layer of the Fengdongyan kiln site at Dayao County. These celadon shards were fired in the Hongwu and Yongle eras of the Ming Dynasty. In order to research the raw materials and firing technology of the imperial porcelain, 85 typical shards were analysed by energy‐dispersive X‐ray fluorescence (EDXRF). The results indicate that the contents of TiO₂ and Fe₂O₃ in the body vary in the Hongwu and Yongle eras. Compared with Longquan glazes in the Southern Song Dynasty, the average values of K₂O, Fe₂O₃ and TiO₂ are higher, but that of CaO is lower in early Ming imperial porcelain glazes. Principal components analysis (PCA) shows that different degrees of elutriation of the same raw materials are the main reason for this difference in the Hongwu and Yongle periods. However, the raw materials of imperial porcelain glazes show no obvious changes and have inherited the earlier tradition. The production and firing technology of imperial porcelain reached a higher level and had not declined in the Early Ming Dynasty.     

珍秘翰墨——清宫藏善本碑帖特展侧记

古代碑帖具有多方面的学术价值和艺术价值,其内容涉及政治经济、宗教哲学、风俗民情、文学艺术等方面,为古代文学、历史学、文字学都提供了大量宝贵的资料,可与历史典籍互相补正。由于年代久远,书翰遗墨传世有限。碑帖保存了各个时代、众多名家的法书墨迹,呈现出各家流派的书法风格,篆、隶、真、草、行五体皆备,实为中国书法艺术的宝库。     

清代御窑厂的建立与终结——清代御窑厂研究之一

御窑厂是清代专门管理和组织烧造御用瓷器的官府行政机构,但其建厂和终结的准确时间史籍阙载。本文谨从文献、传世实物和考古材料出发,对这两个问题考证后,认为清代的御窑厂建于顺治八年以前,光绪三十三年以后御窑厂由商办江西瓷业公司经营,宣统三年清王朝覆灭是其终结时间。     

从考古新材料看章氏与哥窑

本文依据新发现的考古材料,重新梳理相关文献后认定:杭州老虎洞瓷窑址是传世哥窑瓷器的生产窑场,其生产时间相当于元代晚期。主持生产哥窑瓷器者正是明代文献记述的章氏。     

Multi‐analytical Studies of the Lime Mortars from the Yanxi Hall in the Yangxin Palace of the Palace Museum (Beijing)

For centuries, the architecture of the Palace Museum represented the highest standard of Chinese architecture. The Yangxin Palace of the Palace Museum consisted of 18 masonry buildings built using bricks, wood, roof tiles and various mortars. In 2016, a five‐year project was initiated to work on the maintenance and restoration of the Yangxin Palace buildings. The characterization of the construction materials has become of primary importance, in order to obtain information about the raw ingredients and building technology of the mortars, and the history of possible previous restorations. In this paper, 12 different samples representing three types of mortar‐based materials—namely, jointing mortars between the bricks on the wall, and surface plasters as well as mortars used on the roof—were collected for analysis from the Yanxi Hall of the Yangxin Palace. Analysis into the composition, grain‐size distribution, organic and fibre additives and testing of the mortar density and water absorption were performed. Starch, protein and plant fibres were identified in some of the samples. Brucite, mullite and ettringite were detected within most mortars on the roof, possibly originating from the furnace slag added into the raw materials for restoration purposes. The analytical results will serve as a critical reference for the maintenance and restoration of the buildings in the Yangxin Palace.     

14世纪以前钴蓝在西亚和中国的运用——兼谈元青花的产生

本文探讨了14世纪以前钴蓝釉料在西亚和中国的使用情况,指出钴蓝在西亚有着悠久的使用传统,出于对青金石的崇尚,钴蓝釉料被广泛运用在模仿青佥石色彩的人工制品上,主要包括釉面砖、玻璃、陶器等。而在14世纪以前的中国,钴蓝釉料的使用出现较晚,运用也缺乏普遍性、延续性。通过西亚和中国情况的对比,笔者对元青花在14世纪得以突然勃兴的原因．提出了新的见解。     

WHERE DID THE LUSTRE TILES OF THE SIDI OQBA MOSQUE (ad 836–63) IN KAIROUAN COME FROM?*

Metallic lustre decoration of glazed ceramics is a very special kind of ornament, because its colours change with the observational conditions. In diffused light, they can be green, brown or ochre–yellow. In specular reflection, they show an associated coloured metallic shine (blue, golden‐yellow or orange). The lustre tiles at the Sidi Oqba Mosque in Kairouan still have no defined origin (possibly Kairouan and/or Mesopotamia). Physicochemical analyses of eight Kairouan lustre tile samples and four Mesopotamian lustre pottery samples show that the Kairouan tiles probably came from Mesopotamia, from a major production centre, possibly Baghdad, Samarra or Basra.     

