Evidence for inter-island transport of heirlooms: luminescence dating and petrographic analysis of ceramic inhaling bowls from Carriacou,West Indies

Ceramic snuffing tubes and inhaling bowls used for ingesting hallucinogenic substances are known from several islands in the West Indies, but their chronological distribution is often vague. A partial inhaling bowl found at the site of Grand Bay on Carriacou in deposits dating between ca. A.D. 1000–1200, along with two other unprovenienced specimens from the local museum, were dated using luminescence (TL and OSL) to determine their antiquity. Surprisingly, the dates had a weighted average of 400 ± 189 B.C., making them several hundred years older than all ¹⁴C assays from the island; however, they do overlap in age with similar artifacts found on Puerto Rico and Vieques Island over 750 km away. Additional luminescence dating of two stylistically distinct Suazan ceramic sherds excavated from stratified deposits at Grand Bay fall within the expected ceramic and radiocarbon chronology. These data, coupled with petrographic analysis of the specimens, suggests that they were not made using local materials. Instead, they appear to have been transported to the island, possibly hundreds of years later, as heirlooms. This may be the first evidence for inter-island transport of drug paraphernalia in the Caribbean.     

Investigation on the Yinjiawopu Site,a Medieval Salt Production Workshop in Northeast China

In 2014 and 2015, the Research Center for Chinese Frontier Archaeology at Jilin University and the Jilin Province Archaeological Research Institute jointly conducted two excavations at the Yinjiawopu Site, in Da’an City, Jilin Province, Northeast China. One burial, two canals, five leaching pits, two house-foundations, four hearths, 103 pits, two ditches, and over 800 pieces of artifacts dated from the 12th to the 13th centuries a.d. (the Liao-Jin period) were found. Analysis shows that these features belong to a salt production workshop. This study marks the first discovery of a salt production site in Northeast China. The archaeological, ethnographic, and historical materials from the site allow a reconstruction of the chaîne opératoire of salt-making by the inhabitants of the Northeast China Plain during this period. This study sheds light on the exchange and control of salt, on the activities and daily life of the inhabitants of the region, and on their relationship with the environment.     

The application of LiDAR-based DEMs on WWII conflict sites in the Netherlands

Airborne Laser Scanning or Light Detecting And Ranging (LiDAR) is quite a new technique for most archaeologists. Digital Elevation Models (DEMs), derived from the LiDAR-data, can be very useful to map archaeological sites in order to get a better overview of what is left and how these remains should be protected and researched further. LiDAR-based DEMs can be extremely useful to conflict archaeologists, especially in the Netherlands where excavation of the remains of World War II (WWII) is often problematic. Using DEMs it is possible to make both an indication of the archaeological and the heritage value of a conflict site. The use of DEMs will improve the prospection, mapping and monitoring of archaeological sites.     

Physico‐Chemical Characterization of Pigments and Binders of Murals in a Church in Ethiopia

Here, we report the physico‐chemical characterization of wall paintings from the Petros and Paulos church in Ethiopia. This work represents the first technical study of paintings located in Ethiopia, rather than paintings in museum collections outside the country, using diverse analytical techniques. In situ examination with a portable X‐ray fluorescence spectrometer (pXRF) was followed by analysis of samples using optical microscopy (OM), scanning electron microscopy coupled with energy‐dispersive X‐ray spectroscopy (SEM/EDS), micro‐Raman spectroscopy (MRS), attenuated total reflection – Fourier transform infrared spectroscopy (ATR‐FT–IR), X‐ray powder diffraction (XRD) and pyrolysis gas chromatography – mass spectrometry (Py‐GC/MS). The paint stratigraphy, the compositions of the support material, the preparatory and painting layers were studied, as well as the morphology of the pigment particles. The results revealed the use of earth pigments and carbon black. The preparatory layer was uncommon; composed of dolomite, clay rich in clinochlore and sand, in contrast to the more common gypsum and calcite. The binder and the stratigraphic analyses suggested a distempera technique.     

Salt mining tools and techniques from Duzdaği (Nakhchivan,Azerbaijan) in the 5th to 3rd millennium B.C.

