云南大理黄矿厂遗址银铅冶炼技术研究

云南大理黄矿厂遗址是一处明清时期大型银铅生产遗址。在以往研究中,已有学者对该遗址的开采年代、银课总额进行了梳理,但在冶炼技术复原方面还需进一步的研究。本研究通过分析黄矿厂遗址四个地点冶炼的炉渣,对黄矿厂遗址银铅冶炼技术进行了重建。研究结果显示,黄矿厂遗址各地点炉渣可依据其形态特征、主微量元素、稀土元素配分曲线以及铅同位素比值的差异分为A、B、C、D四类。A、B、C类炉渣使用焙烧还原熔炼法,D类炉渣则使用铁还原沉淀熔炼法进行冶炼。铅同位素测试结果显示B、C类炉渣所用矿石的铅同位素特征近似,D类炉渣则具有明显偏高的铅同位素比值。稀土元素的分析结果显示B类炉渣的δEu呈负异常,而其他三类均为轻微正异常。A类炉渣中一件含有高放铅,其余为与B、C类近似的普通铅,微量元素含量较为离散,分布范围远大于其他各类,显示了较为多元的银铅矿物来源。综上,黄矿厂遗址工匠可能使用了多种不同工艺进行冶炼,所用铅矿物可能来自多个不同矿床,显示该遗址在较长的生产周期中发生了多次生产技术与资源的变迁。     

山西太原纯阳宫所藏明代一尊星宿彩塑颜料分析

利用现代科技分析手段提取古代彩塑信息并与文献结合,可以推断其工艺、材料和制作时间,进而确定其历史价值、科学价值和艺术价值,为艺术史研究和保护修复提供信息与帮助。因此,本工作利用三维视频显微镜(3D Video Microscope)、偏光显微镜(PLM)、拉曼光谱(Raman)、扫描电子显微镜与能谱仪(SEMEDX)、X-射线衍射仪(XRD)和大腔体微束X-射线荧光光谱仪(XRF)等分析了山西太原纯阳宫所藏一尊明代道教星宿彩塑脱落样品,发现彩塑经过多次重绘。其中星宿足部经过四次重绘,从胎体至表面层使用的黑色颜料为炭黑(C),绿色颜料为氯铜矿(CuCl_2·3Cu(OH)_2),白色颜料为铅白(PbCO_3),褐红色颜料为靛青(C_6H_(10)N_2O_2)与黄丹(PbO)的混合物。彩塑头部经过两次重绘,分别使用了群青(Na_(6-8)Al_6Si_6O_(24)(S_(2-4))和靛青。彩塑躯干部位表层红色颜料为朱砂(HgS)和铅丹(Pb_3O_4)的混合物,黄色颜料为铅铬黄(PbCrO_4),蓝色颜料为群青,绿色颜料为铅铬黄(PbCrO_4)与群青的混合物。彩塑白粉层成分为石英(SiO_2)与高岭土(Al_2Si_2O_7·2H_2O)的混合物。分析结果表明,此尊星宿彩塑在过去的数百年间曾经多次重绘或修葺,根据不同白粉层成分组成相近判断,保存该彩塑群的寺观有将高岭土作为白粉层的传统。研究结果可为保护材料和修复技术的选择提供信息和依据。     

云象、望气、矿藏:“金马碧鸡”传说的生成过程

"金马碧鸡"是我国西南地区重要的地方传说。关于"金马碧鸡"传说的由来,以往研究者提出的自然现象说、矿产说虽有合理之处,但忽略了地理环境和西汉社会动因对该传说的塑造作用,未能解析这一传说的形成轨迹。笔者从多维贯通的视角出发,研究认为:云南大姚一带山区的云象奇观和丰富的铜、碧矿藏资源是该传说生成的基础,在西汉"崇祥重祀"的社会背景下,望气之术则成为贯通二者的思想纽带,并将之解释为一种"金碧其质、鸡马其形",代表金玉之气的祥瑞吉兆。     

山东临淄山王村俑坑出土陶质彩绘颜料初步分析

2008年5月山东临淄山王村俑坑出土了数量较多的彩绘陶质文物,为了了解彩绘颜料结构和成分,采用粉末偏光显微法、剖面观察结合拉曼光谱分析对彩绘文物表面颜料样品进行分析。结果表明,这批陶质文物表面彩绘是以白灰做地仗层,由碳酸钙、白土、铁黑（Fe₃O₄）、铁红（Fe₂O₃）、朱砂等颜料调和而成,且厚度不均。在个别样品中发现了少量的中国蓝颗粒(BaCuSi₄O₁₀),这是这次分析中较为重要的发现,此分析结果也可为考古研究提供科学信息。     

