19世纪中国外销油画的白色颜料研究——以《上海外滩》油画为例

外销油画(export oil painting)作为中国早期油画遗存,不仅呈现了中国南方沿岸城市的地理风貌和风土民俗,而且蕴藏着中国早期本土油画的制作技艺。本研究采用X射线荧光光谱、扫描电子显微镜-能谱,并结合傅里叶变换显微红外光谱和拉曼光谱调查了一幅19世纪中国外销油画《上海外滩》中所用白色颜料的种类及其使用方法。研究结果表明:该幅清代油画画作底子所使用的白色颜料主要为白垩(CaCO₃)和石英(SiO₂);在颜料层中发现含锌颜料与油性媒介发生化学反应的产物羧酸锌(金属皂)。本研究为中国早期外销油画的材料与技法研究及修复保护提供了参考依据。     

传世纺织品文物除尘方法研究——以湖蓝色缎绣凤纹大卧单为例

传世纺织品文物表面蒙尘、污染是一种较为普遍的病害。除尘成为了传世纺织品文物保护修复过程中极为重要的一环。针对不同状态的文物,如何安全、有效、便捷地进行除尘工作成了本研究的方向。本工作主要研究原陈设于养心殿体顺堂的湖蓝色缎绣凤纹大卧单的除尘方法。首先,对现有传世纺织品文物的物理除尘方法进行归纳,总结为5种类型：吸尘法、擦拭法、震动法、粘附法和凝胶法。其次,对该文物进行全面研究,包括制作工艺、图案样式、病害分析、试验检测等。研究结果为：该文物是双层罩面罩里加四周缝网穗制作,面主要为绒线绣、捻线绣花鸟纹;黄色绣线出现合成染料酸性偶氮染料,推测可能是19世纪末至20世纪初生产;绣线纤维强度较好,绣底局部糟朽,具备一定除尘条件。再次,通过除尘实验对比博物馆专用吸尘器、真空负压液态过滤除尘设备、超细纤维布作用文物的除尘效果。实验结果确定除尘方法为：首先用博物馆专用吸尘器进行第一遍的初步除尘,然后用真空负压液态过滤除尘设备进行第二遍的精细除尘。最后,结合文物织造、刺绣的工艺特点,将文物局部特征分类为：缎底、缎面开裂、压瓣、出边、水路、绒线绣线、加捻绣线、打籽绣,并研究分析针对它们的除尘手法。相比以往...     

石鼓山青铜器铭文铸作工艺初识

石鼓山周墓出土较多青铜器铭文,整理金文资料时观察到铭文形制有别,经过分析注意到其差别是因铸作工艺不同所致。直接刻于范上所铸铭文即一般所说之阳文,属于范刻工艺。而阴文则是刻于模芯翻范后再铸。但晚商及西周早期多在修范时会加工字形,就是在字划贴塑泥条致笔画加粗而轮廓清晰,往往有肥笔现象则属"芯塑"工艺,不加泥条修范的文字笔画僵硬,属于模刻工艺。三类工艺技术的运用,以范刻最早可至中商,且一直可见;芯塑流行于晚商到西周早期;模刻也见于晚商及西周早期但较少,西周中期以后至春秋一直流行。     

Our GIS is too small

GIScience and GISystems have been successful in tackling many geographical problems over the last 30 years. But technologies and associated theory can become limiting if they end up defining how we see the world and what we believe are worthy and tractable research problems. This paper explores some of the limitations currently impacting GISystems and GIScience from the perspective of technology and community, contrasting GIScience with other informatics communities and their practices. It explores several themes: (i) GIScience and the informatics revolution; (ii) the lack of a community‐owned innovation platform for GIScience research; (iii) the computational limitations imposed by desktop computing and the inability to scale up analysis; (iv) the continued failure to support the temporal dimension, and especially dynamic processes and models with feedbacks; (v) the challenge of embracing a wider and more heterogeneous view of geographical representation and analysis; and (vi) the urgent need to foster an active software development community to redress some of these shortcomings. A brief discussion then summarizes the issues and suggests that GIScience needs to work harder as a community to become more relevant to the broader geographic field and meet a bigger set of representation, analysis, and modelling needs.     

明代石拱桥永昌桥的加固修缮技术研究

为明晰明代石拱桥的结构性能,并提出适宜的加固修缮方法,以典型的明代石拱桥永昌桥为例进行研究。首先对其进行精确测绘,获得其准确可靠的几何信息;然后对其建筑形制、构造工艺及残损状况进行研究,为结构性能分析提供依据;接着利用ANSYS软件建立永昌桥主体结构的有限元模型,进行包括荷载影响分析、重要度分析和裂缝分析的结构性能研究;最后基于现状分析和结构性能研究,通过对比拱背套钢筋混凝土拱加固法和拱背粘贴碳纤维布加固法对石拱桥的结构性能的影响,提出了明代石拱桥永昌桥的加固修缮方法。研究成果可为同类型石拱桥的加固修缮提供参考。     

