秦始皇帝陵园出土彩绘青铜水禽表面彩绘工艺研究

为全面了解秦始皇帝陵园出土青铜水禽表面彩绘装饰工艺的技术内涵,利用显微观察、偏光显微鉴定、拉曼光谱分析等手段,对秦始皇帝陵园K0007陪葬坑出土彩绘青铜水禽表面彩绘装饰工艺进行了系统的考察和研究。研究结果显示,白色颜料为骨白,黑色颜料为炭黑;彩绘层为多层绘制而成,在结构上与秦陵出土陶俑、陶马表面彩绘具有明显区别;彩绘绘制技法包括平涂及堆绘两种,其中堆绘主要用于羽毛纹路羽轴的绘制,施彩工具可能为毛笔或毛刷。彩绘作为青铜器的装饰工艺主要出现于秦汉时期,但并没有得到广泛应用,可能与彩绘装饰自身的脆弱性以及青铜器的功能由礼容器转变为实用器有关。     

试析郑玄《周礼注》中的“古文”与“故书”

本文通过考察郑玄《周礼注》中使用“古文”和“故书”类术语的全部用例,总结了这两个术语的具体使用形式,区分了二者的职能。认为前者应当是指比郑玄所见古文经《周礼》文字更早的文字写法,属于历时沟通字际关系术语;后者则是郑玄使用的沟通《周礼》不同版本用字的术语。同时文章还分析了两个术语各自的来源。     

三组明清织物装饰捻金线的技术分析与比较研究

为了对比分析不同金属线的形貌、材质和工艺差异,理解不同时代金属线差异产生的原因,利用显微形貌观察与科学仪器分析对三组明清纺织品捻金线样品的金属箔条、有机质背层、芯线进行了形貌观察分析。对比了三组捻金线的形貌、结构、尺寸和材质特征,对其制作工艺进行了对比分析,得出了三组捻金线的质量优劣等次,发现了金属线的选用与被装饰织物的时代、功用性质和文化属性之间存在一定关系的现象。含金量高的金属箔条、蚕丝芯线、尺寸纤细、制作精细的捻金线属于高等次的捻金线,常用于等级高、文化属性及功用重要的纺织品文物装饰,其中不带背层的金属线等级又高于带有背层的金属线。本研究对开展金属线系统分析和金属线对比研究具有较高的参考价值。     

Land-Use Allocation in the Absence of Complete Market Values

This paper describes a method of land-allocation that can be used byplanners and other land managers in the face of market failure. The method integrates theland-allocation approach used in geographic information systems with that used in a generalizedassignment problem. Suitability scores, instead of market prices, are used in assigning competingland uses to individual parcels (pixels) of land. The method is illustrated using a hypotheticalexample involving three competing land uses within a region.     

古建油饰彩画的制作技术分析研究

为了对中国特有的古建油饰彩画制作技术加深了解,促进古建油饰彩画传统工艺科学化,采用X射线衍射仪、X射线荧光光谱仪、扫描电镜、体视显微镜等仪器对采自蒙古博格达汗宫博物馆、北京颐和园、甘肃嘉峪关、山西太符观等古代建筑的油饰彩画样品的制作技术进行了分析研究。结果表明,测试的样品分别采用了一麻五灰、一布四灰、单披灰等多种工艺制作地仗;麻纤维广泛应用于样品纤维层中,仅样品YHY-22使用了棉布;颐和园和博格达汉宫博物馆的样品以砖灰作为地仗无机填料,嘉峪关样品使用了白土粉,而山西古建样品则可能使用当地的土壤。可以得出结论:几个地区古建油饰彩画的制作材料和技术是有所不同的。     

明代北京燃料的使用与采供

明代北京使用的燃料,有植物性的柴炭和矿物性的煤两类。明代前期,北京所用燃料主要为柴薪,中叶以后煤的使用日益增加,到明代后期,煤逐渐成为北京的主要燃料。明代内廷所用柴炭,基本上通过强制性的徭役体系获得,而京城官民人等所需柴炭,则须通过市场购买。至于煤的开采和运销, 则主要采用民营方式。     

论火药和指南针在下西洋中的应用

火药和指南针发明后,国人既用于爆竹神鬼,堪舆风水,也用于兵器战争,航海指向。在郑和下西洋的壮举中,火器已是远洋海船的主要武器装备之一,指南针也是最主要的导航指向仪器。那种认为在中国古代火药长期主要只用于烟花爆竹,指南针到下西洋时仍只是辅助导航仪器的观点,是不符合历史实际的。     

