乾隆仿木纹釉碗考析

在我参与整理过的故宫旧藏清代瓷器中,有乾隆时期御窑厂烧造的仿木纹釉碗数件。称之为仿木纹釉,是因为这种碗通体所施釉色一如木质,或见树心年轮纹样,或显瘿痕,和用木材镟成的碗相比,可谓惟妙惟肖。它们的尺寸大小虽异,但基本造型则雷同,多以圆唇、侈口、浅腹为特征,大多数碗底为玉璧底,底心脐内加印“大清乾隆年制”六     

乾隆青花鱼藻碗与仿品鉴别

乾隆青花鱼藻碗与仿品鉴别董俊杰,乔国林清乾隆一朝,在康熙、雍正二朝制瓷艺术基础上,把制瓷业推向创造性的阶段。从数量或质量更至历史的顶峰。无论从彩器、青花器及其它类别出现了一些殊品。其形制图案、胎釉、工艺技巧等方面,堪称一代之奇。应推为我国制瓷艺术的盛...     

清雍正 仿汝釉弦纹花盆

正高:10厘米款识:"雍正年制"篆书款本件花盆口部折沿,深腹,圈足,外壁凸起三道弦纹,既起到装饰作用又使得器型平添了一分变化。通体满施仿汝釉,釉面玻璃质感强,莹润光亮,呈色宁静纯美。直追宋代汝瓷如雨过初霁般清新、爽朗的天青之色。在烧造釉色工艺上真正达到了     

南宋 龙泉窑青釉婴戏双转官球纹碗

杭州市北大桥南宋墓出土的龙泉窑青釉婴戏双转官球纹碗,碗内线刻一婴孩挥舞两只转官球,暗含“双转”之意。宋制,升迁官阶须经转官磨勘,简称转官,其转官三或四年一磨勘,年至即转阶,甚至可双转,超转。此墓为单室墓,墓内随葬漆笔架和抄手石砚,反映出墓主人为男性读书人,具有士人追求功名的特点。     

宣德款黄釉花卉纹盘真伪考 英国大威德基金会藏

明宣宗朱瞻基（1426-1435年）（图1）在位仅10年,其间烧造的宣德官窑瓷器,其数量品类之盛,釉色纹饰之广,均为明代之首。明王世性（1547-1598年）所著《广志绎》载：＂……本朝以宣、成二窑为佳,宣窑以青花胜,成窑以五彩……＂因此,宣德官窑是古往今来海内外中国陶瓷收藏家梦寐以求的藏品。英国大威德基金会是全世界私人收藏中国历代陶瓷集大成者,收藏的宋元明清历代名瓷品类之盛,质量之上乘,无有出其右者。但瑕不掩瑜,笔者在仔细阅读其图录的过程中,     

乾隆青花八卦纹扁瓶

在中国的瓷器生产史上有着许多受外来文化影响的器形,如:唐代的三彩凤首壶、明永乐青花抱月瓶等,这是因为瓷器的生产是在一定的历史条件下,在一定的文化氛围中生产的,受到当时的社会风气、文化背景的影响。同样,清代瓷器的生产也在一定程度上受到了外来文化的影响。乾隆时期正处于清代盛世康雍乾三朝的巅峰时期,社会安定,国力强盛,百姓安居乐业,瓷器的生产也进入了最辉煌的时期。乾隆皇帝本人博古通今,有着极高的艺术鉴赏水平,特别是对瓷器的生产更有着独到的见解,常有亲下谕旨指定瓷器器形、品种烧造之事。乾隆一朝瓷器的生产达到了历史的顶峰,品种之丰富,种类     

浅谈唐三彩中的弦纹碗

唐三彩是唐代彩色釉陶的通称,属于低温铅釉陶器。特点是釉的熔点低,流动性良好,所以均匀覆盖在器物表面,冷却后清澈透明,平整光滑,玻璃质感较强,光彩照人,但硬度低,化学稳定性差。其以铜、铁、锰、钴等元素作为呈色剂,有绿、黄、蓝、白、赭、黑等多种鲜艳明亮的釉色。唐三彩多为模制或轮制,细微之处以手工雕塑而成,有印花、     

雍正斗彩缠枝莲纹碗

河北省文物商店收藏有一对清代雍正时期景德镇御窑厂生产的斗彩缠枝莲纹碗,高4.8、口径9.2、底径3.9厘米。敞口,深腹,圈足。胎轻薄,胎质坚硬、细腻,釉色洁白莹润。碗外壁绘四朵对称的缠枝莲,花头分别用红、黄、绿、紫点染。四周绘满繁密的绿色缠枝,叶脉清晰,彩     

