麦积山石窟陶质化彩塑及其相关问题——麦积山石窟塑像壁画制作工艺研究之二

麦积山石窟保存了大量的从后秦到明清时期的雕塑艺术品,通过近期的系统调查,发现除了普通的泥塑工艺以外,还普遍地存在着一种泥塑烘烤工艺,使泥质塑像的表面不同程度地存在着陶质化的现象,这对于古代塑像的工艺研究、文物保护等方面都有重要的意义。     

试论古代铜镜镜面凸起的成因及其相关问题

通过对古代青铜镜的复制研究发现,古代铜镜镜面凸起的原因,是与镜背的镜钮、浮雕及镜缘等的大小及厚度有关。战国镜的镜钮既小又薄,其镜缘都是横截面较小的镜缘,可直接磨成平面,不致出现铸造缺陷。东汉至六朝之间,其镜钮都较大,为使磨制出的镜面没有铸造缺陷,须将镜面中心少磨削、外围多磨削。这样磨削加工的结果,就形成了镜面凸起。     

考尔雅典女神，雅典卫城682——尊希腊古典晚期雕塑的重建工作

在15世纪的意大利,人们发现了大量的古代雕塑遗存,基本上都是大理石雕塑残片。出于对大理石的迷恋、对雕刻工艺的欣赏、对人体雕塑生动表现的着迷,当时的贵族热衷于收集这些残片并试图拼对与重建这些残破的雕塑。但是几乎没有发现任何颜色的残存,他们甚至不会去探究彩绘他们更赞赏大理石洁白无瑕的表面。19世纪早期,建筑学家们考察了西西里一些古代庙宇的彩绘残存,随后有关一些著名希腊神庙（如帕台农神庙）彩绘的重构工作在全欧洲引发了热烈的讨论。但是对于这些雕塑涂施彩绘的强烈质疑声一直持续到十九世纪八十年代,直到雅典卫城发掘工作的开展才证实了古代大理石雕塑彩绘的事实。出土时,很多破碎的雕塑残片上都残存有鲜亮的彩绘,但通常在出土几个小时后就由于干燥而剥落了,只有依稀的彩绘痕迹残存,以及工作人员的描述和水彩模画。今天,翻开现代有关古代雕塑的书籍,你会发现大量彩色照片,但总是显现白色大理石表面。有关雕塑的工艺、功能和历史发展的意义的讨论已经很多了,但是很难得到一个完整的古代雕塑彩绘的例子。不仅仅是雅典卫城的雕塑曾经涂饰彩绘,经过重建工作这一时期有大量彩绘的例子。本次工作即是采用古代颜料与模具,尽可能完整的重建了一尊古代雕塑。     

Paros,Report II: The 1973 Campaign

Abstract

Paros is one of the most important islands of the Aegean sea, known best because of its white translucent marble. The island developed a very important school of sculpture from the Archaic to Roman times. An investigation of the island started in 1969, with the support of the Greek Archaeological Service, is centered on the ancient capital of Paros, which survives in the ruins of its ancient walls and an Archaic Ionic temple, and in the northern part of the island, where recent surveys and excavations have brought to light a significant number of sites, some of which go back to the Bronze and the Dark Ages of Greece.     

陕北马头山道教真身（肉身）泥塑像搬迁及保护研究

陕西马头山道教真身泥塑造像是以其身体为主,加入麦秸作局部支撑,裹布上泥而成,十分脆弱,急需搬迁和保护。为此,采用环十二烷预加固、贴布紧固及其底边托换等技术对真身造像进行了临时加固,圆满地完成了搬迁,并开展了展示性保护修复工作。本工作成果对高危造像的保护修复与搬迁具有借鉴作用。     

一尊天梯山石窟彩塑的修复保护

天梯山石窟即凉州石窟,在我国佛教史上具有相当重要的价值和地位。针对物的残损、腐蚀与损害状况,对其中的一尊彩塑进行抢救性修复保护。此次修复工作除使用传统的方法外,对这些方法工艺进行了改进与创新。首先对彩塑腰部断裂处缝隙采取“边缘注水复原法”处理,后采用“泥层分步填充法”对断裂部位实施加固,再对细小裂缝进行灌浆修复;掺入聚醋酸乙烯乳液、糯米汁作为胶结剂,并选用5％Paraloid B72对未处理残损部位表面采取渗透加固及封护保护,此方法可用于其它泥质物修复。     

