The Source of Iron‐Oxide Pigments Used in Pecos River Style Rock Paints

The likely sources of iron‐oxide pigments used in prehistoric rock paintings in the Lower Pecos Archaeological Region were identified on the basis of chemical fingerprinting using LA–ICP–MS. The chemical signatures of 13 red rock paint samples collected from two south‐west Texas sites were compared with three potential source materials (ochre, siltstone and rhyolite), and two pigment cakes (crayons) that were excavated near the sampling sites. The significant chemical similarities between the paint and siltstones suggest that siltstone was used as the source of the colour. The overlapping chemical signatures for one of the pigment cakes and siltstone further suggests that some of the prehistoric people inhabiting the area 3000–4000 years ago had acquired the skills to extract iron oxide from siltstone and process it into paint pigments.     

Uranium-series age estimates for rock art in southwest China

We report the first uranium-series age estimates for rock art in China. Calcite bracketing a paint layer was used to constrain the age of a naturalistic outline hunter-gatherer painting in the Jinsha River area of northwest Yunnan Province (southwest China). The rock paintings in this region are unique in style and content compared with other bodies of rock art in China, which are dominated by Neolithic subject matter. The minimum and maximum ages were determined using isochron techniques on multiple samples of calcite from above and beneath the paint layer. A large painted deer head was dated to between 5738 and 2050 years. This painting and underlying flowstone are superimposed on older paintings that suggest the older paintings are at least 3400 years old, if not older than 5738 years. The results indicate for the first time that Jinsha River rock art is older than other forms of rock art in the region and show that rock art likely extends back to at least the transition from the Palaeolithic to Neolithic in this part of China.     

广西宁明花山岩画颜料胶结材料分析研究

花山岩画是研究我国百越民族古代社会历史的重要资料。岩画颜料中胶结材料分析是判断岩画制作工艺、岩画颜料脱落、褪色原因以及岩画病害治理的重要依据。本工作利用三维视频显微镜和材料显微镜、红外光谱仪、激光拉曼光谱仪、气相色谱质谱仪(GC-MS)等,主要分析了花山岩画颜料胶结物成分。结果表明,岩画颜料胶结材料为植物性粘合剂;颜料样品中含有分布均匀的草酸钙,草酸钙的形成与颜料使用植物性粘合剂有关。     

仙居岩画述论

本文详细介绍了仙居岩画的分布及画面内容,并主要从岩画的刻凿工具、图像特征、民俗学色彩等方面对岩画的制作时代作初步探讨,并从古越先民的农事意识、生活形态、宗教意识等方面对岩画的文化内涵提出了自己的见解。     

广西左江岩画的艺术特征及其价值

左江沿岸保存着许多古代壮族先民骆越人的珍贵化遗产——岩画,左江岩画有她自己的模式、风格、特征,当把这些共同的特征结合起来后,可以形成一个整体的概念。     

岩画断代研究——科技考古学领域中一个亟待解决的问题

探索和研究表明,岩画断代问题仍然是困扰岩画研究的难题之一,其主要原因是岩画本身不能够提供可供断代的直接依据。本文综述了目前岩画断代研究中经常使用的自然科学和考古学方法及其存在的问题,提出应用AMS14C是今后研究我国岩绘画断代问题的首选方法,解决岩刻画的断代问题则主要有赖于微腐蚀方法。     

珂罗版印刷与传统书写墨迹的比较研究

珂罗版印刷是书画文物主要复制方法之一。由于该方法复制书画真迹印刷品仿真程度高,满足了广大书画爱好者研究和收藏的需要,同时给书画真伪识别带来一定的难度。本工作通过视频显微镜、扫描电子显微镜、红外光谱、拉曼光谱等多种检测手段对珂罗版印刷油墨和传统书写墨迹进行研究。结果表明,珂罗版印刷油墨与传统油烟墨和墨汁在形貌、成分方面均存在一定的差异,从而对可疑书画印刷品的鉴别提供了科学依据。     