The volcanic millstones from the archaeological site of Morgantina (Sicily): provenance and evolution of the milling techniques in the Mediterranean area*

The Morgantina archaeological area, inhabited from the Early Bronze Age, had its widest expansion from the fifth to the first century bc . The volcanic millstones found at Morgantina fall into three different groups on the basis of the milling technique: (i) saddle querns (known from the Middle–Late Bronze Age and Iron Age); (ii) rectangular hopper‐rubbers (Olynthian) millstones, the invention of which dates to the fifth century bc ; and finally (iii) Morgantina‐type rotary millstones (starting to be used from the fourth to the third century bc ). In order to determine the provenance of the raw materials (lavas) used for all these millstone types, we collected 38 very small rock samples for thin‐section modal mineralogy, petrography and major trace element composition. The results have contributed to classifying different lithotypes and distinguishing between provenance from Etna and the Hyblean Mountains, the two volcanic areas respectively north‐east and south‐east of Morgantina. Saddle querns are made of tholeiitic basaltic andesites from the Hyblean Mountains and transitional basalts, mugearites and hawaiites from Etna. The variety of sources of portable saddle querns, mostly used in households, indicate that there was no general preference for specific quarrying sites. By contrast, the rectangular hopper‐rubber and the Morgantina‐type millstones, which document the period of Morgantina's greatest prosperity, are almost completely made of hawaiites from Etna. The use of a specific lithotype (i.e., Etna hawaiite) for the more efficient rectangular hopper‐rubber and rotary millstones could be linked to the fact that these mills may have been operated in business establishments. It is worth noting that the Gornalunga river was, in antiquity, a waterway joining Morgantina to the final stretch of the Simeto river and then the Ionian coast. The best candidate areas for the millstone hawaiite quarrying sites from Etna are the far south‐western sectors of the volcano, along the Simeto Valley (i.e., the ‘Piano Provenzana’ Formation) or the inner suburb of present‐day Catania (i.e., the ‘Pietracannone’ Formation). The very efficient Morgantina‐type rotary millstones spread during the reign of Hieron II of Syracuse (275–215 bc ) in eastern Sicily and met the need for grinding large quantities of cereals during a relatively peaceful time and a period of agricultural development.     

古建油饰彩画的制作技术分析研究

为了对中国特有的古建油饰彩画制作技术加深了解,促进古建油饰彩画传统工艺科学化,采用X射线衍射仪、X射线荧光光谱仪、扫描电镜、体视显微镜等仪器对采自蒙古博格达汗宫博物馆、北京颐和园、甘肃嘉峪关、山西太符观等古代建筑的油饰彩画样品的制作技术进行了分析研究。结果表明,测试的样品分别采用了一麻五灰、一布四灰、单披灰等多种工艺制作地仗;麻纤维广泛应用于样品纤维层中,仅样品YHY-22使用了棉布;颐和园和博格达汉宫博物馆的样品以砖灰作为地仗无机填料,嘉峪关样品使用了白土粉,而山西古建样品则可能使用当地的土壤。可以得出结论:几个地区古建油饰彩画的制作材料和技术是有所不同的。     

Study on the source of raw material and firing technique of glazed tiles bodies in the Ming Imperial palace site,Nanjing, China

This article considered glazed tiles excavated from the Ming Imperial Palace site in Nanjing as the research object. Glazed tiles were selected and analyzed via vacuum porosimeter, thermal dilation (TD), X-ray diffraction (XRD), and energy dispersive X-ray fluorescence (EDXRF) to determine their physical property, firing temperature, phase composition, and chemical composition, respectively. Results show that the firing temperature of body belongs to the temperature range (of 950–1,100°C), whereas the water absorption and apparent porosity are large. The phase composition of glazed tile bodies is the same (predominantly quartz and mullite). However, some samples contain trace amounts of rutile, hematite, sodalite, and orthoclase. The firing temperature combined with the phase composition indicates that the raw material and firing process of glazed tile body samples have similarities, which embody of the strict and unified management system of the official kiln. The raw materials of glazed tile body in the Ming Imperial Palace site may come from Dangtu glazed kiln, whereas the rest of the samples remains to be explored. This study provides a scientific basis for understanding the evolution of glazed tile-making technology in ancient China, and is important for the protection and repair of glazed buildings in the Ming Dynasty.     

中国古典四大民间故事略论

中国古典四大民间故事乃民族瑰宝,其故事中的女主人翁全都流露出民主意识的萌芽,自由意识的觉醒和对未来世界的探寻。她们既是中华女性的楷模,也是人类女性的偶像。无论是情节、主题、人物、手法,四大民间故事都烙有鲜明、深刻、独特的民族印记。     

西周父盉的铸造技术特征及其保护处理

作者通过X光照相无损检测分析方法,搞清了西周癧父的现状;以及器物与体连接部位和盖内部的结构形貌,并主要介绍了该器物的铸造技术特征和保护处理方法。