合肥北门大房郢水库汉代墓葬出土红色颜料研究

中国先民使用红色颜料的历史悠久,最早可以追溯到新石器时期,它在中国的物质生产和文化发展中发挥了重要的作用。在2006年发掘的大房郢水库汉墓群中发现了两种红色颜料,通过采用X射线衍射、X射线荧光分析和傅立叶变换红外分析等分析方法对其进行了研究,发现它们是赤铁矿(α-Fe2O3)和朱砂(HgS),其用途分别为制造化妆品和红色漆膜。     

北齐徐显秀墓壁画颜料的科学分析

为了解徐显秀墓壁画的颜料成分和制作工艺,利用光学显微镜、扫描电子显微镜、拉曼光谱、X射线衍射等方法对墓葬壁画颜料进行了分析和研究。结果表明,颜料均为无机颜料,红色颜料主要有铁红和朱砂;黄色颜料为密陀僧;黑色颜料为炭黑;灰色为碳酸钙和炭黑的混合物;白色颜料有碳酸钙和含砷铅矿物,其中碳酸钙既为地仗层,又做颜料层,另外墓道白灰层则主要为石膏。分析结果为了解北齐时期墓葬壁画颜料的时代和技术特征提供了新的材料。     

一件15世纪藏文写本插图绘制颜料的原位无损分析检测

采用原位无损的分析检测手段对一件15世纪藏文写本《松赞干布遗训》插图部分进行检测,通过联合使用三维视频显微镜、X射线荧光光谱仪(XRF)、激光共聚焦拉曼光谱仪(Raman)三种仪器,在不对文物进行破坏取样的前提下得到藏文古籍手绘插图所用颜料的化学结构、颜色调制方法等信息。检测结果表明:手绘插图主色颜料红色为朱砂,黄色为雌黄,蓝色为靛蓝,黑色炭黑,白色推测为高岭土;副色颜料绿色由蓝色靛蓝和黄色雌黄调和而成,橘色由红色朱砂和黄色雌黄调和而成,粉色由白色高岭土和红色朱砂调和而成。检测结果为研究西藏传统颜料化学成分、使用方法、变色脱落等病害产生的原因等提供了重要的依据。     

评《墓葬与生死——中国古代宗教之省思》

2008年,中华书局引进了蒲慕州《墓葬与生死——中国古代宗教之省思》（台北联经出版社1993年版）一书,这是一部研究中国古代丧葬信仰的重要著作。该书结合文献材料与考古材料,认为墓葬形制的转变与死后世界观的发展是社会结构转变在物质和精神两方面的相应表现,中国古代墓葬形制从战国末期开始发生大转变,反映出中国人对死后世界的面貌有了比较具体的想法。     

盱眙东阳汉墓两件木胎漆器髹漆工艺探讨

江苏盱眙县境内的东阳秦汉古墓群是一处重要的秦汉遗址.迄今为止,墓葬出土了大批精美的漆器,为了解汉代广陵国髹漆工艺提供了珍贵的资料.为了解其髹漆工艺特点,采用了切片技术、X射线衍射光谱(XRD)、X射线荧光光谱(XRF)和傅立叶红外吸收光谱(FTIR)等分析方法对其中两件木胎漆器进行了分析研究.漆膜切片显示素色漆器的漆膜由漆灰层和黑色漆层构成,而彩绘漆器由三层结构组成.分别为灰地、底漆层和色漆层;XRD图谱发现漆灰层中的填料主要为石英(AiO2)和钠长石(NaAISi3O8),漆膜中的红色颜料为朱砂(HgS);红色漆膜的XRF显示了其主要元素是Hg和S,包括Ca、Si、Cu和Fe等微量元素.漆膜的FTIR分析数据显示漆膜中在1630cm-1和1576cm-1处存在着可能是苯环骨架振动的红外吸收峰.研究结果说明了本地髹漆工艺主要分为三个步骤:1)髹漆灰,漆灰层是由生漆调和研磨成细粒的钠长石矿物构成,它能制作出厚度约0.1～0.2 mm薄漆灰层;2)髹底漆,厚度约为0.02～0.09 mm;3)彩绘,红色漆膜中的颜料为朱砂,朱砂含有微量的Ca、Si、Cu和Fe等杂质,表明其来自矿采.     

