中国北方干燥地区出土漆器漆皮回软方法研究

通过试验比较,以水、乙醇和丙三醇作为中国古代北方干燥地区出土漆器漆皮的回软修复材料,取得了很好的实际效果。回软剂主要以氢键作用与漆膜中漆酚的酚羟基结合,改善漆膜的可塑性,减少了漆膜外层与内层之间的收缩应力,使漆皮易于挠曲和展平。此方法的试验成功为出土漆器干燥漆皮的回复提供了可供使用的回软方法与材料。     

Prestigious Afanasyevo Wooden Metal-bound Ware from the Sayan-altai

Metal plates, which probably decorated wooden vessels from Afanasyevo burials, are described. The plates bear punched designs and were clearly related to female symbolism, implying that they were probably used for ritual purposes. Their expansive distribution area from the lower Katun in Gorny Altai to the middle Yenisei in Khakassia points to the similarity between the two local variants of the Afanasyevo culture across the Altai-Sayan region. These vessels might have marked the high social status of the women in whose graves they were placed.     

探索明代鋄金熏炉的工艺

以无损的科学分析方法研究3件明宣德年制的鋄金熏炉,以解释明代时期的工艺特色。研究方法包括利用X射线荧光光谱仪和扫描电镜/能谱测定铁体和鋄金的成分,反射光显微镜深入观察铁器表面网纹坑的分布,密度和深度。以红外光谱仪检测得出熏炉的表面褐色涂料为传统的大漆。以探索当中3件熏炉工艺的异同,讨论技术上的改良变化为器物带来的好坏处。     

饱水平整漆膜保护方法在风篷岭汉墓出土漆器中的应用

漆器是研究古文化的实物资料,多有精美纹饰和铭文,但考古发掘出土的漆器多有饱水、糟朽和变形等病害,甚至胎体完全腐蚀,仅剩漆膜,且无法复原。在研究前人对漆膜保护的基础上,提出一种平整漆膜的保护方法,整形脱水后以棉纸为背衬、虫胶漆为粘接剂粘接漆膜,再用镶嵌磁铁的有机玻璃板夹住固定。成功保护了长沙风篷岭汉墓出土的60余件漆膜,为今后研究漆膜的保护修复方法提供参考作用。     

西安地区出土玉器述要

西安地区早在新石器时代仰韶文化时期就已出现玉器,汉唐时期这里还成为全国的主要玉器加工和贸易中心.西安地区秦以前玉器在造型和纹饰上有着明显的"秦式"特征,地域风格鲜明.秦汉隋唐时期各地玉器风格趋同.五代以后,当地制玉业衰落,现在西安地区所能见到的此期玉器,出土的很少,传世的相对较多,且多为东部地区加工制作的.     

赤铁矿及孔雀石对桐油和大漆老化性能的影响

本文以在古代壁画中广泛使用的大漆和桐油粘合剂为分析研究对象,以赤铁矿和孔雀石为颜料,采用傅立叶变换红外光谱（FT-IR）和示差扫描量热（DSC）分析方法,研究了赤铁矿和孔雀石两种颜料对大漆和桐油老化性能的影响。研究结果表明,桐油比大漆的耐老化性能好,赤铁矿和孔雀石加快了桐油老化速度,而且赤铁矿的催化老化效果更突出。赤铁矿加快了大漆的老化,但孔雀石对大漆老化的影响不明显。     

Provenance of Qingbai wares from Shabian kiln archaeological site in the Northern Song dynasty (960–1127 ce) using XRF and LA-ICP-MS*

In order to discuss the exact provenance of the Qingbai wares discovered at Shabian archaeological site in Guangzhou, which had a similar appearance to Jingdezhen Qingbai ware, we analysed both the body and glaze of the Qingbai wares from the Shabian kiln site and those from other related kilns, including Hutian in Jingdezhen, Xicun in Guangzhou and Chaozhou of Guangdong, by using micro-X-ray fluorescence (μ-XRF) and laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS). Based on the analyses, we found that both bodies and glaze of the Qingbai wares in Shabian had the characteristics of a low abundance of rare earth elements (REE), strong negative Eu anomalies, and remarkably low Nb/Ta and Zr/Hf ratios, which was consistent with those from Hutian kiln in Jingdezhen, Jiangxi province. We also found that the glaze of Qingbai ware from different kilns also had its provenance characteristic in the concentration of the trace elements, and the change of the REE pattern between glaze and its corresponding bodies in Qingbai wares might provide some clue about the types and source of flux. In addition, the lower Nb/Ta and Zr/Hf ratios in both the bodies and glaze of Jingdezhen Qingbai wares were attributed to the chemical characteristics of the local granite.     

Chemical analysis of white porcelains from the Ding Kiln site, Hebei Province, China

The Ding kilns were some of the most famous early kilns of medieval China, producing huge quantities of white and cream-white porcelains of outstanding technical and aesthetic quality. Since 1949 they have been excavated three times, in 1965, in 1987, and in 2009 respectively. In this latest study 69 white porcelain sherds from assured contexts and from the 2009 excavations were analyzed using laser ablation techniques (ICP-AES). The samples date from Five Dynasties, Northern Song and Jin Dynasties respectively (early 10^th to early 13^th C CE). The results show that Ding wares of different times show different characteristics that can be demonstrated through chemical composition. During the early phase of production the Ding ware bodies consisted largely of high firing kaolinitic clays with predominantly calcareous materials as fluxes. After the early Northern Song Dynasty, some calcareous material was replaced by a more potassic material. The compositions of the glazes show a parallel evolution to the bodies. However, because the glazes are very low in titania it seems unlikely that the main clay ingredients of the bodies could have been used in the glaze recipes. For much of the kiln site’s history the glazes appear to have been made mainly from the same siliceous flux-rich materials that had been blended with the main body-clays used to make the Ding ware porcelains, plus some extra calcareous material. The P₂O₅ contents of the glazes suggest that wood ash may have been one source of CaO in the glaze recipes.