The emergence of mining reflects profound changes in the organization of late prehistoric societies. In terms of lithic and ore mining, salt is a highly strategic mineral resource which was exploited for its dietary and healing properties. The exceptional prehistoric salt mine of Duzda?i (Nakhchivan, Azerbaijan) is located in a high salt-bearing region centered on the Aras River in the Lesser Caucasus. Field survey, spatial recording of archaeological materials and use-wear analysis of macrolithic tools have allowed us to outline the mining operations and techniques there from the Chalcolithic period onwards. We have identified workshops for the manufacture and repair of tools, as well as salt extraction and processing areas.     

中国古代金饰文化板块论

古代金饰记载缺佚,其发展状况实难廓清。经耙梳发掘出土金饰,不难发现金饰晚出,始于夏商,承传至清。各地金饰功能不同,其工艺、形式、风格异彩纷呈,独具一格而又互有联系、取长补短。从宏观层面以板块概全4000余年金饰文化的运动规律,先后出现了北方草原游牧部落金饰文化、黄河长江流域粟稻农作华夏族群金饰文化、西南高原红土带农牧群落金饰文化、中原帝王金饰文化等四大金饰文化板块,始终处于互为碰撞、交流、整合、承传、创新的运动过程之中,创造了金丝片、锤鍱、錾刻至焊金粟珠、编丝、掐丝、累丝、镶嵌以及错金银等金细工艺。这四大板块是由于环境、气候、产业、食物链的多样性等物质的、文化的客观条件决定的,同时又促成其局部范围金饰文化亚板块的形成与发展。4000余年的中国古代金饰文化发展变化无不受其板块运动的制约和推动。     

Leroi-Gourhan, a Philosopher of Technique and Evolution

With the publication of two volumes on technology—L'Homme et la matière and Milieu et technique in 1943–45, and Le geste et la parole (translated into English in 1993 as Gesture and Speech)—-Leroi-Gourhan asserted himself as a major social anthropologist, prehistorian, and the founder of the French schools of the ethnology of technique and of prehistoric ethnology. This paper analyzes the innovative concepts and the content of these original works, which draw their inspiration and data from biology, physiology, psychology, anthropology, and prehistory to study evolution, and technique as its medium, to create a global science of humanity.     

饱水木质文物的细菌病害及其诊断技术的进展

为了促进微生物学理论与技术在我国文物保护领域中的应用,使我国的文物保护与国际先进水平接轨,本文通过对国内外有关文物保护微生物学研究进展的综述,阐述了饱水木质文物细菌性病害的成因和机理.侵蚀细菌、钻管细菌和空化细菌是饱水木质文物细菌性病害的病原体,但它们的作用方式有一定的区别.在饱水木质文物细菌性病害诊断上,国外已较为普遍地使用了光镜技术、电镜技术、细菌培养技术以及多种分子生物学技术.根据众多样本分析的结果,国外学者已建立评价饱水木质文物腐蚀状态的定性指标体系.文中还结合目前我国有关饱水木质文物保护的现状,阐述了文物保护微生物学在我国饱水木质文物保护中的应用前景,并建议尽快开展相关的研究工作.     

山西翼城考古发掘现场遗址表面腐蚀真菌的群落组成分析

考古发掘现场腐蚀微生物的鉴定与防治一直是考古学家和文物保护工作者面临的难点问题。截至目前,国内外对于文物出土现场微生物腐蚀信息和资料获取的研究还十分有限。本研究以山西翼城大河口西周墓地为例,探讨了考古发掘现场遗址表面腐蚀真菌的快速检测技术与可能的防治对策;通过现场直接镜检结合后期分子生物学检测技术,确定造成大河口西周墓地土遗址大量污染真菌的群落组成。研究发现,造成山西大河口墓地出土现场腐蚀的优势真菌类群主要隶属于假散囊菌属(Pseudeurotium)、链格孢属(Alternaria)和小不整球壳属(Plectosphaerella),它们分别占据了整个出土现场腐蚀真菌克隆文库中的23%、21%、和18%。竖直墓道发掘坑道内较高的温度和相对湿度以及较低的空气交换速率是造成发掘现场微生物大面积污染的主要环境因子。该研究为快速获取出土文物腐蚀微生物的群落信息提供了技术支撑,为后期腐蚀微生物的防治提供了理论依据。     

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.