A study of the glazing techniques and provenances of Tang sancai glazes using elemental and lead isotope analyses

This study discusses the elemental compositions and lead isotope ratios of Tang sancai glazes unearthed from the Huangpu kiln, Huangye kiln and two Tang sancai tomb sites. The various glazes feature distinct lead isotope ratios and trace element characteristics, which can be interpreted as evidence for the use of different lead ore deposits and siliceous raw materials in the glazes. This is a strong indication that lead isotopes combined with trace element analysis could be used as a viable approach for identifying the provenance of Tang sancai of unknown origin by linking them to kiln sites, This provenance technique could be significant in the interpretation of ancient ceramic trade and communication patterns. In this study, the provenance of several Tang sancai glazes of uncertain origin were determined using this method: some Tang sancai wares unearthed in Xi'an City were produced in the kiln near Luoyang City and then traded to Xi'an City, providing an idea of ancient Tang sancai ceramic trade routes.     

SOCIAL NETWORKS AND CROSS-CULTURAL INTERACTION: A NEW INTERPRETATION OF THE FEMALE TERRACOTTA FIGURINES OF HELLENISTIC BABYLON

Summary.   In the study of the Hellenistic period in Babylon, cross-cultural interactions between Greeks and native Babylonians have been primarily interpreted using colonialist theories of Hellenisation, domination, and cultural isolation. This paper finds, however, that such theories cannot adequately explain the types of cross-cultural combinations seen in the archaeological record of female Hellenistic Babylonian terracotta figurines. The forms and functions of these terracotta figurines were substantially altered and combined throughout the Hellenistic period, resulting in Greek-Babylonian multicultural figurines as well as figurines that exhibited new features used exclusively in Hellenistic Babylonia. In order to facilitate a greater understanding of the full complexity of these Greek–Babylonian interactions, a new interpretation of cross–cultural interaction in Hellenistic Babylon is developed in this paper. This Social Networks model provides an alternative framework for approaching both how a hybrid material culture of terracotta figurines was developed and how Hellenistic Babylon became a multicultural society.     

The terracotta figurines from ed-Dur (Umm al-Qaiwain, U.A.E.): the human representations

The present article proposes an examination of the human terracotta figurines found during the course of eight archaeological seasons carried out by a Belgian team at the coastal site of ed-Dur in the Emirate of Umm-al-Qaiwain. Since most fragments lack a secure archaeological context, the figurines will be studied mainly in comparison with similar data occurring at other contemporary sites throughout the Gulf and Mesopotamia. We shall see that the ed-Dur figurines appear mostly to be isolated cases coming from abroad instead of objects playing a prominent part in local religious or ritual beliefs.     

Terracotta figurines from the National and Military Museums in Sana'a, Yemen

This study focuses on sixty-five terracotta figurines in the National Museum and the Military Museum in Sana'a, Yemen.     

基于力矩平衡原理的秦兵马俑重心测量及临界地震加速度计算

随着近年来地震灾害的频发,分析浮放于俑坑中的秦兵马俑在地震波影响下的运动方式是秦俑地震灾害防御研究中的首要环节。本研究利用力矩平衡的原理测量秦兵马俑的重心位置,进而初步计算得到陶俑的临界地震加速度,依据陶俑的形体特征计算出每类陶俑的抗倾倒极限地震加速度,验证了测量结果的可靠性,为制定秦俑的地震设防等级和防震保护工作提供了基础数据。     

Unpublished terracotta figurines in the Museum of the Archaeology Department, Sana'a University, Yemen

Fifty unpublished handmade terracotta figurines have been collected by the Museum of the Department of Archaeology, Faculty of Arts, Sana'a University, Republic of Yemen. These figurines were obtained either as donations or through purchase, and most of them come from Al-Kherba Al-Bayda and Al-Kherba As-Sawda, and Bani Nuf in the Wadi Al-Jawf (northwest Yemen).     

Atmospheric deterioration of Qin brick in an environmental chamber at Emperor Qin's Terracotta Museum, China

Potential mechanisms for the changing appearance of Qin terracotta was evaluated on simulated bricks with, SO₂, NH₃, O₃, and a NH₃/O₃ mixture for total dosages of 2.2–5.4 ppm-years. Changes in the surface composition and appearance were evaluated with scanning electron microscopy/energy dispersive X-ray analysis (SEM–EDX) and X-ray photoelectron spectroscopy (XPS). No observable changes with O₃ exposure were found. Sulfate as sulfur and ammonium as nitrogen increased by 1.2 at% and 0.8 at% of the surface deposit as determined by XPS. O₃ did not have a detectable effect by itself, but when combined with NH₃, NO₃ as nitrogen increased by 1.5 at%, indicating a strong oxidation of NH₃ to nitric acid. The combination of outdoor O₃ infiltration with indoor NH₃, presumably from the visitors, appears to have a greater potential for damage than either pollutant by itself. SEM–EDX mapping of the surface showed sulfur associated with calcium and magnesium compounds after SO₂ exposure, but not before. More detailed microscopic examination showed this primarily in the form of gypsum, especially near cracks and pits in the surface. Both of these mechanisms are probably among the causes of changes in terracotta appearances since they were unearthed in 1974.     

