Pottery technology in the Tang dynasty (ninth century ad): archaeometric analyses of a Gongyi sherd found at Siraf,Iran

In 1969–70, a single Tang dynasty blue‐spotted Gongyi sherd was found at Siraf, Iran, the main trading port on the Persian Gulf in the early Islamic period. This is the only known example of Chinese blue‐and‐white ware, whether low‐ or high‐fired, found in the Middle East from such an early date. The sherd provides direct archaeological evidence for the Indian Ocean trade between China and the Middle East in the ninth century ad . The body paste, clear glaze and blue glaze or pigment were analysed by thin‐section petrography, scanning electron microscopy with energy‐dispersive X‐ray spectrometry (SEM‐EDX) and X‐ray fluorescence (XRF). The technological analysis reveals the different steps of the chaîne opératoire: clay mixing, slip and glaze application, and decoration with the cobalt blue glaze before high‐temperature firing. These steps are characteristic of Tang stoneware production at Gongyi in Henan province, China. The use of cobalt blue pigment as part of a simple spotted decoration scheme on the Gongyi sherd, and its find context within the Middle East, provides evidence for the complex interplay and influence occurring between Chinese and Middle East ceramic industries at this time. Closely comparable examples of contemporary low‐fired earthenware ceramics with cobalt blue decoration on a white tin glaze manufactured within the Middle East also occur within the same assemblage from Siraf.     

“北胡”“西域”盐色与丝路交通地理

汉代以来盐史记忆中已经可以看到中原人对远方奇异盐产的印象。多处盐产地盐的异样色彩,与内地以往经济生产与饮食生活中的观察体会及消费经验有所不同。关于宿沙氏“煮海”传说盐色“五样”的情节,学者以为“异闻”。许多文献资料可见所谓“紫盐”“青盐”“黄盐”“赤盐”“黑盐”等记录。这些对于远方盐色的体会,是以长途交通实践为发现条件的。而早期丝绸之路史的记录,与相关盐史迹象存在某种关联。这一情形,值得交通地理与文化交流史研究者关注。     

古书画保护修复中的二次脱色现象及预防

中国古书画源远流长,在长期的收藏和传承历史中会出现各种各样的病害,传统书画修复技术因此得到发展。在书画修复中,观察和分析作品的病害情况是制定修复计划的重要前提,但保护修复中发生的脱色现象是后出现的二次病害,在修复计划中易被忽略以致画心被破坏,失去色泽变得暗淡,甚至出现部分内容缺失,对书画伤害极大,故而对修复中的二次脱色现象进行研究并优化相关修复技术是至关重要的。本工作以实践经验为基础,对古书画修复中的二次脱色现象进行全面的阐述和研究,从材料和工艺的角度分析了病害成因,将常见的修复中人为造成的脱色现象进行了分类,提出了修复中二次脱色现象发生的预防判断标准,优化了修复技术,为古书画病害的研究、书画修复技术的优化提供参考。     

大同华严寺辽代彩绘泥塑颜料与胶结剂的科学剖析

为揭示大同辽代华严寺彩绘泥塑颜料及胶结剂的化学成分及调制应用组合,对华严寺薄伽教藏殿内的典型颜料层样品进行了综合剖析。利用超景深显微镜、扫描电镜-X射线能谱、显微拉曼光谱等对彩绘样品中的颜料部分展开分析。结果表明,红色颜料主要是铅丹(Pb₃O₄)和朱砂(HgS),绿色颜料主要是孔雀石[Cu₂CO₃(OH)₂]和氯铜矿[Cu₂(OH)₃Cl],而且这两种颜色存在着同色系的两种颜料混和使用的情况。蓝色颜料则为蓝铜矿[Cu₃(CO₃)₂(OH)₂],黄色颜料为雌黄(As₂S₃),金色区域则主要是由金(Au)构成;采用红外光谱和甲基衍生化-热裂解-气相色谱串联质谱技术对彩绘样品中的胶结剂成分进行检测。结果表明,金色区域的胶结剂主要是熟桐油和胶蛋白,说明其中存在着“金胶油”的传统贴金工艺;而其他红、绿、蓝、黄等彩色...     