Using the Concept of Ethnicity in Defining Philistine Identity in the Iron Age

ABSTRACT

Normally the discussion about Philistine identity vis-à-vis Isra-elite identity moves on a macro basis: On one side the Philistines, and on the other the Israelites. Little attention has been paid to the related concept of “scale and social organization.” If we try to find a background for the macro definitions: Israelites, Philistines, we move on an imaginary level. It is a kind of literary concept nourished among the elite—never more than a few percent of any ancient society. The realities of ancient Palestine in the Iron Age were different. First of all nationality was an unknown concept, and any idea of ethnicity related to the issue of nationality (as in Avraham Faust's recent book on Israelite origins) is irrelevant. Second, there were, as argued by, among others Mario Liverani, no national borders in Antiquity. Borders were fiscal delimitations: Who paid tax to whom? Third, ethnicity follows the group, and a certain person may change identity as he moves through differ-ent groups. In a society of such small extent as ancient Palestine, each villager would have an identity defined by his village as against the members of the neighboring community—ethnicity cannot be separated from identity—and villagers living in one area will have a distinct consciousness of being differ-ent from those who live “on the other side of the river.” “National” identity, when the idea of ethnicity includes all people living within the fiscal borders of an ancient state, would hardly ever be called upon, except when the elite wanted to defend its privileges—its right to obtain taxes—against intruders. Thus the concept of a Philistine—Israelite controversy based on different ide-as about ethnicity is no more than a projection of modern ideas about the na-tional state which came into being two hundred years ago.     

The rarest blue: An exceptional find of lapis lazuli in the polychromy of a funerary portrait from ancient Palmyra

The current interdisciplinary study of a funerary portrait has provided the first identification of a blue pigment on Palmyrene sculpture. The exceptional attestation of lapis lazuli on the examined portrait confirms the use of this highly valuable semiprecious stone in ancient polychromy, which was previously thought to be a later addition to the painter's palette. Considering that the archaeological record contains numerous minor objects carved from lapis lazuli, there are astonishingly few known instances of its use as a pigment. This Palmyrene discovery is only the third known example from Antiquity.     

巴中石窟龛窟形制及相关内容

巴中石窟分为隋、初唐,盛唐,中晚唐,宋至民国四个时期.巴中石窟的龛窟多为双重龛,外龛呈长方形,内龛有素面圆拱形龛、带纹饰龛楣的圆拱龛、佛帐龛三种形式.外方、内二重檐的佛帐龛存在于巴中石窟各个时期.盛唐时期巴中石窟精美的佛帐形窟龛与精湛造像相结合,形成了巴中石窟独有的艺术风格,被专家学者誉为——“巴中样式”.     

计算机断层扫描技术(XCT)在子仲姜盘制作工艺研究中的应用

子仲姜盘内现有12只圆雕水生动物不能从盘中拔出,但都能在原地作360°旋转,在青铜器制作技术上堪称一绝。为了揭示其独特的制作工艺,运用计算机断层扫描技术(X-CT)分析了子仲姜盘的圆雕水生动物、攀龙、虎足及附耳与盘体的连接方式和内部结构。结果显示:圆雕水生动物内部都相应地配有一个转轴与盘体铸接。轴分为两种结构:一种是带有柱帽的圆柱体转轴;另一种是下半部分圆柱体,中间设有直径较大的圆盘,上半部分是圆锥体的转轴,在水生动物脊背上设有与圆锥体相对应的卯口;攀龙与虎足都自带多个"铸接销",与盘体构成隐蔽、牢固的铸接结构;附耳实心,与盘体浑铸。通过对子仲姜盘的X-CT检测,充分揭示了中国古代工匠在继承先人高超的陶范技术基础上,又有创新性应用。其理念是在设计中以美观为前提,呈现复杂而和谐的外观,而在制作技术上则以实用、简便为主,体现了合理性与巧妙性。运用X-CT检测技术对子仲姜盘内部复杂结构的精确呈现,表明该技术在古代青铜器工艺研究中的广泛应用前景。     

Bringing gender and spatial theory to life at a German technical university

This article focuses on the use of a university sculpture garden, the renaming of streets, and advice about the use of public space in order to teach the intersection of gender theory with spatial theory. This article outlines methods for teaching gender and spatial theory to international and multidisciplinary bachelor’s and master’s students in English at a German technical university. Most of the students had not learned gender or spatial theory prior to the course. A review of the course syllabus is included, and interactive teaching methods are outlined for the writings of three scholars: Elizabeth Grosz, Henri Lefebvre, and Dolores Hayden. Three intertwined aspects of campus life: its student life, its architecture, and its outdoor sculpture are brought into conversation with those theorists. Students learn the history of their campus buildings, outdoor spaces and artwork, along with how university spaces, place naming, and storytelling all affect their educational and individual experiences. By interacting with and analyzing examples of campus architecture, urban space, and outdoor sculpture, students discover how spatial and gender theories function in everyday life. However, students were more convinced that living gendered interactions affected everyday life, and less convinced that static gender representations such as the sculpture garden or street naming impacted gender ideas and perceptions.     

