Annual Meeting of the Archaeological Institute,to be Held at Edinburgh in July, 1856

The following paper is based on work carried out between 1974 and 1984 in connection with J. T. Smith's survey for the Royal Commission on the Historical Monuments of England of the domestic buildings of Hertfordshire. It deals principally with painted decoration on plaster and timber walls and ceilings, but also takes into consideration other decorative features such as moulded plasterwork and wooden panelling.     

Technological investigation of the decorative coatings on Yangshao pottery from Henan,China

Yangshao pottery sherds dated to c. 4200 bc from two archaeological sites in Henan province, China, were examined to determine the technological aspects of their decoration. The selected samples comprised plain and painted pottery, some of which have a white background slip and black or red decoration on the surface. Various analytical techniques including SEM/EDS, XRD and FTIR were applied in the study. Observations show that some pieces were wheel‐thrown. The refinement of the body fabric varies. Surface finishing includes simple burnishing, slipping and brushing. The black decoration on the surface is manganese black. The white background layer is kaolinitic clay slip. No organic binders or decorations were detected. The results of these analyses will help our understanding of the production steps involved in the craft production of Yangshao pottery.     

The Dancers Who Became Transformed into Wood: the mai masks of the Iatmul,Papua New Guinea

Borrowing, exchanging, and violent appropriation of ritual artefacts have been actions that have contributed to the development of cultural diversity within a particular frame of variations in the Middle Sepik region of Papua New Guinea. The mai masks of the Iatmul, already mentioned by Bateson, are the well‐documented result of a violent appropriation, as indigenous evidence shows. However, the ‘model’ which served for the mai were ritual dancers captured in the Alexander Mountains. These dancers displayed heavily painted faces (but no masks) and rich body decoration. In the process of making the powerful ‘model’ into one of their own, the Iatmul artists transformed the painted faces into carvings according to their preferred material of artistic expressions, wood, and their predilection for the interplay of elevated and deepened surfaces. As this article shows, the creation of mai as (enlivened) persons needs the establishment of socio‐cosmological relationships in which ancestral spirits and ‘natural’ substances are crucially involved. Thus, apart from sculpting as making, actions of growing are essential for turning the masks into beings endowed with ancestral power.     

龙门石窟的彩绘装饰

龙门石窟在开凿时利用丰富多彩的彩绘颜料对窟龛和造像进行了装饰,本文通过对龙门石窟现存彩绘装饰的调查和研究,初步总结了龙门石窟彩绘装饰的一些特征和规律,并就龙门石窟彩绘装饰的时代和成分等的进一步研究提出了建议。     

明代上洛县主墓出土彩绘木质文物的保护与研究

2007年6—7月,在位于西安市长安县北里王村村东的上洛县主墓中,出土了一批色彩鲜艳的彩绘木俑。因该墓葬曾遭受早期盗扰,出土时木俑较为凌乱摆放在墓室前厅,原来的摆放位置已被扰乱。出土的彩绘木俑均有不同程度的腐朽,其中部分彩绘木俑保存较完整,部分有残缺;整体彩绘保存相对完整,局部有脱落现象。由于长期遭受墓葬环境的影响,所有的彩绘木俑出土时都处于亚饱水状态,而且机械强度较低,没有彩绘或彩绘脱落部位的木胎外观变黄、变脆。这批木俑的木俑颜色鲜艳、姿态各异,不仅具有较高的艺术价值,而且对研究明代民间的宗教信仰,以及葬丧习俗也颇有裨益。为了保护这批珍贵的文物,通过对比试验研究,采用自然脱水法使其脱水定形。使用3％PrimalAC33的水溶液对其彩绘层进行加固保护。同时,在保护处理的过程中,通过显微观察以及一些科学分析手段,对这批木俑的制作方法、装饰材料及工艺进行了初步的探索与研究。     

Unveiling the Use of Creta in Roman Plasters: Analysis of Clay Wall Paintings From Brixia (Italy)