甘肃泾川出土5件佛教造像彩绘分析及相关研究

运用显微观察、荧光拍照、偏光显微镜、X射线荧光光谱、X射线衍射及扫描电镜能谱分析手段,对#87北魏造像碑、#99隋代佛头、#54宋代残破佛头和2件泥塑佛像残块表面彩绘进行研究。结果显示,北魏和隋代造像红色为朱砂,绿色为石绿,白色为方解石;隋代造像面部肉色为硫酸铅和朱砂的混合物,眼黑为炭黑;宋代造像表面红色为铁红,白色为方解石;泥塑残块#1表面蓝色为石青和石绿的混合物,#2表面为朱砂,判断其制作年代不晚于唐代中期。白灰层主要成分为碳酸钙,并具有亮白色荧光反应,与碳酸钙粉末混合有机胶制成白灰层的荧光反应一致,判断古代样品白灰层中可能存在有机胶结质。在元素分析过程中,铅(Pb)一直存在,而在物相分析中并没有发现Pb的化合物。同样问题在早期关中出土墓葬壁画分析中同样存在,是否与彩绘工艺本身有关,值得引起关注。     

北京毛家湾出土瓷片残留物荧光分析及相关问题探讨

对考古发现的古代残留物进行理化测试分析,是判定出土遗物成分和用途的有效方法之一。作者通过对北京毛家湾出土的8件瓷器上的残留物进行同步辐射X射线荧光(SRXRF)分析,确认这些残留物含有朱砂、铅丹、铅白、雄黄、雌黄等成分。结合文献资料记载,文章认为这些残留物应为作画颜料,同时对4号样品景德镇青花卧足碗的用途进行了初步探讨。     

古陶瓷色彩之旅 红釉

红色向来受列中国人的喜爱,可以说是中华民族最喜爱的颜色。远古时代,从大量的考古遗迹以及墓葬和祭祀遗址中可以看到红色朱砂的影子,战国以及汉代的漆器以鲜艳的红色夺人眼目,朱绘陶壶上的红色图案更让人浮想联翩;及至近世,红色以热烈、奔放、喜庆之意为人们所喜爱和应用,     

雷家坪遗址出土六朝玻璃珠的相关研究

采用显微观察、X射线衍射物相分析和X射线荧光光谱成分测试等手段,对湖北省巴东县雷家坪遗址六朝时期墓葬出土的若干精美“珠饰”进行了观察和分析,阐述了它们的特征,确定其材质;并与其他遗址出土不同时期的玻璃制品进行比较,发现其配方和我国西周至汉代玻璃,以及西方传统玻璃差别甚大。结合考古背景资料分析,这批珠饰很有可能是我国古代工匠在原有玻璃技术基础上,借鉴和吸收了外来玻璃的制造技术,在中国境内自行烧制的。     

陕西出土明代漆棺制作工艺及材质研究

为了更好地了解亚浸水漆器的制作工艺及材质,为该类文物修复保护提供科学依据,本工作采用扫描电镜能谱分析、X射线衍射分析、红外光谱分析等技术对出土于陕西长安县明代墓葬一漆棺的制作工艺及主要制作材料进行了分析研究。结果表明,漆棺是按照木胎-纤维-灰层-漆膜-颜料的工序制作的,主要使用材料有麻、粘土类物质、生漆、金及朱砂颜料。漆棺制作工艺及材质与文献记载基本一致,是中国古代漆棺传统工艺制作的典型代表。     

Heat Treatment of Mineral Pigment During the Upper Palaeolithic in North‐East Italy

The use of red ochre for utilitarian, symbolic and artistic purposes is widely documented in prehistoric contexts. The absence of adequate red‐coloured raw materials influenced the development of technological activities aimed at modifying the original physiochemical properties of yellow ochre. The heat treatment of goethite to obtain hematite was investigated in the western sector of the Lessini Mountains in north‐east Italy, where red ochre was found in the (Proto)Aurignacian levels at Fumane cave and in the Late Epigravettian sequence at Tagliente rockshelter. The combination of X‐ray powder diffraction (XRPD) and transmission electron microscopy (TEM) proved that heat treatment was a common practice in the studied archaeological sites due to the scarce availability of suitable hematite‐based material in the region.     

