二十世纪有关纸的考古发现不能否定蔡伦发明造纸术（1）

近几十年来,我国考古工作曾先后在一些西汉遗址和墓葬中发现了若干纸状残片,于是引起国内外许多学和广大人民的关注和提出疑问。是否蔡伦前约二百年就有了纸?造纸术还是不是蔡伦发明的?新发掘的纸状物到底是个什么样?经对历次的发掘作了详细的调查研究和分析化验,结论认为：20世纪有关纸的考古发现不能否定蔡伦发明造纸术。     

现代显微技术在纸质文物鉴定与修复中应用

现代显微技术在纸质文物的研究和修复中,是不可或缺的研究手段,因此应用显微镜对几件纸质文物进行了显微观察和分析。结果获得了纤维表面形态、纸张工艺和纤维特性等信息,同时获取了表面图像、分散纤维图像,纤维长、宽、配比等数据。所获信息对文物鉴定与修复工作有明显的参考意义,说明现代显微技术可以对纸质文物进行分析、鉴别,并为选配修复用纸和断代等提供参考依据。     

文物保护重点科研基地的遴选评估初探

文化遗产保护是我国可持续发展战略的一项重要组成部分,为做好这方面的工作,发挥科学技术对这一领域的支撑和带动作用,国家文物局通过对科研机构的遴选,建立起一批文物保护重点科研基地,搭建开放、共享的创新平台。笔者认为首要的是建立一套科学合理的评估指标体系,通过科学选取评估指标、确定指标权重、采用适当的计算方法,遴选出合适的科研机构,进入到文物保护重点科研基地。     

西周至南北自制玻璃概述

我国玻璃起步较晚,大体始于西周初或先周(殷末),主要是蓝色、浅蓝色或绿色玻璃珠管,与玉、玛瑙配合制成“杂佩”。其时玻璃的主要成分为二氧化硅,并含有少量铅、钡,故称为铅钡玻璃,与西方钠钙玻璃不同而独树一帜。春秋战国时期,西方蜻蜓眼玻璃珠输入我国,从此,以仿羊脂白玉美若明月的“隋侯珠”为代表的自制玻璃与外来玻璃并存。西方(大月氏)吹制玻璃术于汉魏传入我国之后,也出现了自制的空心玻璃器皿。     

How flakes shatter: a critical evaluation of quartz fracture analysis

Despite its worldwide use as a stone tool raw material, quartz is known to be a difficult material for archaeologists. The main reason for this is the tendency of quartz flakes to fragment during detachment, which complicates the use of traditional lithic analyses. In this article we present an experimental study of quartz flake fragmentation. We evaluate the method called fracture analysis that has been developed and used explicitly for the study of quartz assemblages. The method assumes high predictability of quartz flake fragmentation, but our experiments show that there is significant variation in fragmentation that fracture analysis does not take into account. Our results indicate that this variation is partly explained by indenter hardness, the relative thickness of the detached flake, as well as individual knapper-related factors. These results undermine the applicability of quartz fracture analysis in its current form. In addition, we discuss the effects of flake fragmentation on the technological organisation of prehistoric quartz users and suggest that it has affected reduction strategies as well as blank and tool dimensions. We also suggest that there should be mobility-related differences in archaeological assemblages in terms of the quality of the quartz raw material and that the curation of quartz should be low in relation to better quality raw materials used parallel with it.     

Technological traditions inferred from iron artefacts of the Xiongnu Empire in Mongolia

Iron objects excavated from sites of the Xiongnu Empire (3rd century BC–2nd century AD) in Mongolia have been examined using optical and scanning electron microscopy. The results show that the Xiongnu iron tradition may be characterized by the use of low carbon iron and carbon control by carburization. Cast iron was also used in the Xiongnu Empire, but only in very limited applications and with no convincing evidence of its use for the production of low carbon iron. The Xiongnu iron technology seems to have been established on the basis of the bloomery technique, without much influence from the Chinese style of technology, based on cast iron.     

The red-stained flint crescent from Gesher: new insights into PPNA hafting technology

A red-stained flint crescent found in the Pre-Pottery Neolithic A (ca. 9000 BC) site of Gesher, Israel, provides us with a unique opportunity to study the hafting technology of a particular tool type in the Levant. We present here a reconstruction, based on chemical and mineralogical analyses, of the hafting technologies and materials employed in the process. Use will also be made of relevant studies of the archaeological record. Local material was used for the production of an elastic adhesive paste, mud plaster, which was then hardened to hold the crescent securely in the haft. The study contributes insight into the hafting technology that was most probably implemented in the production and maintenance of composite tools during the Early Neolithic period.     

从出土实物和模拟实验看商周青铜器纹饰技术的发展脉络

通过对出土实物的观察和做模拟实验的发现,笔者认为,商周青铜器的纹饰技术伴随其范铸分型技术的进步而不断发展,同时它也引起铭文技术随之变化。商周青铜器纹饰技术具体的发展脉络为:夏代青铜器制模、制范技术不规范,纹饰技术处于摸索阶段。商早期青铜器范铸分型技术已具成熟的工艺设计思想,在素范面压塑纹饰的"纹饰压塑技术"出现;商中期青铜器纹饰技术有了划时代的进步,出现了"纹饰堆塑技术",且与"纹饰压塑技术"兼容并用;商晚期青铜器纹饰技术达到顶峰。西周青铜器范铸分型技术无明显进步,纹饰制作技术显示退化趋势;春秋中期以后,青铜器范铸工艺分型增多,纹饰技术发生改革,发明了单元纹饰范拚兑技术。