PAUL‐LOUIS CYFFLÉ'S (1724–1806) TERRE DE LORRAINE: A TECHNOLOGICAL STUDY

Fragments of four Terre de Lorraine biscuit figurines were subjected to porosity analysis, X‐ray fluorescence analysis, X‐ray diffraction analysis, backscattered‐electron image analysis—coupled with energy dispersive spectrometry—and electron backscatter diffraction analysis to determine the porosity, bulk, major, minor and trace element compositions, and the composition and the proportion of their constituent phases. Cyfflé's Terre de Lorraine wares embrace two distinct types of paste, a calcareous and an aluminous–siliceous one. Both are porous (9–25% water adsorption). The former consists of a mixture of different proportions of ground quartz or calcined flint, ground Pb‐bearing glass and calcium carbonate with a refractory clay. The firing temperature was between 950 and 1050°C. For the latter, Cyfflé mixed ground pure amorphous SiO₂, ground quartz or calcined flint, ground porcelain, ground Na–Ca‐glass and coarse‐grained kaolinite with a fine‐grained kaolinitic clay. The figurines were fired below 1000°C. The result was a porous, hard paste porcelain‐like material. Cyfflé's recipes for both pastes can be calculated from the chemical and the modal analyses.     

西安市南郊马腾空唐墓发掘简报

2001年4月至10月间,我们在西安市南郊马腾空清理了15座唐代墓葬。所有墓葬皆为南北向,单室墓室,墓道在南,墓室居北。墓葬形制可分为A、B、C三型。可以看清的几例葬具、葬式皆为单棺单人,仰身直肢。随葬品以陶俑最为丰富,计有镇墓俑、男俑、女俑、动物俑等,其中男俑、女俑的中的半身俑时代特征明显,女俑的发式新颖奇特,造型生动,在隋唐考古中较为少见。加之又出土了四盒墓志,具有明确的纪年,可以作为判断其年代的标形器。这批墓葬的发掘为关中地区唐墓谱系的建立增加了新资料,同时对其它地区唐墓的研究也有借鉴作用。     

秦兵马俑一号坑后五方遗物清理简报

为了保护一号坑内的金属遗物,秦始皇兵马俑博物馆考古队对秦兵马俑一号坑内东北部后五方暴露的遗物进行了清理与提取,主要有兵器、车马器和杂器三大类共173件组,为秦俑秦文化的历史学和考古学研究提供了新资料。     

X-ray and spectrographic analyses of terracotta figurines from myrina: an attempt to characterize workshops

Physico-chemical techniques of analysis have been applied to a series of Hellenistic terracotta figurines found at Myrina on the coast of Asia Minor to explore the feasibility of using chemical and mineralogical composition as parameters in the identification of figurine workshops. The results suggest that there is a tentative basis for the correlation between composition and stylistic criteria among the figurines. The difficulties associated with this approach are discussed, and account is taken of an earlier enquiry that was carried out on similar lines.     

襄樊市高庄墓群第三次发掘

本文简要介绍了本次发掘的七座汉唐时期墓葬,丰富了本地区汉唐时期墓葬资料,尤其是M28 出土的陶俑填补了唐墓发掘的空白。     

Material Matters: Representation and Materiality of the Harappan Body

In the Indus Civilization (ca. 2600–1900 BC), a society with no readable texts and few larger-scale representations, terracotta figurines were the most common representations of the human body. This paper explores the unique construction of the material representations of bodies and other material culture from Harappa, a major Indus site now in Pakistan. Hand-modeling representations of human bodies from dual clay pieces, sometimes decorated with bone pigments, suggests a focus on the process and ideological rather than practical choices in the materialization of the Harappan human body. For the Harappans, material matters as they engage physically with their world and embody themselves and their worldview.     

从桃花山唐墓出土的青瓷俑看唐初的服饰和音乐制度

本通过对湖南桃花山唐墓出土的54件青瓷俑的分析,结合已有考古发掘成果与历史献相互印证,反映了唐代初年在民族大融合的前提下,各种化兼收并蓄,社会习俗发生了急剧变化,服饰和音乐制度亦在承袭前代基础上得到空前发展,形成了唐初特有的开放浪漫风格：衣着开放,胡服盛行,女着男装,并出现汉胡服饰相互结合的新的服饰款式一窄袖短襦下束宽大博广的长裙,农服上开始以钮扣装饰;汉胡乐器在乐队中同时出现,且数量上相互抗衡。墓中出土的伎乐俑是一支演奏“龟兹乐”的官府乐队俑,属坐部伎范畴,是唐代初年“燕乐”发展与繁荣的实物见证。     

