Advances in Polychrome Ceramics in the Islamic World of the 12th Century AD

As part of a multidisciplinary programme of research on Islamic glazed pottery, the development of polychrome decoration during the 12th century AD has been investigated by examining polished sections through glazed pottery in an analytical scanning electron microscope. The two main decorative techniques used were underglaze and overglaze painting. The results suggest that true underglaze decoration, involving the application of pigment without any associated slip, was first developed in Syria, from where it spread to Iran, on to China and ultimately across wide areas of the world. In contrast, the overglaze technique used on mina'i ware was both very short‐lived and confined to Iran. The analytical results suggest that the probable explanation for this was the technical problems associated with maturing the overglaze paint and the consequent risk of unsatisfactory products.     

长沙风篷岭M1出土漆器检测研究

长沙市风篷岭M1出土漆器百余件,为研究该批漆器的制造工艺及保护修复方法。选取多个样品采用扫描电子显微镜、X荧光光谱仪、红外光谱仪、X射线衍射仪等进行含水率、木胎种质、漆膜和漆灰成分多项检测。结果显示:木胎漆器含水率远大于夹纻胎;木胎漆器材质有楠木、梓木等;底漆层厚度大于面漆层;漆膜中的红色颜料为HgS,黑色颜料为C,白色颜料中含Ag较高;漆灰中含有大量SiO_2和CaO。本研究成果为研究夹苎胎漆器制作工艺提供了可靠依据。     

室外金属文物表面保护材料的探讨

根据物保护科学技术的特殊要求,调查了各种涂料的性能以及使用效果,分别选择有代表性的有机硅类涂料、聚氨酯类、硝基清漆和丙烯酸类涂料样品重新试验验证。按涂料行业的标准检验方法,对涂护材料的弯曲强度、冲击力、硬度及附着力指标进行测试检验,从中选出最佳室外金属物表面保护材料。经过试验验证所得结果与现实应用相一致。     

论傅抱石的款题艺术

傅抱石的款题与其诗、、书、画、印交相辉映、相得相谐。     

In‐situ Sourcing of Hematite Paints on the Surface of Hohokam Red‐on‐Buff Ceramics Using Laser Ablation – Inductively Coupled Plasma – Mass Spectrometry (LA–ICP–MS) and Instrumental Neutron Activation Analysis

Worldwide applications of ochre analysis continue to develop at a rapid pace, highlighting a number of analytical and interpretative issues. As regional source databases continue to grow, researchers have turned to the thornier issues of source allocation. In this study, we utilize LA–ICP–MS and NAA to examine archaeological pigments, ceramic paints and experimental tiles from geological sources and Hohokam ceramics in central Arizona. Archaeological pigments and paint on sherds are successfully source matched based on trace element content, with implications for understanding paint production, sociocultural relations governing trade in pigment and the use of different resource landscapes over time.     

四川省绵阳市永兴双包山西汉墓出土漆、木器文物保护研究

为了保护四川省绵阳市永兴双包山西汉墓出土的大量珍贵漆、木器文物,中日文物保护专业技术人员联合对漆、木器文物进行树种、漆膜等分析研究,采用高级醇对饱水漆、木器文物进行加固实验,该方法具有加固时间短、器物变形小、资金投入少等特点,其结果令人满意。     

La Espiral Cave (Cuba): Guano and signs of Plant Substances Used as Paint Ingredients

At La Espiral cave, located in Bahia Honda municipality (Artemisa province, Cuba), there are several pictographs, including two of particular importance due to the design used: one of concentric circles and another of a spiral. We analyzed the pigments and binders used in one of these pictographs. The chemical ingredients of the paint are considered in this article, as well as the use of bat guano as a major pigment compound. The apparent presence of ellagic acid, ellagitannin, or anthocyanins would strengthen the hypothesis that artists used vegetable protein as a paint binder or solvent.     

The Source of Iron‐Oxide Pigments Used in Pecos River Style Rock Paints

The likely sources of iron‐oxide pigments used in prehistoric rock paintings in the Lower Pecos Archaeological Region were identified on the basis of chemical fingerprinting using LA–ICP–MS. The chemical signatures of 13 red rock paint samples collected from two south‐west Texas sites were compared with three potential source materials (ochre, siltstone and rhyolite), and two pigment cakes (crayons) that were excavated near the sampling sites. The significant chemical similarities between the paint and siltstones suggest that siltstone was used as the source of the colour. The overlapping chemical signatures for one of the pigment cakes and siltstone further suggests that some of the prehistoric people inhabiting the area 3000–4000 years ago had acquired the skills to extract iron oxide from siltstone and process it into paint pigments.     

