Early Imports in the Late Bronze Age of South‐Western Iberia: The Bronze Ornaments of the Hypogea at Monte da Ramada 1 (Southern Portugal)

The composition and manufacture of Late Bronze Age metallic artefacts from funerary and domestic contexts of southern inland Portugal was studied. The prevailing trend comprises binary bronzes (10.3 ± 2.1 wt% Sn) showing deformed equiaxial grains, annealing twins and slip bands. The alloy composition is somewhat independent of artefact type, while the manufacture seems to rely on artefact function and the skilfulness of the metallurgist. The technological characteristics were linked with archaeological and chronological features, disclosing some artefacts of uncommon composition, such as low‐tin bronze bracelets (4.3–7.1 wt% Sn) associated with ornaments of exotic materials (glass and Egyptian faience beads, and also ostrich egg shell beads). The assemblage testifies to an archaic trade with the Mediterranean region before the establishment of the first Phoenician colonies on the southern Iberian coast.     

微探针型能量色散X荧光光谱技术测定香港古瓷的化学组成及其意义

用探针型能量色散X荧光光谱技术测定元-明年代的香港青釉瓷、元-明年代的广东青釉瓷、宋-元年代的福建青釉瓷样品的化学组成,用胎式、釉式和主成分分区的方法,研究了香港样品主要来源于广东青瓷窑场的制品,部分来源于福建青釉瓷产品。它们同属于南方青釉瓷系列,但是其胎质成分与浙江龙泉的正宗青釉瓷不同。然而,釉式的组成分布显示,香港、广东青瓷釉与龙泉青瓷釉的化学成分有部分的重叠,表明前两处的仿龙泉青瓷釉在外观上与正宗的产品有相似的质素。     

昆明羊甫头墓地出土青铜器的分析研究

为了对羊甫头出土青铜器的保存状况、锈蚀结构有全面的了解,同时对出土青铜器的原料配比、冶金技术、制作工艺进行研究。从不同的器物及残片上采集了32个青铜样品,应用扫描电镜、面探测器X射线衍射仪等方法对样品进行了合金成分分析及锈蚀产物检测。分析结果表明,羊甫头墓地青铜器物是用多种金属制作而成,器物主要是Cu-Sn合金,其次是红铜、Cu-Sn-Pb、Cu-Pb-Sb等合金;锈蚀产物主要以孔雀石、锡石、石英、赤铜矿等为主。     

A geochemical study of bituminous mixtures from Failaka and Umm an-Namel (Kuwait), from the Early Dilmun to the Early Islamic period

This paper is the last in a series presenting geochemical analyses of fragments of bituminous mixtures excavated from archaeological sites in Kuwait. The first was devoted to bituminous boat remains from the Ubaid‐related Neolithic site of H3, As‐Sabiyah, while the second dealt with bituminous amalgams from the Partho‐Sasanian site of ^cAkkaz, a former island now joined to the south side of Kuwait Bay. This, the third, refers to bitumen‐bearing samples from two other islands, Failaka and Umm an‐Namel, and covers a time span including the Early Dilmun period, the Kassite period and the Hellenistic to Early Islamic periods. The composition of the bituminous amalgams was studied in detail. The proportions of soluble and insoluble organic matter as well as vegetal organic matter were evaluated. Mineralogical composition by X‐Ray diffraction and thin‐section analysis was used to estimate the mineral input in the bituminous mixtures. It can be confirmed that the recipes used in the preparation of these bituminous amalgams comply with those traditionally used in antiquity, as seen at many sites in Mesopotamia and the Gulf. Analysis of the soluble organic matter, and especially its ‘‘saturates’’ fraction, provided sterane and terpane distributions and the measurement of diagnostic molecular ratios. These data, complemented by the isotopic composition of asphaltenes, allowed the identification of the sources of the bitumen, by calibration with numerous references from Iran and northern Iraq (oil seeps, bitumen from archaeological sites). It was established that the bitumen from Failaka and Umm an‐Namel was mainly imported from central Iraq (Hit‐Abu Jir) and northern Iraq (around Mosul). One sample of oil‐stained sand, dating to the Early Dilmun period, originated from Burgan and thus documents small‐scale imports from inland Kuwait. These results, and those of previous analyses, agree with the geopolitical context of the Early Dilmun, Kassite and Hellenistic periods, and the maritime trade routes that linked Mesopotamia to the settlements of the Gulf and beyond. The paper concludes with an overview of recent bitumen provenance analyses, and discerns chronological patterns in the distribution of Iraqi and Iranian bitumen in the Gulf and Indian Ocean, from the Neolithic to the Islamic periods.     

