广东罗定古冶铁炉遗址调查简报

广东产铁的历史,据文献记载晚于中原地区。西汉初年,广东使用的铁还从中原地区输入。唐宋时期,广东产铁渐多,然终不能与江苏、浙江、山东、湖北、河南等地区相比。明洪武六年(1373年)置十三处铁冶所,此时广东之铁始以质佳著称。清人屈大     

《唐宋时期“江南西道”研究》评介

正"江南西道"是唐开元年间所设立的十五道之一,包括今天的湖南、江西两省全境,以及贵州的东部、安徽南部和广东北部一小块局部区域,地处长江流域中游,拥有湘水、澧水、赣水等多条长江支流水系,是唐宋时期全国的财赋重地。刘新光《唐宋时期"江南西道"研究》(中国社会科学出版社,2016年)把唐十五道之一的"江南西道"作为一个完整的区域实体,横跨唐宋长时段,围绕着自然环境、政区沿革、社会经济、交通运输、地缘形势多个维度进行深度剖析,是唐宋江南西道区域研     

明清时期西南地区城镇分布的地理演变

明清时期西南地区城镇分布的地理演变蓝勇关于唐宋时期酉南地区城镇的地理格局演变问题我已在《唐宋时期西南地区城镇分布演变研究》一文中作了探索①。唐宋时期是西南地区城镇发展的一个重要的转折时期,那么在唐宋以后西南地区城镇分布和发展出现了什么变化呢？这便是本...     

浅谈耀州窑唐宋时期的窑炉

耀州窑是我国古代北方地区著名的青瓷窑.它位于陕西铜川的黄堡镇.早在唐宋时期就享有盛名,特别是在北宋中期青瓷烧造技术达到顶峰,形成了一整套科学完备的生产序列.耀州窑遗址经过长期的考古发掘,现己发掘出唐宋时期的窑炉近百座.从这些科学发掘的资料我们可以窥视唐宋时期窑炉发展的序列及其相异之处.本文拟以耀州窑博物馆一号保护大厅唐宋窑炉,谈谈耀州窑唐宋时期窑炉的形制及其发展轨迹.     

唐宋时期落第士人群体研究

正《唐宋时期落第士人群体研究》是笔者主持承担的国家社会科学基金项目,目前已进入收尾阶段,在此将项目情况介绍给学界,以期能够得到专家学者的批评指正和对学界有所裨益。(1)对唐宋落第士人的整体性研究:博士论文《唐宋时期落第士人研究》和硕士论文《宋代落第士人初探》,对唐宋时期落第士人群体进行梳理,主要侧重落第士人生存状况及该群体本身存在的问题,这是对唐宋时期落第士人群体问题的初步探索,在制度层面、     

唐型文化和宋型文化的区别——以唐宋文人及其诗词创作为例

唐、宋时期是举世公认的中国文化发展史上的两座高峰,同时也是后人研究的热点。笔者选择从唐宋诗词中把握时代特色以及文人的文化性格,从唐宋型文化的概念出发,以唐宋时期不同的社会生活为视角,比较唐宋时代的经济、政治、文化以及在文学创作上的不同。     

广东佛山石湾窑的形成、发展及繁盛成因探析

广东佛山石湾窑是我国著名民窑,形成于唐宋,繁荣于明清,至今仍流传使用.其历代产品以种类丰富、光润绚丽为特点,明清后善仿名窑产品.它的形成发展与宋元时期北方人口大量南迁,商品经济的活跃和对外贸易的发展等具有密不可分的联系,并开创了独特的民窑风格.     

从出土的陶瓷看唐宋时期中国与马来西亚的关系

伴随着海上丝绸之路的发展,中马两国的陶瓷贸易也不断加深。以马来西亚出土的中国唐宋时期陶瓷为着眼点,来探讨唐宋时期中国与马来西亚关系及其意义。     

唐宋贡茶之比较研究

唐宋时期,是我国茶叶制造、品赏、发展的重要时期,正所谓:"茶始于唐而兴于宋",而贡茶是茶研究的一个重要组成部分,其独特性不容忽视。由于唐宋贡茶既有共同之处,又各具特点,故对唐宋贡茶从朝代上的纵向和产地及变化成因、品种、影响、文化等横向方面的比较研究,有助于对这一特殊时期贡茶重点方面进行全面的把握和了解,从而使得针对唐宋贡茶的区别和联系更容易理解和认知。     

成都西郊西窑村唐宋墓葬发掘简报

西窑村14座唐宋砖室墓、墓葬类型多样、器物种类丰富,为研究唐宋时期成都地区的社会面貌提供了新的资料。     

Early development of Jingdezhen ceramic glazes

Major types of ceramics produced in the history of Jingdezhen, from the Tang green glaze stoneware, through the Five Dynasties white ware, the Song dynasty bluish-white ware to the Yuan and Ming dynasties blue-and-white ware were analysed for their glaze chemistries to reveal, chemically, how the glazes of different periods in Jingdezhen evolved. Possible early period glaze recipes are proposed. Important events in the course of the technological development of Jingdezhen ceramic, such as the first use of limestone as a glaze flux, and how they may have impacted the way Jingdezhen ceramic technology advanced, are discussed.     

后李文化的分期年代与地方类型

后李文化是一支以形态多样的圜底釜为典型陶器的考古学文化,可分为三期四段,绝对年代约为距今8500-7000年.目前可划分出三个地方类型,即月庄类型、小荆山类型和前埠下类型,分别位于泰沂山系北侧的西部、中部和东部.鲁中南地区可能存在后李文化的另一个地方类型,其与月庄类型和前埠下类型的关系可能更为密切.在距今约7000年前...     