乾隆时期宫廷琴事考

乾隆帝本人及乾隆时期宫廷与古琴之关系,是清代宫廷史研究中一个值得关注的领域。本文自现存乾隆朝宫廷藏琴实物入手,以《活计档》、《奏销档》、《陈设档》等清宫档案及《清高宗御制诗》等文献为凭,还原了乾隆皇帝对宫廷藏琴的整理、鉴赏、评级、著录过程,以及宫廷古琴陈设、制作与使用情况。此外,作者考订了《乾隆御题琴谱册》实为乾隆朝宫廷藏琴著录;论证了宫廷琴人唐侃与斫琴家唐凯实为一人。期使学界对这些文物、人物有更为丰富、深入的理解,为乾隆帝与古琴、礼乐制度关系的深入研究打下史料基础。     

清乾隆 茶叶末釉绶带耳葫芦瓶

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Geochemical characterisation of north Asian glazed stonewares: a comparative analysis of NAA,ICP-OES and non-destructive pXRF

The analytical performance of non-destructive portable X-ray fluorescence (pXRF) is compared with that of Inductively Coupled Plasma-Optical Emission Spectrometry (ICP-OES) and Neutron Activation Analysis (NAA) for the elemental characterisation of a group of glazed stonewares from North-East Asia. As a non-destructive technique pXRF is potentially well suited to the elemental analysis of high value archaeological and museum collections but has yet to be critically evaluated for the analysis of archaeological stonewares. In this study we use multivariate evaluation to compare results from non-destructive pXRF in relation to ICP-OES and NAA analysis for the same group of samples. We conclude that, although pXRF is comparatively limited to a small number of major, minor and trace elements, these are sufficient to identify the same compositional groups as high dimensional ICP-OES and NAA datasets for this assemblage.     

裙带生风 婀娜多姿——洛阳出土唐代三彩女俑赏析

唐代是我国古代陶俑艺术百花齐放、万紫千红的繁荣时代。这一时期出土的三彩俑更是造型精美、色彩艳丽、技艺高超。尤其三彩女俑为人物塑造中最     

华缛极矣 叹为观止——清乾隆粉青釉描金镂空开光粉彩荷莲童子转心瓶赏析

中国是制瓷工艺的发祥地,数千年来一直在世界上独树一帜。有清一代,中国古代王朝的发展到了顶峰,“康雍乾盛世”更是将这种繁荣推到了顶峰,乾隆帝承平前代基业,在位期间世道生平,百业振兴,国力雄厚。因其本人酷爱文化,故而对瓷器造作非常关心。     

An interactive point pattern analysis web application and teaching exercise

ABSTRACT

This paper introduces a web-based, interactive point pattern analysis “game” that allows users to generate quickly and repeatedly a point pattern on screen and immediately learn whether the pattern is statistically different from random. It uses two point pattern analysis methods: quadrat analysis (QA) and nearest neighbor analysis (NNA). Studies have shown that gaming approaches, digital tools, and interactive instruction for teaching spatial thinking complement and enhance students’ geospatial skills. This game challenges students to achieve randomness, demonstrates the differences between QA and NNA, and easily permits in-class use by running in any web browser.     

走进陇戛--长角苗的村寨

能干的女人们 汽车到达六枝县的梭戛乡,陇戛寨距此地还有大约七公里的山路.穿过了乡场便开始垂直爬山,只见满山尖石林立,泥土很少,昔日的密林深箐已经很少见,石漠化的程度惊人.     

Morphological,chemical and physical changes during charcoalification of wood and its relevance to archaeological contexts

Wood exposed to a heat source can be transformed into charcoal if subject to conditions of carbonisation (in the absence of air) or charring (in restricted air). Charcoal recovered from archaeological sites can yield fundamental information to our understanding of human economic and cultural development over time and (ecological) setting. This work describes the morphological (anatomy, degree of shrinkage), physical (reflectance) and chemical (elemental, molecular composition) properties of charcoal in relation to heat source and wood variables. In this study charcoal and charcoal fuel were experimentally produced whereby temperature (160–1200 °C), time of exposure (2–1440 min), heating rate (high and low) and wood type (angiosperm and conifer) were varied. The results show that charcoal, often described as an inert, black material, has different chemical and physical properties in relation to the investigated variables. By using these different properties it is possible to distinguish between the different types of fires (domestic and industrial) exploited by humans in the past. Morphological analyses and reflectance measurements are effective tools for this purpose and can be used in wood exposed to temperatures of 300 °C and above—temperatures which are relevant to archaeological research. Angiosperm and conifer wood react in different ways when exposed to heat and thus the taxonomic identity of archaeological material needs to be known. Chemical analyses can be used for wood exposed to temperatures below 400 °C whereas elemental analyses of the carbon content can be used for wood exposed to temperatures up to a maximum of 650 °C.