高光谱成像技术在故宫书画文物保护中的应用

为探讨对故宫书画文物进行整体分析、保护的方法,本研究利用研发的高光谱成像系统,对故宫博物院的部分馆藏书画文物进行分析。分析发现,高光谱成像技术在文字信息增强、隐藏信息提取、底稿线提取、颜料分析等方面有独特的优势。将高光谱成像技术用于书画文物的保护,不仅能够深度了解文物病害程度,为绘画工艺研究提供帮助,更重要的是能够为书画文物的保护修复材料选择和修复效果评估提供参考,使保护修复更加全面和科学化,同时能缩短病害调查和科学分析的时间,加快保护修复工作的进度。     

象数符号与上古岩画中的网格图案初探

运用象数符号概念,从考古学、天文学、古文字学等多维视角对中国上古岩画中的网格图案进行初步探析,可以推测象数符号是文字符号产生之前,上古时代人们记录天文历法知识的特殊符号形式。     

Pigments, dyes, and black enamel—the colorants of reverse paintings on glass

Nondestructive analyses of medieval reverse paintings on glass revealed the same dyes and pigments customarily used in panel paintings. However, there is one exception: the black colorant is not a carbon-based pigment, but black enamel. In this respect, the stylistic as well as the technical influence of stained glass artwork can clearly be seen on reverse paintings on glass. However, there is a crucial difference: in reverse paintings, the black enamel is not fired onto the glass but painted (cold painting). Additional analyses confirmed these findings. Based on these results, the art form “reverse painting on glass” has technically to be characterized as a mixture of “stained glass” and “panel painting” that nonetheless develops into a genre of its own.     

青海民和县寺沟峡岩画调查简报

2019年,丝绸之路南亚廊道调查队在青海省民和县寺沟峡内发现了4幅6组个体102个岩画,并对岩画进行了详细的调查、测绘和数字化扫描。从整个岩面的制作技法来看,有直接磨刻法和敲凿法。岩画主要以抽象图案为主,有少量人像、持物人物、鸟等具象形象。其形象与新石器晚期至青铜时代彩陶图案纹饰相似度较高,与中原地区岩画有着密切关系,为研究官亭盆地早期文化提供了新的突破口。     

广西花山岩画颜料脱落和褪色原因分析

花山岩画是研究我国百越民族古代社会历史最重要、最直接的资料,岩画颜料脱落和褪色是岩画的主要病害。任何文物发生病害既与其制作材料和工艺有关,也与其保存环境因素相关。本工作在花山岩画制作材料和工艺分析研究以及区域环境特点分析的基础上,分析并讨论了岩画颜料脱落及褪色发生的原因。结果表明,岩画颜料层病害主要是受物理风化(温差变化、高湿度与光辐射)、化学风化-溶蚀作用和胶结材料老化引起;颜料褪色是由于岩画颜料表面覆盖泥质薄膜和颜料胶结材料老化导致颜料颗粒脱落致使颜料色彩饱和度降低,岩画颜色变淡变暗。     

金坛戴王府太平天国彩画保护与修复

金坛戴王府属于江苏省级文物保护单位，该遗址内有一建筑上存有大量清代太平天国彩画。因早期建筑失修，彩画保存状态岌岌可危，出现大量病害，主要包括彩画表面酥粉、污渍、开裂、脱落、滋生霉菌等。2014年，针对该建筑内的彩画状况制定了抢救性保护方案，并最终采用整体加固、清洗，局部修复等措施，完成了戴王府彩画的保护与修复工程。经过7年时间，目前彩画保护效果良好，取得了预期目标。此次在戴王府采用的彩画保护技术，可为同类型古建彩画的保护提供一定的借鉴作用。     

Red marals at Satakular in the Alai

The article focuses on a newly discovered petroglyphic site on the Satakular River, Ongudai Region, Altai Republic. Rock art images were found in two areas on the walls of a natural groove running through a huge monolith rock. The images include several pecked representations and two unique red paintings of Siberian deer (marals). The images have parallels in the petroglyphs of the Minusinsk tradition in the middle reaches of the Yenisei River, the Afanasyevo culture at Kalbak-Tash Mount, and the Kuilu rock shelter. An analysis of Kalbak-Tash analogies suggests that the Satakular petroglyphs represent a pair of male and female maral deer. The painted images themselves demonstrate expressed artistic skill and the rock monolith with its unusual groove represents a unique site.     

