国外古代失蜡铸造工艺研究综述

本文根据国外有关失蜡工艺研究的文献,着重介绍了西方有关古代失蜡铸造的遗物（蜡模和外范）的出土与发现,以及有关失蜡工艺的起源和西方早期失蜡铸造的方法。     

江苏省古建筑无地仗层彩绘传统制作工艺研究

本文通过文献回顾、现场调查、实验分析、综合研究等方法,对江苏古建筑无地仗层彩绘传统制作工艺进行了研究。     

一批中国古代镶嵌玻璃珠化学成分的检测报告

结合外束质子激发X荧光（proton induced X-ray emission,PIXE）和能量色散X射线荧光（energy dispersive X-ray emission,EDXRF）分析技术,对中国新疆、湖北、四川、广东出土的古代镶嵌玻璃珠的化学成分进行了检测.结果表明：新疆拜城克孜尔墓地出土的西周-春秋时期镶嵌玻璃珠为CaO-MgO-SiO2玻璃,战国时期中国境内的PbO-BaO-SiO2和Na2O-CaO-SiO2镶嵌玻璃珠是同时存在的.本文亦对相关问题进行了一些讨论,并提出了部分今后的工作建议.     

The coloured glass of Iulia Felix

Research on the cargo of glass in the Roman ship Iulia Felix, wrecked off the town of Grado (province of Udine, North Italy) in the first half of the 3rd century AD and composed of recycling cullet carefully selected for colour and type, provided much information on Roman glass production technology. A combined approach, involving analytical, statistical, and archaeological evidence, included chemical analyses (X-ray fluorescence, electron microprobe), which indicated that the coloured samples were all soda-lime-silica in composition, with natron as flux, although cluster analysis identified many compositional groups. Comparisons among the compositional groups of the colourless glass, previously studied, and those of coloured glass showed that the production technologies of the colourless glass vessels constitute two well-defined technological end-members, also related to group types, into which those of the coloured glass samples fall. In particular, coloured glass samples—all bottles, low-status vessels—were produced with mainly beach siliceous-feldspar-calcareous sand. However, unlike the colourless type, strict control of raw materials and decolourising processes was not adopted, and recycling was also practised, as demonstrated by the Sb₂O₃, Cu and Pb patterns. In this context, a “recycling index” (RI)—[(Sb₂O₃)_X/(Sb₂O₃)_Ref] * 100—is proposed here for the first time, in order to quantify the extent of recycling of antimony colourless glass in the batch. RI is valid for glass containing abundant Sb from an end-member of colourless glass. In conclusion, although it cannot be stated unequivocally that the identified compositional trends are related to different production centres or different raw materials, the strong evidence of compositional variability among all the Iulia Felix glass samples, both colourless and coloured, supports the dispersed production model for Roman glassware and the common practice of recycling in Roman imperial times, especially for low-status vessels.     

用微探针型EDXRF技术研究南宋官窑瓷片的化学组成及其含义

本文报道了用ENGLE-Ⅱ微探针能量色散型X荧光光谱（EDXRF）技术测定一批青瓷残片中的16种元素氧化物的含量．其残片来自浙江杭州地区南宋的郊坛窑和老虎洞窑。由主量元素判别方程。值表明,郊坛和老虎洞青釉瓷均属官窑制品,与龙泉民窑产品有很大差别。从主成分统计分析看出．郊坛下官窑与老虎洞官窑的瓷釉成分有明显不同,但其胎质成分的分布却有部分的重叠。这显示两类同属官窑的制品,其釉料可有不同的矿物组合。但胎料有时会交流使用。从釉层、中间层、和胎层的Al2O3和CaO的含量变化数据表明,郊坛下官窑和老虎洞官窑的青瓷制品有厚度分别为120-140um和230-240μm的中间层,反映出烧造工艺上有一定的差别。化学成分鉴定证实了考古工作者认为老虎洞窑实为史书记载的修内司官窑的观点．     