汉代铸造铸钱金属范之陶范的分析研究

汉代的铸钱遗址中出土了大量铸造铸钱金属范的阳文陶范,阳文陶范既反映出了铸造金属范时的铸型,又可看出所铸造的铸钱金属范的铸型.为揭示铸钱金属范的铸造工艺及变迁,本工作从铸造工艺角度对阳文陶范进行分析,通过对汉代阳文陶范出土概况的统计,了解了阳文陶范铸型的变迁.以西安相家巷和窝头寨铸钱遗址采集的阳文陶范为基础,对陶范的面层与背层进行了X射线荧光成分分析,在电子探针下对型腔面进行了形貌和成分分析.分析结果表明,阳文陶范分层制作的原因是为了将模上的钱币铭文和形状清晰地复印到陶范上,型腔面的检测不能表明是否使用了表面涂料.     

A neural network approach to the classification of electron and proton whistlers

Fractional whistlers, whistlers, and proton whistlers are automatically identified and characterized by means of a neural network. A feed-forward neural network with Time Delay Neural Network (TDNN) architecture is used. It has the ability to represent structures in frequency time diagrams; a set of 50 spectrogram elements (5 Fourier components × 10 time intervals) serves as input to the network. Applications to date have used ELF data recorded on board the low-altitude AUREOL-3 satellite. A first neural network was designed to identify and characterize fractional whistlers and whistlers. A set of 997 vector data is used for the training phase and 1088 other vector data are used for evaluating performance. It is observed that fractional whistlers and whistlers can be distinguished from noise with an accuracy of 90%. A second neural network, with the same architecture, was used for studying proton whistlers. Although the training database contains less examples, the accuracy of the classification is 89%. Neural networks of this type could be used in satellites for real-time classification and characterization of electron and proton whistlers.     

汉代的“发兵”制度

汉代发兵有四种信物：虎符、节、羽檄、诏书。王朝设有符节台管理符、节、玺印。虎符要与诏书同时使用。节的使用没有地域限制。羽檄曾一度独立作为发兵信物,表示情况紧迫,请求援助的信物。西汉中央对地方控制力强,调兵权掌握在皇帝手中,东汉地方统兵权与调兵权逐渐合一,虎符发兵之制很大程度上被破坏,节不断流行起来。     

Indonesian quarter-rudder mountings

Ten quarter-rudder arrangements found in Indonesia are described and illustrated with evidence for an 11th arrangement. Some types have been used on vessels of over 100 tons, while others occur on offshore fishing craft and outrigger canoes. The ethno-archaeological evidence gathered in the field is used as a basis for consideration of quarter-rudders used in the Classical and Medieval Mediterranean.     

安徽何郢遗址植物残体切割形态与脱粒农具的关系

石器和植物残体的相关研究证明,脱粒板曾大规模应用于近东地区。为探索古代中国或远东是否也曾使用过这种工具或类似工具,本研究对何郢遗址植物残体形态进行了研究,结果表明中国商周遗址存在切割形态植物残体的证据,以此推测类似脱粒板的农具在商周时期曾被使用。无疑,这一发现对我国古代农作物的脱粒加工方式具有重要的启示,可望深化我国农业考古的探索。     

浅谈张培爵烈士纪念碑修缮工程技术

为对列为重庆市市级保护单位的张培爵烈士纪念碑进行修缮,使用了引进的德国“芬考”系列新型材料,采用在欧洲地区广泛应用的“形态修复法”修缮工艺,对纪念碑进行修缮。结果表明,修缮后提高了纪念碑整体固结强度和自防水能力。说明该材料和施工工艺适合对露天纪念碑类的石质物进行大面积的修复。     

PROVENANCE OF THE SANDSTONE USED IN THE CONSTRUCTION OF THE KHMER MONUMENTS IN THAILAND

We investigated the sandstone used in the construction of the Khmer monuments situated upon and around the Khorat Plateau in north‐east Thailand in order to clarify the provenance. The sandstones of the 22 investigated Khmer monuments can be classified into three groups. The sandstone of Group 1 is lithic and is derived mainly from the Khok Kruat Formation. This group includes the sandstone used at Phimai, Phnom Wan, Muang Khaek etc. The sandstone of Group 2 is siliceous and can be subdivided into three further groups. The sandstone of Group 2 is considered to have been derived from the Phu Phan, Phra Wihan or Sao Khua Formations. The sandstone used at Muang Tam, Phnom Rung, Sdok Kok Thom, Preah Vihear (Khao Phra Wihan), Narai Jaeng Waeng etc. belongs to Group 2. The sandstone of Group 3 is feldspathic and is correlated with the grey to yellowish‐brown sandstone that is commonly used in the Angkor monuments in Cambodia. This sandstone is used at Wat Phu and Hong Nang Sida in Laos. The above results reveal that the choice of sandstone used for the Khmer monuments, including the Angkor monuments, was dictated by the surrounding geology.     