The production and technology of glazed ceramics from the middle ages,found in the saepinum territory (Italy): a multimethodic approach*

A collection of ceramics from the Middle Ages found in Altilia and Terravecchia (the Saepinum area, Campobasso, Italy) were characterized by using different mineralogical analyses to investigate their provenance and production techniques. The body ceramic was investigated using Rietveld phase analysis of X‐ray powder diffraction patterns, X‐ray fluorescence spectrometry and scanning electron microscopy. The chemical compositions of the coatings were measured by scanning electron microscopy and their mineralogical compositions were determined using a particular technique of X‐ray small‐angle scattering (SAS) optimized for studies of thin films. Moreover, the material used for decoration was studied using micro‐Raman spectroscopy. The archaeometric results confirmed the distinction into two different ceramic classes, already individuated from archaeological analysis: the Altilia objects belong to the protomajolica class, whereas the objects from Terravecchia are RMR (ramina‐manganese‐red) ceramics. A comparison between the chemical and mineralogical compositions of good‐quality ceramic objects and those of waste products indicated local production of the ceramics. A sharp distinction was found in the chemical composition of the coatings: the Altilia products have tin‐opacified lead glazes, while the Terravecchia ones have transparent high‐lead glazes. Among the Altilia products, the unsuccessful process that produced a large quantity of discarded materials was attributed to the high lead content of the glazes. In fact, the principal advantage of the high lead content was to make the preparation and application of the glaze suspension easier, but the risk of reduction of lead oxide to metallic lead was greatly increased. Using micro‐Raman spectroscopy, the following minerals were identified as pigments: pyrolusite for the dark colour, malachite for green, lepidocrocite for yellow and hematite for red.     

Spectrochemical Characterization of Red Pigments Used in Classic Period Maya Funerary Practices

We studied the composition, colour chromaticity and form of application of red pigments in human bone samples from seven Classic period Lowland Maya sites. The samples were analysed by X‐ray diffraction, scanning electron microscopy (SEM) and X‐ray energy‐dispersive spectroscopy (EDS). Colour was measured using conventional colour identification standards (Munsell) and reflectance spectroscopy. Cinnabar and hematite were identified as the pigments used. We conclude that the reflectance method has advantages over conventional visual results, as it provides precise, objective and quantifiable optical data to distinguish the chromaticity, colour saturation and brightness of the pigments.     

Early Islamic pigments at Nishapur,north-eastern Iran: studies on the painted fragments preserved at The Metropolitan Museum of Art

Pigments appearing on ninth–twelfth-century AD-carved stucco, wall painting, and terracotta friezes excavated at Nishapur in north-eastern Iran were investigated by optical reflectance spectroscopy, micro X-ray fluorescence spectrometry (μ-XRF), X-ray diffractometry (XRD), micro-Raman spectroscopy (μ-Raman), and scanning electron microscopy (SEM). Many of the pigments identified including vermilion, red lead, hematite, limonite, carbon black, atacamite, calcite, and gypsum have been identified in previous studies of pigments used in later Islamic periods. However, a series of unusual pigments such as wulfenite, pyromorphite, phoenicochroite, and jarosite were also found in the present study. The association of kaolinite and alunite with limonite and other Fe-bearing yellow pigments points to a local provenance for these pigments. In addition, the presence of orpiment in the vermilion may be indicative that the vermilion was artificially manufactured. These findings suggest that pigment use and manufacturing during the ninth to eleventh centuries in Nishapur was still in a trial-and-error stage and the palette known from the twelfth century onwards had not yet been systematized.     

A SCIENTIFIC INVESTIGATION ON THE PROVENANCE AND TECHNOLOGY OF A BLACK‐FIGURE AMPHORA ATTRIBUTED TO THE PRIAM GROUP*

The restoration of a Greek black‐figure amphora provided an opportunity to study the provenance and production technology of the vase. The composition of the ceramic body, determined by inductively coupled plasma optical emission spectroscopy (ICP–OES), matches that of Attic products. Investigation by X‐ray diffraction and reflectance spectroscopy suggests a maximum firing temperature around 900°C and a body re‐oxidation temperature around 800°C, respectively. The morphology and composition of black, red and dark red surface areas were studied by scanning electron microscopy and X‐ray energy‐dispersive analysis; the black areas show the features of a typical well‐vitrified black gloss, while the red areas were most probably obtained by simple burnishing of the body; the dark red additions, on the other hand, are the likely result of a partial re‐oxidation of a clay–ochre mixture.     

