几种罕见的黄铜钱币锈蚀产物的识别与形成原因探析

我国从明中期开始使用黄铜钱币,一直到清末。过去,对古代铸币的科学研究主要集中于合金成分分析和铸造工艺两方面,对锈蚀产物和锈蚀机理的研究主要针对青铜铸币。黄铜的合金元素中较青铜多锌元素,其腐蚀产物与腐蚀行为较青铜有一定的差别,也较青铜更为复杂,然而现有的文献关于此方面的研究匮乏,特别是对于大气保存环境下黄铜钱币的锈蚀产物及锈蚀成因的研究基本空白。本研究通过多种分析手段包括X射线荧光分析仪(XRF)、扫描电镜能谱仪(SEM-EDS)和显微激光拉曼光谱仪(Raman)对国家博物馆馆藏一批传世明清各时期的黄铜钱币合金组成,不同颜色的锈蚀产物等开展科学分析。研究结果表明,嘉靖、隆庆和万历年的黄铜铸币,为Cu+Sn+Pb+Zn四元合金,平均含量Cu 66.4%,Sn 6.8%,Pb 10.4%,Zn 15.6%,并含有微量Fe,不含As。泰昌、天启和崇祯年间及清代各时期的黄铜铸币,主要为Cu+Pb+Zn三元合金,并含有微量Fe、As和Sn。这批黄铜锈蚀产物与常见的青铜锈蚀产物不同,最典型的是钱币表面蓝绿色和白色锈蚀物,经Raman和SEM-EDS分析并结合相关文献初步确认蓝绿色锈蚀物为一种含铜、钠...     

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。     

The Thermal History of Maize Kernels Determined By Electron Spin Resonance

Electron spin resonance (ESR) can be used to determine the thermal history of charred organic material. Maize seeds were heated under controlled conditions in order to produce calibration curves relating g‐values (the rate of electron splitting) and spin intensities (the number of spin centres) to heating temperatures, times and conditions. These experiments reproduced results that had been previously obtained by other laboratories, with some minor exceptions. The calibration curves were then used to reconstruct the thermal histories of charred maize kernels from several prehistoric sites in eastern North America. At these sites, the differing thermal histories of maize kernels are correlated with depositional contexts.     

The Chronology of Insiza Cluster Khami‐Phase Sites in South‐Western Zimbabwe: Compositional Insights from pXRF and Raman Analysis of Excavated Exotic Glass Finds

Fourteen glass beads and one glass fragment from Khami‐period (ad 1400–1830) sites of Danamombe, Naletale, Gomoremhiko, Nharire and Zinjanja, in Zimbabwe, were analysed by pXRF and Raman spectroscopy with the intention of correlating the results with associated radiocarbon dates. The results show that Zinjanja and an earlier part of the Danamombe stratigraphic context had Khami Indo‐Pacific beads (15th–17th centuries) corresponding with Torwa occupational layers. Other European beads and one bottle fragment [high‐lime, low‐alkali (HLLA) glass] dating from the 16th to the 19th centuries were confined to the top stratigraphic layers of Danamombe and Naletale, which coincide with the later Rozvi occupational layers. Gomoremhiko had one Mapungubwe–Zimbabwe bead series (13th–15th centuries), which suggests that it was probably earlier than the other sites. All European beads are made of soda–lime plant‐ash glass with high alumina, which makes them comparable with glass produced through the Mediterranean traditions in Southern Europe.     

The Volterran Urns: Etruscan Painting and Travertine Supply

The artistic evolution of the Volterran cinerary urns is a good representation of Etruscan painting from the fourth to the first century bc . The interest generated by this type of object directed our research towards the study of the Volterran artefacts, including the analysis of the pigments as well as that of the rocks used for the coffers. The entire colour range shown by the painted urns has been sampled and investigated through Raman microscopy and scanning electron microscopy. Rock samples were taken both from the urns and from outcrops in ancient carbonate rock quarries near Volterra, from where they may potentially have been sourced. A set of 30 samples was collected and submitted to stable carbon and oxygen isotope analyses. The results obtained showed that the pigments used for the decoration of the Volterran urns were basically constituted by red ochre, Egyptian blue, carbon black and gypsum. The identification of lead‐based pigments and barium sulphates further informed us about old restorations undergone by several urns. As far as the provenance issue is concerned, the isotopic data indicate that the rocks used for the four urns were favourably comparable to those outcropping at Pignano, while two other urns were more similar to those sampled along the Elsa River at Colle Val d'Elsa.     