几件明清时期书画装裱用纸的检测和相关问题分析

纸张的好坏及使用位置和使用方法的恰当与否直接关系到书画装裱和修复的好坏,是影响书画装裱修复的重要因素。为此通过对明清时期几件书画装裱用纸进行了检测分析,发现明清时期书画装裱用纸中以竹纸和有竹子为原料的纸张居多,不同纸张分别应用在不同环节上,同时,宣纸也作为书画装裱用纸使用。这和当时文献中记载的情况大致相似。     

萧梁钱范的残留物初步研究

为弄清镇江出土的萧梁钱范是铸造铜钱还是铁钱,或是两者兼铸。利用扫描电子显微镜(SEM)及其配备的X射线能谱仪(EDS),分析了出土的萧梁公式女钱范的残留物。钱范ZJ1的正、反面和胎的点扫描和面扫描分析结果表明,其应为铸造铜钱之范。而钱范ZJ2剖面的线扫描分析指出,其铜含量从正、反表面向胎的内部呈现明显的梯度分布,从而进一步验证了这些钱范铸造的是铜钱,而不是铁钱。     

Visigothic Jewellery: A Technical Study of Glass Used as Gems in Belt Buckles from a Spanish Necropolis

In this work, we studied coloured and colourless glass used as gems in Visigothic buckles possibly originating from the necropolises of Torredonjimeno, Duraton or Castilltierra in Spain. Scanning electron microscopy (SEM) with energy‐dispersive analysis (EDS) and observations made with an optical microscope in reflected and transmission mode were performed in order to establish the composition, origin of the colour and decay process of these glass pieces. The chemical analysis of ancient glass can provide relevant information regarding the manufacturing approach used during a specific period. The results revealed the presence of various transition metal elements used as chromophore elements, as well as some metallic backing foils used to improve the colour of pieces of almost colourless glass.     

ANCIENT EXPLOITATION AND USE OF COBALT ALUMS FROM THE WESTERN OASES OF EGYPT*

Cobalt alums from the Western Oases of Egypt were used in the second millennium bc as a colorant to produce dark blue glasses and glazes. A collection of these alums was gathered together and analysed by a series of techniques to accurately characterize them. They were then used alongside artificial analogues in experimental work aiming to determine the process that was used to convert the raw alum into a suitable pigment that might be used in a glass. Finally, the broader picture of the use of these alums is considered together with the implications for the trade in these materials across the Near East and into Europe.     

高光谱成像技术在中国画颜料分类和识别上的应用初探——以光谱角填图（SAM）为例

为探索光谱角填图法在颜料分类和识别上的操作方法,用高光谱成像系统采集了现代中国画的高光谱图像,利用光谱角填图法对绘画所用颜料进行分类和识别。通过将多次分类识别结果与绘画实际所用颜料进行对比,发现采用光谱角填图时应根据不同的物质设置不同的阈值,方能取得好的填图效果;阈值大小的确定可通过对比已分类区域的平均光谱曲线和标准光谱库曲线来进行。通过对已知颜料进行光谱角填图的实践,探索颜料的光谱角填图规律,为未知中国画文物颜料的填图在阈值的设置上提供数据支撑,使高光谱成像技术更有效地应用于中国画文物颜料的鉴定和识别。     

画楼金簪锁云鬓——中国国家博物馆藏明益庄王妃万氏金簪赏析

1958年,江西南城长塘街明益庄王朱厚烨墓的发掘将许多珍稀文物呈现在世人眼前,其中最令人叹为观止的莫过于那些用纯金打造的头饰,璀璨耀眼,熠熠生辉,表现出大明王朝富足的物质生活和能工巧匠的高超技艺,充满时代气息。墓主朱厚烨,为明宪宗朱见深第四子、益端王朱祜槟的嫡长子。明代将皇子皇孙分封各地作藩王,