AN ANALYSIS OF THE GEM‐BLUE GLAZE OF YE WANG'S KOJI POTTERY*

Koji pottery is a glazed ceramic art used widely for figurines. In early Taiwan, it was employed in temple construction for decorative purposes. Ye Wang (1826–87) is the first historically documented Koji artist of Taiwan and also the most prominent Koji pottery artist, noted for his modelling and glazing skills. Unfortunately, his unique technique was lost following his death in 1887. In order to provide vital information for ongoing conservation work on Koji pottery, this study analysed the physical and chemical characteristics of Ye Wang's gem‐blue glaze, to discover the glaze formula. DSC combined with the two‐thirds rule revealed that the firing temperature of Ye Wang's works of art was most probably around 878–923°C. EPMA revealed that the gem‐blue glaze has high alkali levels, and belongs to the PbO–K₂O–B₂O₃–Na₂O–SiO₂ system, deriving its unique colour from copper, iron, manganese and cobalt. This study found high potassium levels in the gem‐blue glaze, which are generally a characteristic of traditional Chinese glazes. In addition, a unique discovery of boron, commonly used in famille rose, was also identified in the glaze. By comparing spectra of historical and reconstructed glazes and adjusting the proportion of chromophoric elements, this study found a glazing formula with colours close to those of Ye Wang's gem‐blue glaze.     

唐三彩的仪器中子活化分析其在两京地区发展轨迹的研究

本文采用仪器中子活化分析技术测定四个主要的唐三彩窑遗址(河南黄冶窑、陕西铜川黄堡窑、长安礼泉坊窑、河北邢窑)以及墓葬、建筑遗址出土唐三彩胎的元素组成,分辨了不同产地唐三彩胎的元素组成差别。而且,本文综合考古资料、实验数据的统计学处理结果,将唐三彩在盛唐时期的发展历程划分为两个阶段,大约以公元705年(武则天退位)为界。前一阶段的唐三彩属于白胎类型,制作中心集中在洛阳地区,唐三彩器主要由黄冶窑制造,大型唐三彩俑由洛阳地区(包括黄冶附近)未被发现的窑场制作。后一阶段唐三彩的制作中心向长安地区转移,该中心的重要产品是红胎唐三彩,同时可能采用外来的原料制作白胎唐三彩,洛阳地区作为唐三彩的另一个制作中心同时存在。进而论证唐三彩器和唐三彩俑存在两个相对独立的发展轨迹。     

河南孟津县上店村唐代壁画墓

2010年4~5月,洛阳市文物工作队在孟津县上店村清理了1座唐代土洞墓。墓葬由墓道、过洞、天井、壁龛、甬道、墓门、墓室等组成。壁龛内出有较多盛唐时期的彩绘骑马俑、立俑和陶猪、狗、马、牛、鸡、羊等遗物。该墓葬的发掘,为研究洛阳地区盛唐时期大型墓葬的形制、出土器物组合、制陶工艺等提供了实物资料。     

Innovation and Function of the Terracotta Warriors of Emperor Qin Shi Huang’s Mausoleum

Terracotta warriors are an important part of the burial system of the Emperor Qin Shi Huang’s Mausoleum and are the funerary objects of military themes. The appearance of terracotta warriors broke through the architectural structure of burial pits in early tombs, expanded the scale and object of burial, and realized the complicated and hierarchical concept of burial. Its emergence is related to the blending of the pre-Qin tradition and the concepts at that time, such as the change of the concept of human sacrifice, the rise of the burial of figurines, the change of the concept of funerary objects and objects for the living, etc., together with the ruling strategy of the Qin Empire and Emperor Qin Shi Huang himself, which contributed to the formation of terracotta warriors.     

江苏徐州花马庄隋唐墓地一号墓、四号墓发掘简报

1992年徐州文物部门对铜山花马庄隋唐墓地一号墓进行了发掘,出土了具有中原洛阳地区风格的较完整的唐三彩俑组合,为江苏地区首次发现,丰富了本地区隋唐考古内容。1996年发掘的四号墓,从墓葬形制和出土器物断定为北朝———隋时期。这两座墓葬的发掘对于花马庄墓地时代以及性质的研究有很大的意义。     

马家窑文化人物形象分区分期及同时期区域对比研究

马家窑文化包含丰富的不同工艺、纹饰人物形象,本研究在人物形象分类的基础上,首先对马家窑文化人物形象进行了考古学分期、以及人物形象区域分布研究,其后选取东部、中亚地区同时期的人物形象作了对比研究。研究发现:马家窑文化人物形象可分为两期,一期以动物拟人纹与人物形体纹为主,其中,鲵人纹与舞蹈纹是此期特色,器口人面塑中出现了哭泣、惊讶的面部表情。二期出现蛙人纹,大量其他彩绘人物形体消失,继承一期以器口作人面的技法,对面部的五官塑造更加细致,表情更加多样,出现了精致又寓意非凡的裸体人像彩陶壶。马家窑文化人物形象可分为三区,从东往西传播与发展;与东部、中亚同时期人物形象对比,马家窑文化人形象种类和技法更具本地源流,且与其他地区异中有同。本研究为研究马家窑文化的来龙去脉、以及不同文化间相互交流提供参考和依据,对后续分析文化人物形象内涵等均有重要意义。