山东新泰出土东周青铜复合剑制作技术研究

为探讨东周青铜复合剑的制作技术,采用X光探伤、CT、XRF、金相分析等方法,对出土于山东新泰周家庄战国早期齐国墓的2把青铜复合剑进行了内部结构、制作工艺、合金技术、金相组织等方面的研究.结果表明:2把青铜复合剑均采用低锡合金和高锡合金两种材料复合而成.在检测分析的基础上,讨论了新泰出土的2把青铜复合剑与吴越特色青铜复合剑制作技术上的差异:在结构上,低锡区设置在剑脊的两侧,其截面结构呈现多种形式,与高锡区铸接,浑然一体;在成分上,低锡区含锡量仅为4％,具有锡青铜最佳的延伸率.结合青铜复合剑剑柄的特色,认为虽然新泰出土复合剑的内部结构与已研究的吴越特色青铜复合剑有明显差异,但制作理念应是一脉相承的.     

越王勾践剑菱形纹饰技术再讨论——与董亚巍、周卫荣、王昌燧先生商榷兼谈科技考古方法问题

本文简介了已完成科学检测与模拟试验的东周青铜剑菱形暗格纹的成分、组织与形成工艺,认为金属膏剂涂层加热扩散工艺是东周时期唯一的、完全可能实现的、使青铜表面富锡和细晶化的表面装饰工艺;认为菱形纹饰呈黑色是特定埋藏条件下形成的;解释了越王勾践剑未见铭文错金的原因。并就此与董亚巍、周卫荣、王昌燧等先生进行商榷。     

古越民族文化源流研究

古越民族文化有其自身固有的越系文化基因,它既吸收了吴、楚、徐、舒、中原等文化元素,充分体现它多源的文化姻缘。同时,它对其他民族包括东南亚诸多民族的文明起源产生过重大影响。     

The Role of Pattern‐Welding in Historical Swords—Mechanical Testing of Materials Used in Their Manufacture

Pattern‐welding is a well‐known technique that was widely employed in the manufacture of swords. While the decorative effect of genuine pattern‐welding (employing phosphoric iron) is indisputable, to date its reinforcing effect is rather unclear. In order to understand this issue better, wrought iron, phosphoric iron, steel and various pattern‐welded samples were prepared and mechanically tested, and the results obtained are discussed in detail. Both the mechanical testing and the long‐term metallographic investigation of medieval swords suggest that pattern‐welding does not have any significant positive effect on the mechanical properties of swords and we should consider it a primarily decorative technique.     

吴越细绳纹类青铜礼器成形技术研究

吴越青铜器发展到春秋中晚期,出现了一批极富地域文化特色的青铜器,器表饰有细绳纹和细薄而峻深的纹饰,或在纹饰间布满细芒刺突起的棘刺纹。本工作通过对吴越青铜器陶范铸造技术的探索和吴越细绳纹类青铜礼器的复原试验,以期揭示出这类细绳纹类青铜礼器的成形技术。实验过程是以绳索为模,在湿陶范内埋入绳索,当陶范入窑焙烧时,绳索焚烧后形成绳索状凹槽,浇注青铜液后则成为具有突起状绳纹装饰的青铜器。焚烧绳索形成纹饰,是一种在平面上形成三维纹饰的技艺,能在青铜器表面形成规整的绳纹,可能为东周时期吴越地区古代工匠铸造细绳纹类青铜礼器的一种方法。     

莲花纹在西夏石窟藻井中的流变

莲花纹因其独特的造型、丰富的美感、高尚典雅的品格象征,被广泛应用于我国传统装饰纹样中。西夏时期是敦煌石窟艺术的新时期,其装饰纹样出现了新的变化。这一时期,石窟藻井装饰中莲花纹样的流变也出现了新的特征。一是在样式上由平瓣和卷瓣莲花纹逐渐向写实风格的莲花纹演变,二是在位置上由藻井井心逐渐位移到藻井边饰和四披,三是在技法上由以重线辅色向重色辅线演变。藻井装饰中莲花纹样的流变体现了西夏佛教石窟艺术在前期深受唐宋石窟艺术的影响下,逐渐形成了西夏自己的石窟装饰风格,这种变化也是西夏社会历史特别是佛教流派思想在艺术上的体现。     

南阳春秋彭射墓出土青铜兵器初探

南阳春秋彭射墓出土兵器中包括有铁援铜戈、铜铍、铜殳、锥形铜镞等少见器物,在同期墓葬中并不常见。其中铁援铜戈的制作工艺与前期同类器物有着一脉相承的工艺技术。出土的铜殳和铜铍皆为春秋时期同类器物中的较早类型,又有所区别,有着地域性特征。圆锥头形铜镞镂空的装饰手法在同类镞中也较为罕见。这些青铜兵器含有较多楚文化风格,但也不乏淮河上游地区文化因素。     