The paper describes the analysis of a particular kind of plaster from the walls of the Roman Sanctuary (first half of the first century bce ) in the centre of Brixia (now Brescia, Italy), which is an outstanding example of Roman Republican architecture. The walls were plastered and painted with different patterns, imitating marble panels and curtains. Optical microscopy on thin sections, X‐ray diffraction and infrared spectroscopy were performed on several samples of the plaster in order to reveal the execution technique. The palette consisted of glauconite, celadonite, Egyptian blue, and red and yellow ochres. In some cases, an organic compound, possibly a lipidic compound, was present in the external paint layer, as a surface treatment. The plaster contains two superimposed coats: the render coat with lime binder and sandy aggregate; the finish coat with a clay fraction (illite, chlorite, kaolinite), together with calcite from slaked lime and grains of quartz, silicate and carbonate rocks. Although Vitrivius' De architectura reported the use of creta (clay) as daub smeared on reed vaults, the Sanctuary of Brixia represents the first documented use in Roman buildings in a painted plaster laid on a stone masonry wall.     

Bitumen in Early Ceramic Art: Bitumen‐Painted Ceramics From Late Neolithic Tell Sabi Abyad (Syria)*

The paper presents the results of a chemical analysis of black pigment used to decorate pottery from Late Neolithic Tell Sabi Abyad, northern Syria (c. 6100 cal bc ). The pigment appears to be bitumen. A comparison with known reference samples from modern locations of bituminous sources in the Near East suggests that the bitumen used to paint ceramics at Tell Sabi Abyad came from at least two different source areas in northern Iraq. The bitumen‐painted ceramics at Tell Sabi Abyad represent the earliest evidence attested so far of bitumen used as a pigment for pottery decoration.     

湖南桂阳刘家岭宋代壁画墓发掘简报

2010年7月,湖南省文物考古研究所在湖南省桂阳县城西刘家岭发掘了一座宋代砖室墓。出土的随葬器物有陶器、瓷器、银器、铜器等,并在甬道两壁、墓室门两侧、墓室四壁及券顶发现大量壁画,墓室内棺床上绘有地画。甬道壁画为世俗题材,墓室壁画主要为宗教和神话题材,地画图案具有装饰性。壁画与地画在方位上形成两两对应的布局,内容新颖。     

考尔雅典女神，雅典卫城682——尊希腊古典晚期雕塑的重建工作

在15世纪的意大利,人们发现了大量的古代雕塑遗存,基本上都是大理石雕塑残片。出于对大理石的迷恋、对雕刻工艺的欣赏、对人体雕塑生动表现的着迷,当时的贵族热衷于收集这些残片并试图拼对与重建这些残破的雕塑。但是几乎没有发现任何颜色的残存,他们甚至不会去探究彩绘他们更赞赏大理石洁白无瑕的表面。19世纪早期,建筑学家们考察了西西里一些古代庙宇的彩绘残存,随后有关一些著名希腊神庙（如帕台农神庙）彩绘的重构工作在全欧洲引发了热烈的讨论。但是对于这些雕塑涂施彩绘的强烈质疑声一直持续到十九世纪八十年代,直到雅典卫城发掘工作的开展才证实了古代大理石雕塑彩绘的事实。出土时,很多破碎的雕塑残片上都残存有鲜亮的彩绘,但通常在出土几个小时后就由于干燥而剥落了,只有依稀的彩绘痕迹残存,以及工作人员的描述和水彩模画。今天,翻开现代有关古代雕塑的书籍,你会发现大量彩色照片,但总是显现白色大理石表面。有关雕塑的工艺、功能和历史发展的意义的讨论已经很多了,但是很难得到一个完整的古代雕塑彩绘的例子。不仅仅是雅典卫城的雕塑曾经涂饰彩绘,经过重建工作这一时期有大量彩绘的例子。本次工作即是采用古代颜料与模具,尽可能完整的重建了一尊古代雕塑。     