Microstructural analysis of the color-generating mechanism in Ru ware,modern copies and its differentiation with Jun ware

Ru ware and Jun ware belong to the five most famous porcelains of the Song dynasty (AD 960–AD 1276), China. Their relationship is one of the focuses of research in ancient ceramic circle. In this article, some shards of Ru ware, its modern copies and Jun ware were analyzed by using SEM, UV–VIS spectrometer. Under SEM, Ru ware has different micromorphological structure to Jun ware, and Ru modern copies are more similar to Jun ware. These differences could explain the reflectance spectrum difference between Ru modern copies, Jun ware and Ru ware. So the UV–VIS method has the potential to answer Ru–Jun confusion problem and be a reference in nondestructive authentication of Ru ware. Special optical phenomena may illuminate that the glaze color of Ru ware is the combined result of physical and chemical effects. However, more determinate conclusions need more samples.     

北宋海外贸易陶瓷之考察

北宋是海外陶瓷贸易相对平缓的一段时期,但贸易活动并未中断。北宋早中期,贸易陶瓷在五代宋初基础上渐进发展,越窑青釉瓷和景德镇窑青白釉瓷构成了稳定组合。北宋中期晚段是贸易陶瓷的转变期,闽广地区以外销为主的窑场迅速兴起并占据了海外市场的主体。其中广州、潮州、泉州窑场主要面向东南亚及西印度洋地区,福州窑场主要面向日本。北宋末期,闽南、广西窑场青白釉瓷繁盛,龙泉窑青釉瓷崛起,潮州、漳州产品亦见于日本。此时,东西方贸易陶瓷品类组合都趋于复杂化。     

略谈宋元时期山东地区瓷器手工业的磁州窑因素

磁州窑系是宋元时期北方地区最大的民窑体系。本文从山东地区发现的磁州窑系瓷器入手,分析了山东地区磁州窑输入瓷器的分期特点,以及磁州窑对于山东地区制瓷工业的影响,并探讨了发生这种影响的原因。     

龙邱庄文化的北上与大汶口文化的形成

大汶口文化是在北辛文化的基础上,接受江淮地区龙邱庄文化北上的强烈影响而形成,形成后又与江淮、江浙地区文化不断交流,加上仰韶文化同时向两地施加影响,从而使得海岱和江淮、江浙地区的文化面貌越来越近似,逐渐在东部沿海地区形成鼎豆壶杯鬶(盉)文化系统。从这个角度看,当年提出青莲岗文化自有其合理的一面。     

“磁州窑类型”几种瓷器的年代与产地

本文以剔花、绞胎、黑釉跳刀刻花、红绿彩和孔雀蓝釉等“磁州窑类型”几种瓷器为对象,在以往研究的基础上,通过有关遗物和考古资料——特别是一些重要新发现,对这几个品种的年代与产地作进一步“细化”,从而提出一些新见解。     

20世纪上半叶龙泉瓷业生产形态

20世纪上半叶,龙泉的制瓷业虽几近颓废,但仍变换产品谋求生存,终使传统行业得以延续和传承。本文以详实的调查材料,从作坊的基本模式、生产经营、行规习俗及瓷业组织等方面考察了20世纪上半叶龙泉瓷业的生产形态。     

Black-on-red ware in the levant: A neutron activation analysis study

Black-on-red ware was widely used throughout the Eastern Mediterranean between about the 11th and 8th centuries BC. Its origins have been much discussed: its ubiquitous appearance throughout the region could be a result of either several manufacturing regions or a single place of manufacture associated with considerable trading in the ware.In the present study, neutron activation analysis has been carried out for 15 chemical elements in 58 specimens of black-on-red ware from Cyprus (11), Syria (26) and Palestine (21). The analytical results clearly separate the ware into three major groups, corresponding to origins in Palestine, Syria and Cyprus. The hypothesis of a single source of the ware is therefore not tenable. All 14 of the Syrian finds of the single-handled neck ridge juglet are closely grouped with the Cyprus samples, indicating extensive trade in this vessel from Cyprus to Syria. The Palestine samples clearly separate into two sub-groups. Arguments are presented suggesting that this indicates the ware from the two sub-groups was made at different times. The Cyprus group provides tentative evidence of several sites of manufacture on the island.     

A Study of the Techniques Used to Make Laohudong Guan Ware in China in the Southern Song Dynasty

Through a combination of analysis and synthesis of Laohudong Guan ware shards from Hangzhou City in southern China, some new hypotheses concerning Guan ware manufacture can be proposed. These suggest that the complex microstructures seen in Guan ware glazes, and which contribute significantly to their jade‐like qualities, may owe much to layers of fine bubbles trapped during the glazing process. It is also proposed that the multi‐layer glazing methods used at the Guan ware kilns at Hangzhou may have helped initially to disguise the relatively coarse and ferruginous clays used for Guan ware manufacture. Once established, the layered glazing technique was used for its own sake—eventually yielding wares that could comprise more glaze than clay. Raw materials and firing temperatures were also explored for this study, and these suggest the use of porcelain‐stone/wood ash mixtures for glaze‐making, with 20–30% calcareous wood ash being the usual amounts. The average heat‐work for the glaze firing seems to have been equivalent to Orton Cone 7, giving a typical finishing temperature of ～1215°C. A single biscuit firing and a single glaze firing seem likely for most Laohudong Guan wares. Studies of the losses that occur in the preparation of calcareous wood ashes suggest that very large quantities of botanic material must have been burned to provide ash for glaze‐making at the Laohudong kiln. From the environmental perspective, a combination of thick glazes and heavy wood‐ash usage would have placed great demands on local fuel supplies.