Characterization and origin of black and red Magdalenian pigments from Grottes de la Garenne (Vallée moyenne de la Creuse-France): a mineralogical and geochemical approach of the study of prehistorical paintings

Pigments sampled from wall paintings and from crayons taken on the floor, at the Grottes de la Garenne (Saint-Marcel – Indre, France) have been analyzed and characterized by infrared spectroscopy, Raman micro-spectroscopy, X-ray diffraction, ICP/MS and analytical TEM. The red pigment used for the wall paintings is mainly composed by hematite, clays, carbon matter and carbonates. Results on the red pigments show that the compositions of the paintings are similar to that of some crayons. Regarding these analyses, their origin is compatible with local siderolithic facieses. Analysis of black pigments shows that they are made of cryptomelane, pyrolusite, clays, carbonates and carbon matter. It shows also that paintings and some crayons compositions are compatible. On the contrary of red pigments, the origin of black pigments is probably allochtonous. Indeed, the traces of thallium detected in cryptomelane, the cerium anomaly and the absence of iron are not compatible with local facieses or other sites from the French Massif Central.     

The Temple of Venus (Pompeii): a study of the pigments and painting techniques

We report here on a study of 57 fragments of wall painting excavated from the Temple of Venus (Pompeii). These samples were characterised by a wide range of analytical methods. Data showed that the palette is varied, although not so broad as that found in other buildings in Pompeii, and is consistent with pigments used elsewhere in Pompeii and in the Roman Empire. It is composed of: natural earths, minerals and rare artificial pigments. Paintings are made up of thin paint layers (0.01–0.10 mm thick) strongly adhering to the underlying preparation layer. Nonetheless, in some cases thicker layers (up to 0.40 mm) were recognised, often spread on other previous painting layers. Samples were also compared with the microstratigraphic criteria developed in Piovesan (2009) to distinguish wall painting techniques. This comparison demonstrated that both fresco and lime painting techniques were adopted.     

Hematite sources and archaeological ochres from Hohokam and O’odham sites in central Arizona: an experiment in type identification and characterization

The use of ochre is a defining characteristic of populations living in the Sonoran Desert of the American Southwest. Red pigments and paints were used for craft production, bodily adornment, rock art, and in mortuary contexts. Hematite and other iron-oxides are common components of this pigment that frequently appear in the archaeological record in a variety of forms and in various stages of production. Beyond this, very little is known about these materials. This paper describes the collection of potential geological sources of ochre in the Phoenix Basin and presents a methodology for the identification of processed paints. Geological sources samples are characterized using instrumental neutron activation analysis (INAA) and compared to raw materials recovered archaeologically from the Gila River Indian Community reservation. This preliminary study indicates that iron-oxide sources can be distinguished from each other and that artifacts can be matched to these sources, revealing local procurement along the Gila River by Hohokam and O’odham artisans and continuity in use of one source from the prehistoric period to the present.     

清代外销油画《镇海楼》颜料的分析鉴别

为研究清代外销油画《镇海楼》颜料成分及颜料层状况,利用数码显微镜、傅立叶红外光谱、X射线荧光光谱并结合扫描电镜能谱技术对其进行观察和检测。研究表明,此幅清代油画中红色颜料分别为朱砂和赭石,蓝色颜料为普鲁士蓝,黄色颜料则为雄黄和铁黄,白色颜料为铅白。通过显微镜观察发现画中部分颜料层有开裂和局部剥落现象。本研究分析为中国清代油画的材料技法、保护修复及美术史研究提供了极具价值的信息。     

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.     

A multi-technique characterization and provenance study of the pigments used in San rock art, South Africa

During the course of a conservation project at the rock shelter known as RSA TYN2 (Eastern Cape, South Africa), a sample of 33 painted fragments that had become detached from the wall were collected. They have been studied using a multi-technique approach (optical microscopy, SEM-EDS, Raman spectroscopy and FTIR), with the aim of achieving a better understanding of their paint stratigraphy, composition, and provenance. The paintings are on a Clarens Formation sandstone and are embedded in calcium sulphates and oxalates. The red pigments show two different ‘hues’, corresponding to two different compositions. The light red is a red ochre, possibly pure, which is probably a degradation product of the Clarens Formation sandstone. The dark red contains more iron oxides and may be a mixture between the red ochre and pure haematite. Because of the presence of crystals which may be identified as augite we suggest this haematite came from the basaltic upper part of the Drakensberg, at least 4 km away from the rock shelter. The black pigments have been identified as carbon black, that is to say, incomplete combustion products of organic compounds, and are radiocarbon dated to between 2120 and 1890 cal BP, making these samples the oldest directly dated South African rock art.