The Pictish Mirror Symbol and archaeological evidence for mirrors in Scotland

The archaeological evidence for mirrors in Iron Age, Roman and Early Historic Scotland is examined and compared with the depiction of Mirror Symbols on Pictish sculpture. Bar-, shaped- and triangular-handled mirrors which occur in the archaeological record are all represented on Pictish sculpture, and other types of mirror unknown archaeologically from Scotland also occur on Pictish sculpture. The Pictish Mirror symbol, either alone or in conjunction with the Comb symbol, is usually thought to have acted as a qualifier for other pairs of symbols and to be feminine; but the evidence does not support this and it probably acted as a status qualifier for particular individuals rather than for other symbols, and may be linked to royalty.     

The “Guerriero di Castiglione”: reconstructing missing elements with integrated non-destructive 3D modelling techniques

Accurately measuring an artefact of historical significance generally results in being able to extract information which is useful for evaluating what remains of the materials from a distant time. This allows scholars arrive at an exhaustive historical reading of the same artefact.Compared to the traditional measuring techniques, which can often be imprecise and complicated, 3D laser scanners measure the morphological characteristics of an artefact with extreme accuracy. Despite this, it is not always possible to choose the most appropriate sensors due to the geometric peculiarities, or indeed, the size of the object.The present work deals with two non-destructive analyses of an ancient stone sculpture, which for its morphology and size was scarcely compatible with the technical characteristics of either of the scanners used. Both scanners operate on the same technical principal, but are quite different from each other in terms of scale and precision. For these reasons, a complex 3D model (extremely appropriate given the original artefact) was draw out through a synergy of the two techniques.The virtual particularities of the model allowed it to be manipulated with the appropriate software. In fact, on the basis of qualitative parameters devised by researchers, it proved possible to reproduce the artefact’s geometric form, both virtually and in the form of physical models, obtained through non-conventional restoration methods (R.P. techniques).It has also been possible to verify the state of degradation of the surface of the stone caused by the traditional methods of applying cataloguing or storage information to it.Finally, the results achieved provide opportunities for further research on certain geometrical characteristics of the stone which, as highlighted by the elaboration on the virtual model, seem to be traceable to non-manual, perhaps mechanical, processes. Therefore, the historical considerations which derive from this fact call certain scholars into play.     

城市雕塑景观象征意义对城市新区居民地方依恋的影响——以鄂尔多斯康巴什为例

城市雕塑景观作为最重要的城市文化景观之一,研究其象征意义对城市新区居民地方依恋的影响具有重要意义。本文运用结构方程模型,以鄂尔多斯康巴什为案例进行实证研究。研究发现:①城市雕塑景观象征意义可分为地方文化、政治意义以及情感意义三个维度;②城市新区居民地方依恋可分为地方依赖与地方认同两个维度且地方依赖大于地方认同;③城市雕塑景观象征意义会影响居民对城市新区地方依赖,进而影响地方认同;另外象征意义也会直接对地方认同产生影响;同时城市雕塑景观象征意义三个维度两两之间存在着较强的相关关系。     

Pietro Pomponazzi and the Rôle of Nature in Oracular Divination

Since the early decades of the sixteenth century, Pomponazzi has been a name to conjure with: to some, the first of the modern atheists; to others, a hero of the new philosophy. But how much direct influence did his work have? This question is explored in terms of the way in which oracular divination is treated. In the sixteenth century, the range of conceptual categories available to explain such phenomena was threefold: natural, supernatural or simply unreal. In some cases, such as those of demonic possession, the person was able to be examined directly. But the same conceptual triad was also applied to another kind of case, one whose subject could not be examined, since she had long been consigned to history – the Pythia or priestess of the ancient Delphic oracle, who had famously foamed and babbled during her prophetic frenzy. For some writers on divination, this subject was of particular interest, since it had been explicitly discussed by ancient sources: whether the Pythia's ravings were real or invented, natural or supernatural, could be analysed with categories borrowed from Cicero, Plutarch and, above all, Aristotle. Within the sixteenth‐century territory disputes over Aristotle's corpus, the pagan oracles, represented above all by the Pythia, offered a test case for the broader problem of the place of divination within the natural world. The central antagonist in this tussle was Pietro Pomponazzi, whose treatment of the ancient oracles, although brief, played an important part in his radical interpretation of Aristotle. For many of his contemporary readers, it was this subject, with its specific historical dimension, that highlighted the faults in his positions on nature and divination.     