Beyond the Visible: Combined Neutron and X‐ray Imaging of an Altar Stone from the Former Augustinian Church in Fribourg,Switzerland

An altar table from the former Augustinian church in Fribourg (Switzerland) was studied by means of neutron and X‐ray imaging to investigate the embedded reliquary. The neutron transmission images showed that the sepulcrum contained three objects showing high contrast and high attenuation. As the particles were almost invisible in the X‐ray image, it was assumed that they were organic material. Comparative measurements on reference samples of materials possibly contained in such a reliquary (bone, teeth, leather, incense and parchment) suggest that the particles are bone fragments. Besides an assessment of the content, the results from the neutron investigation allowed a proposal of the probable geometry (i.e., shape and dimensions) of the sepulcrum.     

CHARACTERIZATION OF PLASTERS FROM PTOLEMAIC BATHS: NEW EXCAVATIONS NEAR THE KARNAK TEMPLE COMPLEX,UPPER EGYPT*

The aim of the present work is to characterize plasters from Ptolemaic baths recently discovered in front of the Karnak temple complex, by the excavations of an Egyptian–French team. The characterization was carried out by means of optical microscopy (OM), scanning electron microscopy (SEM) equipped with an energy‐dispersive X‐ray detector (EDS), X‐ray diffraction analysis (XRD) and Fourier transform infrared spectroscopy (FT–IR). The results allowed the identification of the chemical composition and structure of these plasters. In addition, samples of red, yellow, black and white pigments were examined and identified. The results helped in providing an image concerning some materials used during the Ptolemaic era in ancient Egypt.     

MICROSTRUCTURE OF FLINT AND OTHER CHERT RAW MATERIALS*

The crystallite size, microstrain, stacking disorder and moganite content of flint and other chert raw materials were studied by X‐ray powder diffraction profile analysis. The broadening of the X‐ray reflections of all microfibrous quartz varieties is due to both anisotropic small crystallite size and anisotropic microstrain. The microstructure varies for samples of different origin. The moganite content and the number of structural defects are higher in flint than in older chert and petrified wood. The X‐ray diffraction pattern of the cortex of flint differs from that of the core material, whereas those of the patina and the unweathered interior of the rocks do not.     

丝织品老化程度检测方法探讨

古代丝织品老化程度的检测有助于了解丝织品的有保存状况及保护方法的选择与改进,为研究适用于检测古代丝织品老化程度的方法,在对丝织品的物理,化学老化特征及性能研究的基础上,对可能用作检测丝织品老化程度的方法进行了系统的对比分析。用抗拉强度分析,色差分析,粘度测定,氨基酸分析,红外光谱分析,热分析,扫描电镜观察,X射线射分析等对经光老化,热老化和水解老化等人工老化的白色丝织品进行分析,结果表明,粘度分析是一种较为灵敏,且经济实用的检测方法,氮基酸分析是一种有效的确定丝织品保存状的手段,显微红外和热分析所用的样品量很少,如果能找出较为灵敏的定量指标,会有实用价值,扫描电镜观察,X－射线衍射分析对老化程度的检测有一定的难度,色差分析难以定量表征丝织品的强度变化。     

Physico‐Chemical Characterization of Pigments and Binders of Murals in a Church in Ethiopia

Here, we report the physico‐chemical characterization of wall paintings from the Petros and Paulos church in Ethiopia. This work represents the first technical study of paintings located in Ethiopia, rather than paintings in museum collections outside the country, using diverse analytical techniques. In situ examination with a portable X‐ray fluorescence spectrometer (pXRF) was followed by analysis of samples using optical microscopy (OM), scanning electron microscopy coupled with energy‐dispersive X‐ray spectroscopy (SEM/EDS), micro‐Raman spectroscopy (MRS), attenuated total reflection – Fourier transform infrared spectroscopy (ATR‐FT–IR), X‐ray powder diffraction (XRD) and pyrolysis gas chromatography – mass spectrometry (Py‐GC/MS). The paint stratigraphy, the compositions of the support material, the preparatory and painting layers were studied, as well as the morphology of the pigment particles. The results revealed the use of earth pigments and carbon black. The preparatory layer was uncommon; composed of dolomite, clay rich in clinochlore and sand, in contrast to the more common gypsum and calcite. The binder and the stratigraphic analyses suggested a distempera technique.