秦俑彩绘回贴影响因素的探索性研究

在历经两千年埋藏以后,秦始皇兵马俑表面的漆皮彩绘在出土时,大多会卷曲脱落。如何将漆皮彩绘回贴加固好一直是保护工作者研究的难点。本工作在秦帝陵博物院前期工作的基础上,通过实验室模拟研究探索了黏结、回贴过程中陶本体含水率、PEG含量、可溶盐含量、陶块泥土粘附量、漆皮彩绘含水率、PEG含量、临时固型剂含量等对回贴、黏结效果的影响。结果表明将陶块含水率降至5%以下、减少PEG200溶液渗入陶本体、对陶本体进行脱盐处理、在黏结剂中添加极细小填料、逐渐增加PEG200浓度来润湿漆皮、清除残存的临时固型剂薄荷醇等措施都能不同程度地改善漆皮彩绘回贴的效果,增加黏结强度,提高其耐老化破坏循环的能力。以上应用基础研究可以为彩绘类文物现场保护工艺的改进提供借鉴。     

Remarks on an Ancient Reliquary,in the Possession of MR. George Isaacs

Abstract

This short paper reports the recent discovery of an oyster shell containing paint, within the fabric of the ruined north aisle wall of the Norman nave of St Mary's church, New Shoreham. Microscopic paint analysis has identified the pigment as pure yellow ochre, and subsequent radiocarbon dating has shown the shell itself to be mid- to late Saxon in origin. The shell represents a medieval colour-dish, used as such by a 12th-century artist at the church, prior to the reuse of the dish as mortared rubble in the nave wall. On current evidence, this colour-dish represents the oldest dated example, and the oldest dish found in physical association with a building, from medieval Britain.     

A SPECTROSCOPIC INVESTIGATION OF PIGMENT AND CERAMIC SAMPLES FROM COPÁN,HONDURAS*

A combination of micro‐Raman spectroscopy, micro‐infrared spectroscopy and SEM–EDX was employed to characterize decorative pigments on Classic Maya ceramics from Copán, Honduras. Variation in red paint mixtures was correlated with changing ceramic types and improvements in process and firing techniques. We have confirmed the use of specular hematite on Coner ceramics by the difference in intensities of Raman bands. Different compositions of brown paint were correlated with imported and local wares. The carbon‐iron composition of the ceramic type, Surlo Brown, was confirmed. By combining micro‐Raman analysis with micro‐ATR infrared and SEM–EDX, we have achieved a more comprehensive characterization of the paint mixtures. These spectroscopic techniques can be used non‐destructively on raw samples as a rapid confirmation of ceramic type.     

延庆辽代墓葬壁画制作工艺及其颜料的物相鉴定

北京延庆发现一座辽代晚期的壁画砖室墓。为研究该墓室壁画结构和鉴定其颜料成分,运用拉曼光谱、X射线衍射和X射线荧光等多种方法进行了分析研究。结果表明该墓室壁画主要有灰泥层、白灰层和颜料层组成;红色颜料的呈色物相为α-Fe2O3,黑色颜料的呈色物相为炭黑。     

陕西杨家湾出土西汉彩绘兵马俑的修复保护研究

陕西咸阳杨家湾出土的西汉彩绘兵马俑出现大面积严重风化褪色现象及彩绘层严重脱落、起翘,应尽快采取抢救性保护措施对其进行保护。在系统分析了该批彩绘兵马俑的病害种类及其产生原因后,通过XRD、SEM—EDS和Micro FT-IR对其彩绘颜料成分进行了分析。此基础上,制定了一个系统的修复方案,选取了合适的修复工艺及修复保护剂。结果表明,三乙氧基硅烷缩合而成的树脂胶材料对彩绘层进行回帖后,其强度有了明显的增强。经过自行研制的RFC显现加固剂处理后的彩绘颜色显现出了其古朴清晰的原貌,且颜料附着力增强。     

Minateda rock shelters (Albacete) and post-palaeolithic art of the Mediterranean Basin in Spain: pigments,surfaces and patinas

The inorganic and organic fractions of two microsamples of prehistoric paint from the same site, the Minateda rock shelters, are analysed here for the first time. The two samples correspond to two rock shelters of different styles (Levantine and schematic) – Abrigo Grande de Minateda (The Great Rock Shelter of Minateda) and Abrigo del Barranco de la Mortaja (Del Barranco de la Mortaja Rock Shelter). Since its discovery, historiographical tradition has emphasised the Abrigo Grande de Minateda, with its magnificence and complexity, as emblematic of the origin and evolution of rock art in the Mediterranean Basin of the Iberian Peninsula (a UNESCO World Heritage Site). Four complementary techniques –Microphotography, Scanning Electron Microscopy-Energy Dispersive X-Ray Spectroscopy (SEM-EDX), Raman Spectroscopy and Gas Chromatography–Mass Spectroscopy (GC–MS)– were combined to identify and characterise the physicochemical properties of the paint and of the surface. We present an interpretation of the results that leads us to define complex taphonomic alterations beyond the usual distinction of layers that include the surface, pigments and patinas.     