Chemical analysis of 17th century Millefiori glasses excavated in the Monastery of Sta. Clara-a-Velha,Portugal: comparison with Venetian and façon-de-Venise production

A set of ten Millefiori glass fragments dating from the 17th century, originated from archaeological excavations carried out at the Monastery of Sta. Clara-a-Velha (Coimbra, Portugal), were characterized by X-ray electron probe microanalysis (EPMA), Raman microscopy and UV–Visible absorption spectroscopy. All glasses are of soda-lime-silica type. The use of coastal plant ash is suggested by the relatively high content of MgO, K₂O and P₂O₅, as well as by the presence of chlorine. Tin oxide or calcium antimonate were the opacifiers used in the opaque glasses, cobalt in the blue glasses, copper in the turquoise glasses, iron in the yellow and greenish glasses, and iron and copper were found in the opaque red and aventurine glasses. Based on the concentrations of alumina and silica four different sources of silica were identified, allowing the classification of the glasses into the following compositional groups: low alumina (<2 wt%), which includes a sub-group of cristallo samples with SiO₂ > 70 wt%, medium alumina (2–3 wt%), high alumina (3–6 wt%) and very high alumina (>6 wt%). Comparison with genuine Venetian and façon-de-Venise compositions showed that two fragments are of Venetian production, one of Venetian or Spanish production and the remaining are of unknown provenance. In two fragments the glass of the decoration is probably Venetian or Spanish but the glass used in the body is also of unknown provenance.     

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。     

Multi-Isotope Investigations for Scientific Characterisation and Provenance Implication of Banded Travertines from Tripolis Antique City (Denizli–Turkey)

The coloured stones used in buildings and monuments were an indicator of power and wealth during the ancient times. In this study, Tripolis city samples have been compared with Tripolis quarry samples in order to recognise the provenance of the banded travertine blocks in the ancient city. The banded travertine samples have similar mineral compositions and mainly consist of calcite with minor amounts of dolomite, aragonite, clay and iron oxide minerals. These results are also supported by CRS studies. Calcite is in the form of needle-shaped crystals ranging between 0.163–1.418?mm (in city) and 0.303–1.270?mm (in quarry). Tripolis banded travertine samples show the similar compositional spread in terms of major oxide, trace elements. δ¹³C_V-PDB values of banded travertines range from 1.93 to 5.25‰ (in city) and 2.99 to 3.99‰ (in quarry), δ¹⁸O_V-PDB values change between (?16.93)–(?10.08) ‰ and (?15.93)–(?13.01)‰, respectively. The U–Th radiometric ages are determined between ～267 and 9?ka in Tripolis city samples and ～350 and 2?ka in Tripolis quarry samples. The minero-petrographic, geochemical, C–O and U–Th isotope results fairly matched with each other. It seems highly probable that the banded travertines in Tripolis city were extracted from the Tripolis quarry, which is located at the northeast of the antique city with a distance of 3?km.     

A preliminary study on the photo - degradation of printing pigments on banknotes issued during the period of the Republic of China北大核心

为了初步评价光照对民国纸币的影响,为博物馆纸币文物的展陈照明和保存提供建议,本研究选取了八枚纸币分别进行LED灯和自然光老化实验,并通过拉曼光谱仪和X射线荧光光谱仪确定了纸币样品颜料的主要成分——合成有机颜料红49:1、普鲁士蓝、铬酸铅和炭黑。通过老化前后的色差分析可知,纸币红色颜料变化最大,其他颜色变化相对较小。因此,对于民国纸币类文物,尤其是含有红色合成有机颜料的纸币文物,需要控制其光照条件以防止老化变色。