营城子汉墓出土玻璃耳珰的化学成分与制作工艺研究

营城子汉墓位于辽宁省大连市甘井子区,是我国东北地区一处重要的大型汉墓群。营城子汉墓出土了一批玻璃耳珰,为探讨其成型工艺及来源,采用超景深显微系统进行了表面形貌观察,初步认为是模铸成型,并经过打磨。采用便携式X射线荧光光谱仪(XRF)进行了化学成分分析,结果显示,它们分属铅钡硅酸盐和钾硅酸盐玻璃系统,一件由Cu²⁺着色,其余主要由Co²⁺着色。其为我国自制,所用钴料来源相同,钴料的锰钴比特征与国产钴土矿的类似。并对营城子汉墓出土玻璃耳珰造型与化学成分体系间的关系进行了分析,对玻璃耳珰制作模式进行了初步探讨,进一步加深了对我国古代玻璃耳珰制作与传播的认识。     

越王勾践剑菱形纹饰技术再讨论——与董亚巍、周卫荣、王昌燧先生商榷兼谈科技考古方法问题

本文简介了已完成科学检测与模拟试验的东周青铜剑菱形暗格纹的成分、组织与形成工艺,认为金属膏剂涂层加热扩散工艺是东周时期唯一的、完全可能实现的、使青铜表面富锡和细晶化的表面装饰工艺;认为菱形纹饰呈黑色是特定埋藏条件下形成的;解释了越王勾践剑未见铭文错金的原因。并就此与董亚巍、周卫荣、王昌燧等先生进行商榷。     

青海省工业科技创新能力建设刍议

本文通过分析“十五”期间青海省工业科技能力建设取得的成绩和存在的问题,提出了进一步提高工业科技创新能力的目标、建设任务和保证措施。     

The spaces of Australian capitalism: Making “place” out of “space” in The Unknown Industrial Prisoner

Radical geographers have emphasised the centrality of class relations to the production of social space. In particular, this literature makes the distinction between the homogenising “abstract space” of global capital and meaningful, specific social “places.” The tension between the two expresses itself in spatial forms, creating the landscapes of capitalism. This political-economic conception of space and place is generally under-explored in the Australian context, particularly regarding the highly important post-World War II Long Boom period. This article interrogates the spatiality of this epoch through David Ireland's award-winning novel The Unknown Industrial Prisoner. Rooted in the notion of literary geography, which argues that literature “knows” things about the space of the society into which it is born, the article argues that Ireland portrays and handles in a particularly vivid and powerful way the dialectical articulations, simultaneously contradictory and intertwined, of space and place in the spatiality of Australian capitalism. Whilst he ultimately concludes that the powers of capital's abstract space dominate, he nevertheless demonstrates that through explicitly spatial projects of place-making, workers can attempt to impose their own political economy on the spatial form.     

青海瞿昙寺瞿昙殿壁画制作材料与工艺初步分析

青海瞿昙寺是中原地区至今保存较完整,集古建、雕刻彩绘和壁画于一体的明代早期官式建筑群。瞿昙寺瞿昙殿现存壁画约217.5 m²,是中原地区经典的明代早期藏传佛教壁画,具有珍贵的历史和学术研究价值。本研究通过显微镜(OM)、剖面分析(Cross-section)、扫描电镜-能谱(SEM-EDS)、X射线衍射(XRD)等多种分析方法,对瞿昙寺瞿昙殿壁画制作材料及工艺开展了初步调查分析。结果显示:瞿昙殿壁画以砖墙体为支撑体,地仗层由粗泥层和细泥层组成;地仗中粗细泥层含沙量不等,粗泥层含沙量约60%,细泥层含沙量较少,约为16%～25%;地仗层中总体纤维含量为3%左右;地仗土粒度级配良好,粒径多集中在1~100 μm之间;地仗中含少量硫酸钠和氯化钠;瞿昙殿壁画使用颜料主要为铅丹、朱砂、氯铜矿、副氯铜矿、石青等矿物颜料,颜料层厚度20～200 μm之间;铅丹颜料在瞿昙殿中出现“章丹打底银朱盖面”的分层应用以及铅丹变色的现象;瞿昙殿壁画中明代壁画无底色层,清代乾隆时期壁画有底色层。本次分析研究获得瞿昙殿壁画层位、地仗组成和颜料使用信息,为瞿昙殿壁画科学保护和深入研究提供重要的第一手资料。