永乐宫壁画制作材料及工艺的初步调查分析

永乐宫原位于山西省芮城县永乐镇,建于1247—1368年,是为纪念吕洞宾而修建的。其壁画绘制700多年来,历经多次自然灾害和修缮,还经历了20世纪60年代的整体搬迁,目前壁画已出现常见的颜料层起甲、脱落、粉化等病害,还存在拼接缝开裂起翘,表层画面受污染变色的状况。由于早期切割、搬迁和修复的大量介入,现存壁画表面及内部结构都发生了巨大的变化。永乐宫在搬迁过程中保存下来的少量壁画残块,一定程度上代表了永乐宫壁画的原始状态,是研究早期壁画材料和工艺信息的重要的和极有价值的样本。对此,针对取自永乐宫的11块壁画残块的微量样品,通过光学显微镜(OM)、剖面分析(cross-section analysis)、X射线衍射(XRD)和扫描电镜-能谱(SEM-EDS)等多种分析手段,对其制作材料和工艺进行初步调查分析,并取得了其相关壁画地仗、颜料材质及绘制壁画层位的信息,为永乐宫壁画的科学保护和深入研究提供了重要的基础资料。     

Beginnings: women and geography at Northwestern in the 1960s

This brief article attempts to paint a picture of the social and intellectual atmosphere in which Susan Hanson's postgraduate education took place and then discusses her particular experiences in the Geography Department at Northwestern University. It describes the sexist characteristics of American geographical university education in the 1960s and the competitive and male-dominated environment of Northwestern. It suggests that Susan's experiences at Northwestern were an important influence on her subsequent values, skills and interests as a feminist academic.     

Compositional Analysis by p‐XRF and SEM–EDX of Medieval Window Glass from Elgin Cathedral,Northern Scotland

Thirty shards of medieval window glass from Elgin Cathedral in north‐east Scotland have been subjected to compositional analysis by portable X‐ray fluorescence and scanning electron microscopy – energy‐dispersive X‐ray spectroscopy. Comparison with previous analytical studies suggests that the majority of the glass was probably produced in France, while a smaller group may have been made in Germany. Significant differences in base glass composition were observed between colours. Two distinct blue glasses compositions were identified. The composition of the grisaille paint differs from paint on the continent, providing the first evidence that it was made using local Scottish lead and iron pigments. This work represents the largest analytical study of Scottish medieval window glass yet undertaken and presents insights into the transfer of medieval materials, technologies and trade routes.     

X‐ray Diffraction and SEM Investigation of Wall Paintings Found in the Roman Temple Complex at Horvat Omrit,Israel

In the present study, the fragments of wall painting found in the Roman Temple Complex at Horvat Omrit were analysed for the first time using the non‐destructive techniques of X‐ray diffraction (XRD) and scanning electron microscopy (ESEM) equipped with energy‐dispersive X‐ray spectroscopy (EDS). The application of these methods enabled unambiguous identifications of the pigments and plaster components of the samples. Quantitative information on mineral composition, crystallite size and elemental composition of each studied paint layer and plaster was collected. Based on the results of the XRD and EDS analyses, the green pigment was identified as celadonite. It was revealed that the Egyptian blue pigment does not contain impurities of tin and lead, and this excludes the use of bronze scrap in its synthesis. Comparison of the mineral composition of the paint layers indicates that a wider palette of colours was obtained by mixing the available mineral pigments. The study of cross‐sections of painted specimens revealed the usage of slaked lime for plastering. The obtained results give a new insight into the wall painting technique employed by ancient artists at Horvat Omrit, in northern Israel.     

Investigations of Paints on Ancestral Puebloan Black-on-white Pottery Using Magnetic and Microanalytic Methods

A previous study of black paints on Ancestral Puebloan black-on-white potsherds showed that SEM-EDS (scanning electron microscopy—energy dispersive X-ray spectrometry) can unequivocally identify mineral based, iron-bearing paint and differentiate it from non-mineral based paint. From ethnographic accounts and replicative experiments, the latter is generally assumed to be carbon (i.e., plant extract) based. However, actually demonstrating the presence of carbon in any of the paints was problematic. Here, a new study of the same potsherds demonstrates that magnetic susceptibility and magnetic hysteresis are also powerful criteria for differentiating between iron based and non-iron based paints. Both methods are non-destructive, rapid, and require no sample preparation. Susceptibility is inexpensive and can be tested by supervised persons with minimal training, although hysteresis is quite expensive and demands sophisticated expertise. A surprising insight provided by the magnetic work is that coloration by non-iron based paint might be caused by the elemental carbon acting to reduce iron within the neighbouring pottery clay matrix, as opposed to, or in addition to, simply the blackness of residual carbon, as is generally believed. This possibility adds importance to the need for a method of detecting, as opposed to presuming, the presence of carbon. Preliminary attempts at carbon detection using a new SEM-EDS system with capabilities beyond that used for the previous study, as well as using XPS (X-ray photoelectron spectroscopy) are discussed briefly. In any case, magnetic properties can help to crosscheck and refine the categorization of mineral versus non-mineral paints via visual criteria traditionally used by archaeologists.     

中国油画的本土化与意象油画

本文回顾了在中国油画百年历史中,三次没有结果的民族化进程。在改革开放后,随着我国政治、经济和文化的深入发展,油画的本土化已成为每位有使命感的中国艺术家的自觉追求。中国意象油画在油画本土化的实践中,扮演着重要的角色。本文着重论述了中国意象油画的特点以及意象油画未来的发展空间和发展方向。