Expediting Reincarnation in the Fifth Millennium BCE: Interpreting the Chalcolithic Ossuaries of the Southern Levant

We examine and reinterpret the phenomenon of containers used for the secondary burial of human remains – ossuaries – in the Chalcolithic period of the southern Levant, c.4500–3700 BCE. Ossuary form and decoration, both plastic and painted, is evocative and symbol‐laden. Since their first discovery in the 1930s, several hypotheses have sought to explain ossuary iconography, but none provides an integrated, holistic interpretation. Chalcolithic iconography, mortuary contexts, and archetypal mythologies suggest that ossuaries, mainly of clay, but also of stone, served as vehicles of reincarnation.     

地理资源造成史前南北陶器装饰风格的差异

新石器时代,南北陶器装饰已出现不同面貌,大体说来,黄河中上游为一种,表现为彩绘的样式：长江中游为一种,表现出素面刻划的特征。造成差异的原因,地理资源即无机质矿物颜料的多寡是第一位的,这一推论大体符合彩陶分布状况,和历史献记载以及现代探矿资料。     

清雕漆描金宝座材料与工艺研究

为了了解清雕漆描金宝座的材料和工艺,对胎体制作切片进行了显微镜观察,确定了其种属;采用傅里叶红外光谱分析法分析了红漆,图谱与桐油很相近,由此可确定调漆工艺中加入了桐油。另外,结合文献,初步复原了此宝座的髹漆工艺。此研究对宝座以后的保护及清代家具及漆器的制作工艺具有参考价值。     

韩国公州宋山里6号坟几个问题的探讨

韩国公州宋山里6号坟的形制结构与武宁王陵一样属于典型的"建康模式",其时代比武宁王陵略晚,墓主推测是武宁王之子百济圣王,墓壁发现的"四神"壁画明显受到南朝绘画艺术风格的影响。"建康模式"的砖室墓在百济葬制中的植入,应与百济东城王六年遣使中国南齐要求内属有关,可能是百济内属时期的制度规定与要求之一。     

托勒密彩绘装饰与罗马彩绘装饰的比较实例：埃及图那-艾尔-葛贝尔的动物图案

2007年春天开罗大学和慕尼黑大学在Tunael—Gebel联合发掘,发现一个原始的罗马坟墓有一石顶,其形式如同金字塔,命名源于希腊某一铭文。这一小石灰石墓葬包含未发生变化的埃及埋葬风格。两个沉重的石灰和镀金木乃伊被安置于两个木棺中,其中一个有一木制锦缎屋顶。该木乃伊有五彩缤纷的玻璃镶嵌,双方的床都展示着华丽的宗教仪式场景色绘画ajoure-work（这些图像被木板分割）。部分埃及和希腊的70个护身符挂在床上,用石灰制成并刷成绿色。两个石灰雕像伊希斯（高38cm）被置于头部附近。雕像是利用周围的木桩加工成型的,然后涂上颜色。它们是一个明显的混合风格的实例。它们被加工成一个典型的希腊姿势,但仍然有一埃及背景。在传统的老埃及,光谱中的每一道颜色有特定象征意义。通过它可以读出背景的循环往复变化。例如,颜色变化从红色（祭品／敌人）-白（天狼星的位置）-黑色（看不见的东西）-绿色（再生）再次到地球上五彩缤纷的形式。这一统一已经在罗马时代瓦解。新的颜色如粉色的出现,白色王冠上画的黄色等等。埃及的象征意义似乎完全消失在罗马新的墓葬彩色装饰上。     

COLOUR SYMBOLISM IN THE PREHISTORIC ARCHITECTURE OF CENTRAL ANATOLIA AND RAMAN SPECTROSCOPIC INVESTIGATION OF RED OCHRE IN CHALCOLITHIC ÇATALHÖYÜK

The use of red ochre in the prehistoric architecture of Central Anatolia has long been recognized. Scholars have often argued that its use in architecture has a symbolic role, and that it has been used in sacred parts of ritual buildings. This paper examines red‐painted buildings in the prehistoric settlements of Central Anatolia. Recently, a building with red‐coloured plastered walls and floors was found in Chalcolithic Çatalhöyük West. The technique of Raman Spectroscopy has been applied to identify the red pigment and results show that it is red ochre, which contains predominantly hematite, Fe₂O₃.     