黄瓦窑琉璃构件胎釉原料及烧制工艺研究

黄瓦窑位于我国辽宁省鞍山市海城地区,经专家考证它是专门为清代辽宁地区烧制皇家建筑琉璃构件的窑厂。本文利用X射线荧光渡谱法、X射线衍射法、热膨胀分析等方法研究了黄瓦窑琉璃的胎釉原料及烧制工艺情况。研究表明：黄瓦窑烧制的建筑琉璃为低温铅釉、二次烧成,胎体属于我国陶瓷史上比较少见的MgO—Al2O3-SiO2三元体系,胎体的热膨胀系数比釉层高2～3×10—6／℃。     

ARCHAEOMETRIC INVESTIGATIONS OF SGRAFFITO CERAMIC TILES (FIFTEENTH‐SIXTEENTH CENTURIES) RECOVERED FROM EXCAVATIONS IN UDINE (NORTH‐EAST ITALY)*

Most of the Renaissance sgraffito tiles excavated in Udine (Italy) constitute a homogeous group, the tile body having a CaO/MgO molar ratio ?= 3:2. They were produced using a dolomite‐ and calcite‐containing clay fired at 900–950°C. A small group of samples, with a lower firing temperature and a CaO/MgO ratio ?= 2:3, was probably produced in a different factory. Slip and transparent glaze, characterized by optical microscopy and inductively coupled plasma atomic emission spectrometry, are an illite‐rich clay and a lead silicate, respectively.     

清宫旧藏景德镇官窑明洪武瓷研究

故宫博物院藏有传承自明代宫廷的清官旧藏洪武瓷67件,其制作工艺和装饰既有元代遗风,又有明代官窑瓷器特点,器物风格具有鲜明的由元至明过渡阶段的时代特征.结合景德镇明洪武制瓷历史背景、洪武瓷研究以及其在清宫中的原藏位置,可知清宫旧藏洪武瓷是景德镇洪武官窑受命为宫廷烧造的瓷器,反映了此时景德镇制瓷风格处于由元至明的过渡阶段,...     

A STUDY ON LATE MEDIEVAL TRANSPARENT‐GLAZED POTTERY AND ARCHAIC MAJOLICA FROM ORVIETO (CENTRAL ITALY)*

Nineteen samples of medieval transparent‐glazed pottery and archaic majolica from Orvieto (central Italy) were studied. They were classified by archaeological criterion as follows: five transparent‐glazed fragments with green and brown decorations (first half of the 13th century), eight green transparent‐glazed fragments (13th century) and six tin‐glazed fragments with green and brown decorations (second half of the 13th century). SEM–EDX, XRD (the Rietveld method) and XRF were used to characterize the chemical and mineralogical compositions both of the bodies and the coatings. In all of the samples, the paste is Ca‐rich with CaO contents as high as 13–20 wt%. The mineralogical composition is compatible with a firing temperature of about 950°C, which is the typical temperature reached in a wood kiln. No difference was observed between the bodies of transparent‐ and tin‐glazed pottery. In the case of transparent glazes, the burial conditions lead to heavy weathering of the samples. However, on the basis of the analyses carried out in non‐weathered areas, the typical composition is PbO 55–65 wt%, SiO₂31–35 wt%. In tin glazes, the tin is scattered on the mass of the glaze as SnO₂crystals with a concentration of 7–14 wt%. Concerning the decorations, it is established that the green colour is due to the presence of copper, while manganese is responsible for the brown colour. These pigments, which represent the typical colours of ‘archaic majolica’, are spread through the glaze homogeneously, apart from one case in which there is clear evidence of manganese oxide crystals.     

明代御用监造漆器的款识及伪款辨识

庋藏于故宫博物院的明代漆器是国内收藏之最。作者利用在故宫文物库房工作的有利条件,用十几年的时间,将故宫及世界各地博物馆、私人收藏的明代官造漆器的款识,特别是对伪款的类型进行排比与研究,去伪存真,试图解决明代官造漆器中真假款并存的问题,为深入研究明代漆器的专家学者提供参考。     

北魏明元帝两皇后之死与保太后得势

密皇后杜氏与昭哀皇后姚氏均受明元帝的宠遇,又都于明元帝去世前三年的泰常五年死去,于是宫中再无皇后。明元帝去世后,太武帝的乳母窦氏受封为保太后,她不仅在后宫得势,还进而干预北魏朝政。对此一系列史实的考证说明,北魏为防止母权干预政治而确立子贵母死之规,但由此派生出保母抚养储君之成例,遂致保母干预政治,其结果竟与子贵母死之规的初衷大相违戾。     

静怡轩的建筑渊源及其复原设计

静怡轩是紫禁城建福宫花园中一座建于乾隆七年(1742年)的建筑,1923年毁于火。作者通过对大量文献、实物资料的研究,结合对建筑基址的考察,阐述了静怡轩的渊源和发展,认为静怡轩仿建于圆明园西峰秀色的含韵斋,圆明园西峰秀色又仿自杭州西峰秀色,而故宫宁寿全宫现存的景福宫则仿自静怡轩。景福宫因此成为今日复原静怡轩的实物依据。综合对景福宫建筑和静怡轩基址中台基、踏跺、柱础的考察,作者认为静怡轩应是一座面阔五间,周围廊,三卷棚勾连搭歇山式屋顶,绿琉璃瓦黄剪边,斗升云交麻叶斗,苏式彩画的建筑。