关于川渝地区船棺葬的族属问题

本根据成都平原等地和重庆地区葬具的发展线索,认为船棺葬为蜀人的固有葬俗,巴县冬笋坝和昭化宝轮院的船棺葬是受蜀化影响的结果。巴人本来无船棺葬的习俗。     

贵州红营盘墓地铜器技术研究

为研究贵州青铜时代铜器技术特征,本文对红营盘墓地出土的17件铜器进行金相观察和扫描电镜能谱分析,结果表明:春秋晚期至战国早中期,红营盘青铜技术进入相对成熟阶段;铜器材质以锡青铜为主,锡含量较稳定,配比较合理;工艺以热锻及冷加工为主;柳叶形铜剑可能产自红营盘当地。     

宣汉罗家坝墓地再研究

宣汉罗家坝墓地的年代当在战国中期至战国末期。墓葬形制、葬具与葬俗,以及随葬品的器用特征显示,罗家坝当为蜀文化墓地,而非此前公认的巴賨文化墓地。达州宣汉一带在历史时期地理优势突出,战国中期早段M33的突现为《史记》所载蜀伐楚及取南郑的两次军事行动提供了考古学证明。秦灭巴蜀前夕,开明蜀国盛极而衰,无力东顾,罗家坝邑聚因此骤然贫困化。秦灭巴蜀至战国晚期中段,正值秦楚在长江一线的拉锯,罗家坝的军事组织因此得以保留。只是墓地的平民化特征依旧突出,且蜀文化仍然占据主导,反映出秦对巴蜀既笼络又防范的统治政策。白起拔郢,楚国东迁,次年张若又取巫、黔中,罗家坝或因此彻底失去了作为军事驻地的价值,故在战国末期前后已经趋于废弃。罗家坝墓地的案例为从考古学本位出发界定与区分巴、蜀文化提供了突破口。     

The tale of the sword – swords and swordfighters in Bronze Age Europe

In this article it is demonstrated through empirical observation that Bronze Age swords were functional and efficient weapons. Their use in real combat is testified by recurring patterns of blade damage and resharpening. Furthermore, ritual depositions of swords with unrepaired scars on the blade demonstrate the prehistoric roots of the Celtic–Germanic–Greek ritual of sacrificing weapons after a victorious fight.     

单名与双名:汉晋南方人名的变迁及其意义

东汉人名呈现出明显的分层,上层人名是单名,底层人名单名、双名并存。这种情况亦存在于南方的巴蜀、吴越地区。在这种背景下观察,长沙走马楼吴简整齐的单名引人瞩目。楚秦至西汉前期,楚地编户民同样单名、双名并存,且具有显著的俚俗色彩。走马楼吴简整齐单名的形成,应是东汉时期长沙等郡大规模编户化过程中新附人口户籍登录整齐化的结果。东晋以后,受到民间口语习惯和信仰心理的影响,南方上层带有"之"、"道"等虚字的双名逐渐兴起。单名惯例一旦突破,双名命名方式会进一步发展,最显著的是双名的"字化"。在此过程中,一些体现上层理念的双名用字反过来又影响到底层人名。汉晋时期南方人名中单名、双名变化的背后,是华夏文化对南方社会的持续影响。     

成都老官山汉墓出土织机复原研究

成都老官山汉墓出土了四台多综织机模型,提供了古代多综织机的实物证据。它们都采用一样的移动齿梁选综机构,提综机机构却有不同,一台织机用一个旋转踏板提升滑框,滑框再提升多片纹综。另外三台方法相同,用一个旋转踏板提升连杆,连杆再提升多片纹综。通过出土文物的实物对照,分析选综机构和提综机构的机械原理,比较两种提综机构的性能优劣,从而推断滑框式织机可以织造经向纹样循环大的经锦,但操作较费力;曲柄连杆式织机织造的经锦纹样循环虽小,但操作省力。分析过程同时也展示了古人杰出的智慧和创造力。     

山西翼城大河口西周墓地M1034发掘简报

大河口墓地M1034是一座东西向长方形土坑竖穴墓,葬具为一棺一椁,椁下有两根垫木,墓底中部有一腰坑,坑内殉狗一只。墓主头向西,仰身直肢,男性,年龄为18~19岁。随葬品共计691件套,种类有青铜器、陶器、玉器、石器、蚌贝器、骨牙器和漆木器等。其中青铜礼器有鼎3件,簋2件,青铜兵器有戈、矛、剑、镞等,陶器仅有陶鬲1件。墓葬年代为西周中期早段,墓主为霸国中等贵族。     

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.     