蒙古国博格达汗宫建筑木构件彩绘工艺及材料分析

本研究应用剖面显微观察和显微红外光谱等分析手段对蒙古国博格达汗宫建筑彩绘的制作材料和工艺特征进行了分析,剖面显微观察显示历次彩绘重彩层次结构;紫外显微剖面观察还发现了彩绘层中施胶的信息。分析结果还显示：博格达汗宫建筑彩绘工艺与中国彩绘传统工艺基本相同。     

基于HSI彩色模型灰度分量的宁夏岩画断代研究初探

岩画是古代先民生产、生活、祭祀等活动的生动记载,是人类文明的史诗,岩画的断代一直是岩画研究的难点,文中提出了一种基于色度、饱和度和灰度(HSI)彩色模型的数字图像处理技术提取岩画灰度值(I)的方法,利用岩画灰度值与岩画作画年代之间的线性可比关系,测定岩画的年代。此方法能提取整个岩画中的灰度值,避免了手工提取有限个点的缺陷。试验结果表明此方法能为岩画的断代提供一种可参考的、简便的、快速的计算机解决方法,但测定年代的准确性依赖于选取的岩画标尺年代的准确性。     

透光摄影在古书画修复与研究中的应用

透光摄影由常规可见光摄影发展而来，是针对中国古书画等能被可见光穿透的文物开发的一项无损摄影检测技术。通过实践发现透光摄影在古书画的修复与研究领域具有多项作用：观察书画命纸、背纸拼接等装裱情况；发现前人加固、补缀等修复痕迹；获取画面底稿内容；强化伤况视觉效果以便于分析文物伤况病害。透光摄影能够提供直观可靠的深层视觉信息，辅助修复人员了解文物内部状态，在古书画的修复与研究中发挥重要作用。     

Suruktakh-Khaya Sanctuary,Yakutia, Revisited: Tentative Results and Prospects

Since the expeditions led by A.A. Savvin in 1939 and by A.P. Okladnikov in 1941, Suruktakh-Khaya, a key rock art site on the Markha River, Yakutia, was only revisited recently in 2011. The paintings at the site, unlike those at most sites on the Middle Lena, are quite satisfactorily preserved, making it possible to conduct additional studies in August 2011 mostly using digital photography.     

曲阜孔庙古建筑彩画颜料成分分析

油饰彩画是木构建筑的重要组成部分,在世界建筑史上占有重要地位.然而,由于制作材料和工艺的局限性以及外界环境因素的影响,油饰彩画通常会出现褪色、脱落等病害.本文运用激光拉曼光谱分析法,对采集于曲阜孔庙四处古建筑上的11个油饰彩画样品进行了分析测试,探讨了彩画的制作材料和工艺,为后期保护修复提供了依据.     

Documenting and Analyzing Rock,Paintings from Torres Strait,NE Australia,with Digital Photography and Computer Image Enhancement

Abstract

The deterioration of rock-art over time is an important concern for indigenous communities, archaeologists, rock-art researchers, and cultural heritage managers. Computer enhancement has emerged as an important tool in viewing poorly visible rock paintings. While most studies regarding this technique explore the methods associated with computer enhancement there is little discussion of the results that can be generated beyond the recovery of images. This article presents results from the application of computer enhancement methods to rock paintings from the Torres Strait region in NE Queensland. The results obtained through the computer enhancement of deteriorated rock paintings are used to reveal degrees of preservation, interregional interaction, and previously undocumented spatial patterning across the strait.