Postclassic Maya slips and paints and their relationship to socio-political groups in El Petén,Guatemala

LA-ICP-MS analysis of the chemical composition of the exterior slips and red and black pigments used for painted decoration of the three Postclassic Maya slipped ceramic wares suggests that the Itzá and Kowoj used different pigments for exterior slips and decorative motifs. Additionally, different slips and paints were used depending on vessel form and decorative program (red, black, or red-and-black painting or incising). When examined with previous ceramic paste chemical analyses, the data aid in better understanding the changing socio-political alliances and dominance relations in central Petén at the eve of Spanish contact.     

江苏徐州睢宁龙头山明墓发掘报告

2013年3月,徐州博物馆和睢宁博物馆对位于江苏省徐州市睢宁县官山镇西北约10公里的龙头山明墓进行了抢救性发掘。该墓为一座仿木结构砖室墓葬,由墓道、门楼、甬道、前室、石门、后室组成。该墓有仿木构的门楼和庭院式的前后室,门楼和墓室有丰富多彩的砖雕和彩绘壁画,石门上有阴刻描金题记"看破四大满腔念头归衣钵"和"万历二十三年四月望日立",为研究明代葬制、葬俗、建筑、绘画、宗教等提供了珍贵的资料。     

佛殿的象征——山西大同仝家湾北魏佛教壁画石椁

仝家湾北魏邢合姜墓石椁四壁、顶部及椁门外两侧均绘有佛教壁画,模拟了作为礼拜供养场所的佛殿或佛殿窟。从椁门外两侧的护法门神开始;之后是椁内礼拜的中心——正壁释迦多宝佛和两侧佛像,突出了《法华经》信仰和法华观法;接着为左右壁的佛像;最后为前壁上方的七佛,为礼拜者观佛、获得佛心作证,下部的二神兽则作为镇墓兽。石椁壁画的构成与绘画技法主要与炳灵寺第169窟西秦壁画有密切关系,推测其粉本可能源于长安。另外石椁壁画也有凉州系统石窟壁画的因素,甚至包括西域的影响,充分反映了丝绸之路与平城地区的佛教文化有着频繁的交流和密切的关系。     

Pottery technology in the Tang dynasty (ninth century ad): archaeometric analyses of a Gongyi sherd found at Siraf,Iran

In 1969–70, a single Tang dynasty blue‐spotted Gongyi sherd was found at Siraf, Iran, the main trading port on the Persian Gulf in the early Islamic period. This is the only known example of Chinese blue‐and‐white ware, whether low‐ or high‐fired, found in the Middle East from such an early date. The sherd provides direct archaeological evidence for the Indian Ocean trade between China and the Middle East in the ninth century ad . The body paste, clear glaze and blue glaze or pigment were analysed by thin‐section petrography, scanning electron microscopy with energy‐dispersive X‐ray spectrometry (SEM‐EDX) and X‐ray fluorescence (XRF). The technological analysis reveals the different steps of the chaîne opératoire: clay mixing, slip and glaze application, and decoration with the cobalt blue glaze before high‐temperature firing. These steps are characteristic of Tang stoneware production at Gongyi in Henan province, China. The use of cobalt blue pigment as part of a simple spotted decoration scheme on the Gongyi sherd, and its find context within the Middle East, provides evidence for the complex interplay and influence occurring between Chinese and Middle East ceramic industries at this time. Closely comparable examples of contemporary low‐fired earthenware ceramics with cobalt blue decoration on a white tin glaze manufactured within the Middle East also occur within the same assemblage from Siraf.