A TECHNOLOGICAL EXAMINATION OF NINTH–TENTH CENTURY AD ABBASID BLUE‐AND‐WHITE WARE FROM IRAQ,AND ITS COMPARISON WITH EIGHTH CENTURY AD CHINESE BLUE‐AND‐WHITE SANCAI WARE*

Eight sherds of ninth–tenth century ad Abbaesid blue‐and‐white glazed earthenware, excavated in 1931 at Hira in western Iraq, were analysed using, variously, quantitative wavelength‐dispersive spectrometry (WDS) and energy‐dispersive spectrometry (EDS) in association with scanning electron microscopes (SEM), and semi‐quantitative X‐ray fluorescence spectrometry (XRF). In order to compare the compositions of the cobalt pigments used, the glazes of seven complete vessels of eighth century ad Chinese Tang blue‐and‐white sancai were also analysed semi‐quantitatively using XRF. The Abbasid wares were shown to have used traditional Mesopotamian alkali–lime glazes applied to calcareous clay bodies. Half the glazes examined were opacified with tin oxide. Three types of blue decoration (i.e., raised; spreading; and flat, non‐spreading) were produced using a variety of formulations, including a mixture of cobalt pigment with lead oxide. The sources of the ores used for the cobalt pigments have not been identified. However, the analytical data showed that the cobalt ore used for the Abbasid blue‐and‐white ware could be distinguished from that used for the Tang blue‐and‐white sancai by its higher iron content and by the presence of a significant amount of zinc. The use of cobalt‐blue decoration on the ninth–tenth century ad Abbasid ware was anticipated in China by eighth century ad Tang blue‐and‐white sancai wares. However, whether its introduction by the Abbasid potters should be seen as an independent invention that followed the introduction of tin‐opacified glazes in Iraq, or whether it was influenced in some way by Chinese originals, is still unresolved.     

中国甘肃地区春秋战国时期镀锡青铜板带錾刻纹饰制作技术研究

在传统意义的"丝绸之路"开通之前,中西方文明其实已经接触和交流,这从大量出土文物中得到了印证。中国西北地区是传统丝绸之路的早期孕育之地,因此,研究此地区出土文物以及他们所携带和涵盖的文化因素,对在"一带一路"大背景下促进文物保护与当代社会建设有着重要意义。近年来,在中国西北地区出土一批春秋战国时期刻纹镀锡青铜板带,其板体轻薄,在变化丰富的几何形纹饰之上施以镀锡层,形成银白色表面。为探讨出土镀锡青铜板带纹饰制作技术,本工作利用三维视频显微镜观察三件甘肃天水地区采集镀锡青铜板带表面纹饰后发现,板带表面纹饰由四种饰线组合而成。其中一件具有典型性纹饰板带样品的金相组织显示,板带基体主要为铸态组织,在靠近短直线、长直线、曲线三种饰线下方金相组织显示有明显的加工退火痕迹,而宽凹槽饰线下方的基体为铸态组织。结合扫描电子显微镜(SEM)和能谱仪(EDS)对宽凹槽纹饰表面微痕观察测试后,判定镀锡青铜板带表面短直线、长直线、曲线三种饰线为錾制,錾制工具为V形刃口錾刀,而宽凹槽饰线为刻制,刻制工具则为砣轮。     

ANALYSIS OF NASRID POLYCHROME CARPENTRY AT THE HALL OF THE MEXUAR PALACE,ALHAMBRA COMPLEX (GRANADA,SPAIN), COMBINING MICROSCOPIC,CHROMATOGRAPHIC AND SPECTROSCOPIC METHODS*†

The pigments, binders and execution techniques used by the Nasrids (1238–1492) to polychrome carpentry in the Hall of the Mexuar Palace at the Alhambra (Granada, Spain) were studied using optical microscopy, scanning electron microscopy with EDX analysis, selective staining techniques and gas chromatography – mass spectrometry. This pioneering investigation presents the first results of a research project devoted to filling gaps in the knowledge of Nasrid art, traditionally approached by stylistic studies. Moreover, it is essential for the polychromy conservation of the studied artworks, and will help to clarify historical and painting uncertainties in the Alhambra monument. The palette consists of a limited range of colours: white (lead‐base pigment), red (cinnabar and red lead), blue (lapis lazuli), black (carbon‐based) and false gold (golden tin). Tempera grassa was the painting technique identified. Two types of grounds were used: (i) gypsum in calligraphy decoration for the false gold technique, and (ii) synthetic minium in geometric drawings in carpentry. Organic insulating layers of linseed oil were used between paint strata. Artists applied synthetic minium to protect the wood (Juglans regia and conifer) against attack by xylophages. To lighten the surface darkened by this ground layer, powdered tin was added to achieve a metallic lustre.     

古代纺织品的世界——来自于古代绘画及雕塑品上的彩绘装饰

在众多的遗物中,真正的纺织品在不同范围被保存并且作为考古出土文物被保护。在埃及,中亚和欧洲（北方）地区,由于这些地方有利于有机物的保存因此可以非常频繁发现纺织品。古代（石质）雕塑如希腊瓶饰画或亚洲陶质雕塑都详细的描绘着衣物,往往辅以详细削减和图案表现。与此相比,比较少见的是古代雕塑彩绘装饰上手绘图案或装饰仍然可以认出或保存完好。被保护的纺织技术作为另一种技术用于制作纺织品,将被介绍并与古代以往的绘画和彩绘装饰保护实例作比较。图案与技术的表现将会用于说明并与真正的纺织品发现物的图案与技术作比较,同时与纺织技术的重建相结合。发现物的样品来自于欧洲,地中海东部和中东。这将表明从古代遗物的绘画上区分独立的纺织技术,并且图案也可以用于证实真正的纺织生产工艺的结论。