三峡地区瓷器组成因素及其特征研究

近年来的考古发掘中出土的三峡地区的古代器物以石器、陶器等居多,而瓷器发现相对较少,导致相关的研究也比较滞后。本文即以复旦大学2001年对三峡麻柳沱的发掘为前提,综合三峡其他墓葬遗址所出材料,对三峡地区瓷器的起源、发展以及组成因素,三峡地区阶段性经济发展等问题作一个初步的探讨。     

汝州东沟窑金元时期青瓷与钧瓷原料和工艺特征的比较研究

金元时期在豫西中部地区多个窑址同时生产青瓷和钧瓷,发掘于2005年的汝州东沟窑遗址即是该类窑址典型代表之一。为系统了解东沟窑青瓷和钧瓷的胎釉元素组成特征和工艺特点、揭示两类瓷器各自随时代变化的规律,本项研究采用EDXRF和OM对东沟窑遗址出土且地层明确的43件金、元时期青瓷与钧瓷标本胎、釉化学组成和工艺性能进行测试分析,探讨了胎、釉的原料配比、釉层厚度和胎釉反应层厚度等工艺特征随时代和标本类型的变化规律。研究结果表明:东沟窑同时期青瓷和钧瓷胎体元素组成较接近,而两者釉的元素组成差异明显,金元钧瓷釉的SiO2/Al2O3摩尔比值都明显高于同时代青瓷的相应比值,呈现钧瓷釉典型的高硅低铝组成特征。从金代到元代,东沟窑青瓷和钧瓷釉都呈现从钙釉向钙-碱釉的转变。本项研究还观察到金元钧瓷的釉层和反应层厚度均高于同时代的青瓷;而从金过渡到元,两类瓷片的釉层和反应层厚度均趋厚。本项研究对揭示金元时期豫西中部地区青瓷和钧瓷间的传承和演化关系提供了有意义的科技数据。     

An archaeometric contribution to the characterization of Renaissance maiolica from Urbino and a comparison with coeval maiolica from Pesaro (the Marches,central Italy)

The results of an archaeometric trial study performed on an important finding of Renaissance maiolica (mid‐15th to early 16th century) from the Ducal Palace of Urbino are presented. Mineralogical–petrographic data (XRD, OP, SEM–EDS) and chemical characterization (ICP/AES–MS: major and trace elements) of both ceramic bodies and glazes were compared with similar data provided on coeval maiolica found in archaeological excavations in Pesaro, now stored in the city's Municipal Museum, in order to verify an origin of the potteries from common (Pesaro) or different (Pesaro and Urbino) production centres. The results indicate that ceramic bodies were produced with quite similar illitic–calcareous clays, most probably taken from the same local Pliocene Formation. Similarities were also found concerning the glaze's glass (silica–lead), colourants (cobalt, copper and manganese) and pigments (lead antimonate and cassiterite).     

景德镇湖田窑北宋褐彩瓷枕的化学组成及工艺特征分析

景德镇湖田窑北宋仁宗时期(1023—1063年)新出现了褐色点彩装饰器物,其工艺特征、技术来源和对景德镇元代以后釉下彩绘工艺的影响一直受到广泛关注。研究采用能量色散X荧光光谱分析仪、光学相干断层扫描仪、体式显微镜、高温热膨胀仪等,分析了8件北宋褐色点彩瓷枕样品的胎、釉、彩的化学组成,及胎体吸水率和烧成温度,初步揭示了景德镇湖田窑出土北宋褐色点彩瓷枕的制作工艺和化学组成特征。结果显示,褐彩瓷枕胎体表面留有明显的网格纹痕迹,在棱边内侧有镶接和泥条加固痕迹,应是在布上拍打成泥片后,逐面镶接成型制得;胎体烧结状态、烧成温度和吸水率相差较大,表面褐色图案为采用富铁原料在胎体表面彩绘后,施灰釉后经1100℃以上高温一次烧制而成。研究结果不仅有利于明晰其化学组成特征和工艺特征信息,而且将为研究和揭示景德镇早期彩绘装饰的发展提供科学参考。     

Mineralogical and Mechanical Properties of Masonry and Mortars of the Lucknow Monuments Circa the 18th Century

The Lucknow monuments of the 18th century are large masonry structures built using thin burnt-clay bricks (Lakhauri) and lime-crushed brick aggregate (surkhi) mortars. Investigations were carried out to characterize the engineering properties of old masonry materials and new mortars being used for renovation work. Mechanical properties of reclaimed Lakhauri bricks were found comparable to good quality contemporary bricks of the region. Moreover, X-ray diffraction (XRD) and scanning electron microscopy–energy dispersive X-ray spectrometry (SEM-EDS) analyses indicated that mineralogical composition is not too different, except for few minerals. The lime-surkhi mortar used in old masonry work was found to be lime-rich with binder to aggregate ratio of approximately 1:2 to 3 by volume. The renovation mortar had poor hydraulic property as compared to old mortars indicated by thermal gravimetric analysis–differential thermal analysis (TGA-DTA) analyses. The compressive behavior of multi-wythe recreated Lakhauri masonry prisms was characterized with low compressive strength, low modulus, and significant deformability which result in lower stress demands imposed on the structural assemblages by various environmental forces.     

Wissenschaft und Musik – Einführende Bemerkungen

Science and music. Introductory remarks. The article presents a brief introduction to “Science and Music”, theme of the 44^th symposium of the “Society for History of Sciences” held in Munich in Mai 2007. The text begins with a brief reference to the numerous biographical connections between the two fields, but focuses primarily on topics that reveal music and the sciences to be results of shared cultural practices. Examples include: (1) shared objects in the material sense, meaning the use of particular instruments in both music and the sciences; (2) shared semantics, metaphors, and concepts, for example the use of the concepts like clang or tone color in acoustics and the psychology of audition, or talk of ‘mood’ and ‘harmony’ in both music and in literature; (3) direct interactions between mathematics, physics and music, for example in the electronic music of the twentieth century.