从出土东周带扣看其起源与传播

一、带扣的型式划分及用途分析以往的研究,对带扣进行分型定式主要是依据扣环来分,但是出土的带扣除了扣环有区别外,扣尾也有很大的区别。有的有扣尾,有的没有,有的则不分扣环和扣尾,整个为饰浮雕动物纹的牌状扣身,这就决定了它们的使用方法不     

漆木竹器霉害问题的预防性保护研究

对漆木竹器的霉害问题,应从预防性保护理念出发.坚持文物保护的最小干预和安全性、科学性等原则,从环境、微生物两方面着手,开展防霉材料和环境的研究,尽快摸索出适合馆藏漆木竹器防霉治霉的针对性强、效率高的新方法,最大限度地保护珍贵文物的价值,延长文物的使用寿命.     

Questioning Theory: Is There a Gender of Theory in Archaeology?

This paper raises questions about the practice of theory in anthropological archaeology. Particular attention is given to questions surrounding the gender of theory: what genders are more heralded in the theoretical spotlights and how the subject position of doing theory is gendered. An analysis of the contents of four Readers of Archaeological Theory shows the problematic selection and thus representation of women’s theoretical contributions, including their effective ghettoization in gender and feminist archaeology. Insights from how feminists have been grappling with theory are considered, and archaeologists are urged to confront the ways in which “doing theory” is/is not valued and how it is differentially valued, and to discuss the place and uses of theory more explicitly and critically.     

Maritime Durées: Long-Term Structures in a Coastal Landscape

The interaction between humans and the maritime coastal landscape must be one of the central theoretical questions for maritime archaeology. How should an academic discipline, which is defined by its studies in a certain physical milieu, avoid the trap of environmental determinism and still be able to argue for the special influence of the maritime factor? And how should this long-term relation to the sea be interpreted and described? In this article, based mainly on material from the central Swedish Baltic Sea coast, three examples of long-term structures regarding the relationship between people and the sea are discussed. The structures, here called “maritime durees”, which almost all coastal habitants in the analyzed area seem to have had in common are linked to: exploitation of marine resources, communication over water and the mental presence of the sea. In conclusion the actual meaning of these long-term structures for everyday life and for cultural and social change are discussed in comparison to more short term structures: the changing historical circumstances and possibilities for people to choose different strategies.     

Reflections on Reflexivity

Three realizations about developing an intercultural code of ethics for WAC that may be useful to the next series of discussions.

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Résumé Trois réflexions au sujet d'un développement des valeurs inter-culturelles pour le CMA qui pourront servir aux séries des discussions qui suivent.

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Resumen Tres reflexiones acerca de desarrollar un código de ética intercultural para WAC que pueda ser útil para la próxima serie de discusiones.

     

里耶秦简牍所见郡县订补

《里耶秦简(贰)》新出现一些秦代郡县道,本文从中归纳出4个郡和34个县道,其中城父县属淮阳郡、镡成县属洞庭郡。简牍可见从秦都咸阳发文传送至南阳郡—南郡—洞庭郡,以及文书在内史和郡属各县道及县下乡里之间的传输路线和传送方式。里耶简牍还可以复原秦洞庭郡的全部属县,并可由此推论秦洞庭郡的治所先在新武陵县,后迁往临沅县,时间大约在秦始皇二十九年、三十年间。     

河南灵宝市墙底遗址考古勘探报告

为深入了解灵宝盆地庙底沟二期文化大型遗址的聚落情况,2019年6~7月河南省文物考古研究院等单位对墙底遗址进行了初步勘探。结果表明,该遗址主体是一处庙底沟二期文化大型聚落,面积约70万平方米,是这一时期该区域目前发现规模最大的聚落遗址。该遗址还发现有仰韶文化、二里头文化时期的遗存。     

一件清代髹漆贴金木雕观音菩萨坐像的保护研究和修复

髹漆贴金木雕属岭南地区代表性的传统木雕工艺,此类文物藏品也因此而独具特色。由于一件清代髹漆贴金木雕观音菩萨坐像存在糟朽、开裂、漆皮起翘、脱落等病害,需采取相应的修复措施。为此,在采集漆层、木胎等样品进行X射线荧光能谱、拉曼、红外光谱、切片观察等分析检测的基础上,依据分析检测结果和木雕保存现状制定实施了表面清理、菌虫防治、裂缝和残缺部位修复补全、脱落漆皮回软回贴、髹漆贴金仿卉处理等技术措施。保护处理后的木雕文物器形完整,色泽协调,形态和性质稳定,达到了预期的效果。上述分析检测手段和保护修复技术对同类文物的保护工作有借鉴作用。     

Analyses of Early Medieval Stained Window Glass From the Monastery of Baume‐Les‐Messieurs (Jura,France)

The collection of early medieval window glass found in the abbey of Baume‐les‐Messieurs (Jura, France) is exceptional because it dates to the end of the eighth century, and due to the number of fragments as well as their state of conservation. Different colours and forms have been identified. These pieces are a rare opportunity to address the glass craft, its recipes and techniques for a phase of its history that has remained little known. Analyses in PIXE–PIGE prove that, in addition to fragments from two soda glass items, the pieces are made from wood‐ash glass. Most of them probably came from the same production and the raw material is present in the region. At this early stage of wood‐ash glass production, the glassmakers had mastered the glass as well as the colour processes.