Special Studies: The Pre-Chavín Stone Sculpture of Casma and Pacopampa

Abstract

In a recent article, “Early Carving From Pampa de las Llamas-Moxeke, Casma Valley, Peru,” Thomas Pozorski and Shelia Pozorski (Journal of Field Archaeology 15 [1988] 114–119) describe an important stone sculpture discovered in their 1987 excavations of Huaca A at Pampa de las Llamas-Moxeke, Casma Valley, Peru. They argued that it was the oldest securely-dated sculpture in Peru based on a radiocarbon date of 1565 b.c. (unrecalibrated), and deemed it unique on the basis of comparisons with the corpus of early stone sculptures from Peru. The dual purpose of this short contribution is to: 1) suggest that on the basis of radiocarbon measurements available it cannot be demonstrated that the Huaca A sculpture is older than the hundreds of stone sculptures from Cerro Sechin in Casma; and 2) draw attention to some intriguing similarities between the Huaca A sculpture and a stone carving from Pacopampa in the Chotano Valley of the Peruvian highlands. These two points highlight the inadequacy of our understanding of the origins of stone sculpture in Peru.     

Social Boundaries and Networks in the Diffusion of Innovations: a Short Introduction

This short introduction briefly recalls how sociological theories and formal methods for social networks can help to interpret diffusion processes of ancient cultural traits. It also provides a presentation of the selected papers. These papers focus not on the ways archaeological data can be represented in a relational format, but on the potential of specific sociological network-related models to gain insights into the underlying mechanisms of diffusion processes. The necessity to develop more fine-grained information to reconstruct ancient local social networks is underlined while three aspects of the diffusion process are explored: (a) situations in which cultural practices are not borrowed in spite of contact between groups; (b) situations in which cultural practices are adopted; and (c) situations in which cultural practices in one group are copied by people from another group. All of them take inspiration from sociological studies of diffusion processes through networks, although to different extents.     

Les Ombres Portées et la Renaissance. Un Trait Culturel Peut-Il Revivre ?

The history of art reveals that painters have rarely tried to depict projected shadows. They appeared in the art of ancient Greece, in Greco-roman art, and then disappeared until the 15(th) century. None can be found in Asian art or any other non European art. Yet to date, no scholar has reflected on this troubled history, one that provides a specific link between the Renaissance and classical antiquity. This paper seeks to fill this gap by studying projected shadows as "cultural markers" with a specific history.     

Whose Heritage? The Problem of Shobdon Arches

Abstract

The parish church of St John the Evangelist at Shobdon (Herefordshire) was built by Oliver de Merlimond around 1130, and represents the earliest appearance of the Herefordshire School of sculpture; one of the most important and dramatic schools of sculpture in 12th-century England. In 1752 the Romanesque building was pulled down and replaced with a new church in the fashionable Gothick style associated with Horace Walpole's Strawberry Hill, and the richly carved doorways and chancel arch of the old church were salvaged and incorporated into a striking folly on a nearby hill. Over the last 250 years the actions of weather and vandals have taken their toll on the folly, so that some sculpture is lost and much of it is practically unreadable. As a romantic ruin, however, it grows ever more attractive. In this paper I will introduce some of the issues involved in conserving this conflicted structure.     

APPLICATIONS OF PETROGRAPHY AND ELECTRON MICROPROBE ANALYSIS TO THE STUDY OF INDIAN STONE SCULPTURE*

Examples of research on ancient Indian stone artefacts utilizing petrographic examination coupled with qualitative and quantitative electron beam microprobe analysis of specific minerals are described. Types of artefacts discussed include Gandharan schist sculptures. Pala dynasty phyllite and schist objects from eastern India, Hoysala sculptures from Karnataka state (southern India), and sandstone objects from northern India. In spite of the rich history of stone sculpture in the Indian subcontinent, characterization studies to date have been limited in scope, typically involving unprovenanced artefacts. The examples described point to areas in which more extensive research could produce useful information for the provenancing of artefacts.