元青花瓷器制作中的差异现象研究——由高安馆藏元青花荷叶盖罐谈起

高安市博物馆藏的两件元代青花云龙纹荷叶盖罐均出土于江西省高安市一处元代窖藏中。从出土的情况并结合两件荷叶盖罐的造型、纹饰、制作工艺诸方面情况判断,此两件器物应为元代景德镇同一窑场、同一批次制作的产品,但经仔细观察,发现它们在造型、纹饰的描绘等细节上存有一定差异。在鉴定元青花瓷器时,不能仅凭一二点现象断定其真假,而应从造型、纹饰和工艺等方面对器物做全面分析再下定论。     

Politicians,Merchants, and Colonial Maritime War: The Political and Economic Background of the American Act of 1708

During the War of the Spanish Succession (1702–13), there were attempts to support colonial maritime war by legislation, and the American Act of 1708 can be seen as their culmination. Historians who study privateering or colonial history have referred to this act in several contexts, such as reform in prize administration, naval impressment in American colonies, and Spanish‐American trade. However, the political and economic interests behind this act have not been fully investigated. By examining the process of the enactment of the American Act together with antecedent attempts to promote colonial maritime war in parliament, this article reveals the political and vested interests involved in the act, the relations between them, and the influence they had on the content of the act. This analysis will show the complex interaction between politics, trade, and colonial maritime war in the early‐18th‐century American colonies.     

长沙窑铜红釉上彩的显微分析

长沙窑创烧于唐代,是隋唐时期外销瓷的大宗。已有研究认为,长沙窑在中国瓷器发展史上有两大突出贡献,其中之一便是最早在中国制瓷史上运用铜作呈色剂在高温中成功烧制出红釉和红彩等彩瓷。本文选取长沙窑铜红彩器作为研究对象,利用X荧光光谱分析、反射光谱、岩相分析和扫描电镜等手段对该样品釉彩部分进行了成分和显微结构分析。结果表明,该样品是一件乳浊釉上施红彩的釉上彩器,釉面的乳浊效果由大颗粒分相和析晶导致的米氏散射而造成。     

河南石窟寺石雕色彩历史及现状

文章在现状调查的基础上,根据历史资料与同时期石窟寺的色彩对比,再应用X-射线衍射(XRD)、电子能谱(SEM)等分析仪器,对彩塑的制作材料及其工艺进行了分析研究,为进一步的修复材料及工艺的筛选提供科学依据.     

The Tomb of the Three Brothers in Palmyra: The Use of Mimetite,A Rare Yellow Pigment,in A Rich Decoration

The wall paintings of the Tomb of the Three Brothers in Palmyra display a very rich Greco‐Roman iconography. The study of the painting reveals the use of a great variety of pigments, including Egyptian blue and an extremely rare bright yellow pigment, mimetite, of which no other traces are known for this period. This pigment was identified through the combined use of two methods of analysis, scanning electron microscopy associated with X‐ray microanalysis (SEM–EDS) and X‐ray micro‐diffraction (XRD). The varied chromatic palette used underlines the refinement and the particular care given to these decorations. Notable differences have been found between the pigments of the decorations of the arch and those used for the rest of the chamber.     

Examination of some pigments,grounds and media from Egyptian cartonnage fragments in the Petrie Museum,University College London

A number of cartonnage fragments from the collections of the Petrie Museum, UCL, were examined to identify pigments, media and grounds. The different types of cartonnage made in ancient Egypt are reviewed. Special attention was paid to green pigments, which were shown to be of green earth, or a mixture of Egyptian blue and a yellow, usually goethite or orpiment. Green earth was found in one artefact, dated to the 9th century BC: all other examples were from the Graeco-Roman period. No copper-organometallic greens were present in the examples studied, or Egyptian green, or malachite. Binding media was identified both by ELISA and by GC/MS. A pink colourant was identified as madder, while lead white was used as a white in one example, showing the influence of Roman and Greek pigments on Egyptian art in these later periods. Plant gum, egg, and animal glue were found in different fragments, with mixed media in a few cases. Moganite was found associated with quartz in some preparatory layers by X-ray diffraction, which has not been reported previously as a constituent of ground layers in Egyptian artefacts.