北周墓出土彩绘陶器的加固与保护

陕西省考古研究所在西安咸阳国际机场二期建设中抢救性发掘了三座大型高等级北周时期墓葬,出土了数百件精美彩陶俑,形象十分逼真生动。由于彩陶器出土提取于淤泥之中,为了及时有效的保护好这批文物,考古队在第一时间内将出土陶器全部运回所内文保室进行抢救性保护。此次保护的主要任务和难点是,在最佳时间实现土层与彩绘层的成功分离,逐渐降低饱水彩陶器的含水率,使其最终在大气中趋于稳定,最后及时加固和封护彩绘层并采用适合该陶质强度的粘接剂进行粘接复原。经过十年来的时间证明,此次实施的保护方案正确,保护措施得当,保护结果令人满意。     

彩绘陶质文物修复保护操作流程规范化研究

彩绘陶器文物反应了中国历史上各朝各代不同艺术风格和技术特点,我国出土彩绘陶质类文物较为丰富,但保护修复操作基本不够完备。本文通过对彩绘陶质文物保护修复操作流程的规范化研究,目的建立统一、明确的操作规范,使得文物得到切实的保护,最大程度的减缓或降低文物的衰变速度,延长其寿命,保护其历史、艺术、科学价值。     

徐州地区西汉陶俑的发现及初步研究

徐州地区西汉陶俑可分为兵俑、乐舞俑、仪仗俑、侍俑四个大类。并由俱象写实向形神兼备的方向演变,其乐舞俑生动的形象栩栩如生,成为汉代陶俑的经典之作。     

Narcissus's Mirror: Manufacture and Modernism in the American Great Basin—The Case of Pottery

The commodification of pottery cannot be reduced to strict econo-technological terms. Commodification is a cultural process, enmeshed in local, regional, and international systems of meaning. As Victorian Modernism eroded, anti-modern movements commodified traditional culture. These philosophies, themselves commodities, had repercussions on the pottery industry throughout the world. In both America and Australia, these processes produced art and studio potteries. In the American Great Basin, these changes were experienced very differently by potters from different cultures. The commodification and industrialization of modern pottery factories predicated the reification of a pre-industrial artisanal past.     

One Hundred Years of Archaeology in Niger

This paper considers, under rough chronological headings, work undertaken in Niger in the past century. Sites relevant to the Pleistocene occupation of the Sahara, to the adoption of elements of a Neolithic package, to the (perhaps misleadingly late) occupation of the Sahel, to alleged metalworking 3000 years ago, and to social complexity, are described and discussed. These data carry a relevance far beyond their immediate area, and the most fruitful application of the archaeology of Niger is to be found in theoretical rethinking.     

Lapis lazuli usage for blue decoration of polychrome painted glazed pottery: a recurrent technology during the Middle Ages in Apulia (Southern Italy)

Seven fragments of atypical proto-majolica from the archaeological site of Siponto (Manfredonia, Foggia) were analysed by chemical and physical methods. All fragments have blue, brown and yellow painted decorations. Raman microscopy and Scanning Electron Microscopy–Energy Dispersed Spectroscopy (SEM–EDS) investigations identified the blue pigment to lapis lazuli. We previously identified this mineral in the blue coloration of the tin–lead glaze of proto-majolica finds at other Medieval sites in Apulia (Castel Fiorentino and Lucera). The discovery of the fragments from Siponto, in spite of their peculiar technological-decorative features, proves that the use of lapis lazuli as a ceramic pigment was not an isolated occurrence, but was quite common in the Middle Ages in the production of typologically heterogeneous ceramics in Southern Italy.     

中国古建琉璃构件“粉状锈”之病变初探

琉璃构件是中国古代建筑中不可缺少的建筑材料,具有一定的功能性和艺术性.但因其长期处于露天环境之中,会产生釉面蜕变、开裂、脱落和胎体酥粉等多种病变.为了对琉璃构件的全面保护,对洛阳山陕会馆古建群琉璃构件进行了整体调查,发现部分构件釉面产生了一层亮绿色粉状物质,与青铜器粉状锈颜色非常相似,这是一种极其特殊的病变现象.为此,用偏光显微镜、扫描电镜、电子探针及X射线衍射等分析手段对这种病变产物进行分析研究.结果表明,琉璃"粉状锈"的主要成分为PbSO4.它是大气中SO2与水分和琉璃釉面共同作用的结果.该病变的形成过程为釉面弱酸水膜的形成,釉中铅离子的溶出和铅的硫酸盐形成三大步骤.研究结果可为琉璃构件的进一步保护研究奠定基础.     

中国古建琉璃构件“粉状锈”之病变初探

琉璃构件是中国古代建筑中不可缺少的建筑材料,具有一定的功能性和艺术性。但因其长期处于露天环境之中,会产生釉面蜕变、开裂、脱落和胎体酥粉等多种病变。为了对琉璃构件的全面保护,对洛阳山陕会馆古建群琉璃构件进行了整体调查,发现部分构件釉面产生了一层亮绿色粉状物质,与青铜器粉状锈颜色非常相似,这是一种极其特殊的病变现象。为此,用偏光显微镜、扫描电镜、电子探针及X射线衍射等分析手段对这种病变产物进行分析研究。结果表明,琉璃“粉状锈”的主要成分为PbSO4。它是大气中SO2与水分和琉璃釉面共同作用的结果。该病变的形成过程为:釉面弱酸水膜的形成,釉中铅离子的溶出和铅的硫酸盐形成三大步骤。研究结果可为琉璃构件的进一步保护研究奠定基础。     

ANOTHER ONE BITES THE DUST: QUALITY CONTROL AND FIRING TECHNOLOGY IN THE PRODUCTION OF MEDIEVAL GREYWARE CERAMICS IN CATALONIA,SPAIN

The following study sheds new light on the quality control procedures of ancient potters by comparing cooking vessels exported from the medieval kiln‐site of Cabrera d'Anoia (Barcelona) with ‘wasters' that were discarded at source. The firing temperature of examined sherds indicates that only pots subjected to a maximum temperature of 800–850°C were offered for sale. The potters at Cabrera d'Anoia appear to have been fully aware of the optimal balance between thermal and physical shock resistance of vessels fired within this range and strived to control firing in order to achieve better products than that of competing workshops.     

The technology of Copper Age funerary pottery from Central Italy: An integrated study of compositional analyses and manufacturing traces

The paper focuses on ceramic vessels unearthed from Copper Age necropolises located in the area of the modern city of Rome and commonly attributed to the Rinaldone culture. The peculiar vessels' shapes, mainly associated with the consumption of beverages, their accuracy of manufacture and the very low impact of these ceramic morphologies in the coeval household assemblages lead to the study of such an apparently selected production through a multidisciplinary research. Petrographic analysis, X-ray fluorescence (XRF) and X-ray diffraction (XRD) integrated with the analysis of manufacturing traces and X-ray investigation suggest the transmission of technological choices, which remained unchanged over almost two millennia.