激光清洗技术在一件汉代彩绘女陶俑保护修复中的应用

文物清洗是文物修复中极为重要的一环。针对质地疏松、时代久远、埋藏环境较为复杂的出土陶器,表面清洗是一种较大的挑战。本次清洗的对象是馆藏的汉代彩绘女陶俑,陶俑身上遍布黑斑,严重影响了其观赏价值。为有效清除表面黑斑,尝试运用激光清洗技术进行清洗工作。确定采用LQS模式下,输出能量为150m J,频率为3Hz的系统光学参数,并选择光斑直径在3~4mm的范围,用激光垂直照射液膜法进行清洗。结果发现部分区域清洗效果较好,而部分区域清洗效果一般。造成不同效果的原因,主要在于黑色污染物与基底之间的关系以及激光能量的选择。实验结果证明,激光清洗陶器表面的黑斑是可行的,与此同时也可以结合不同的清洗方法来达到最佳的清洗效果。     

中国佛教世俗化表现及原因探析

作为一种文化现象,佛教具有其自身的特点。但在佛教扎根中国的过程中,随着佛教与中国本土文化的日益融合,佛教愈来愈多地打上了中国传统文化的印记,而佛教原始教义里的一些本质的东西也随之消失或变更,比如佛教的戒律,佛教关于人与人之间以及人与世界宇宙之间的关系,人的价值观等等。实际上产生了一种与原始佛教完全不同的中国式佛教,这种中国式佛教的最大特点就是以功利主义为核心的世俗化。     

Western technical traditions of pottery making in Tang Dynasty China: chemical evidence from the Liquanfang Kiln site,Xi'an city

This study is based on the SEM-EDS and LA-ICP-AES analyses of a sample of twenty-nine Tang sancai sherds unearthed from the Liquanfang site, Xi'an city. The results indicate that ceramics with yellowish bodies are calcareous and those with red bodies were made of ferruginous clays. The use of calcareous clay in Tang sancai bodies is otherwise unknown in Chinese history, which suggests that the technique of Tang sancai making at this site might have been influenced by ceramic technology from the Near East or Central Asia. The paper therefore argues that the traditional approach of treating calcareous clay as the main characteristic of pottery made in the ancient Near East or Central Asia is not necessarily accurate. It is likely that some calcareous Tang sancai ceramics were made in the capital city of the Tang dynasty.     

渭河流域老官台文化的分期研究

The Laoguantai Culture is used to describe the archaeological remains distributed in the Wei and Han River Valley during the Middle Neolithic Period. This article is mainly dealing with the chronological sequence of the Laoguantai Cul- ture in the Wei River Valley. Based on the stratigraphical relationships and the characteristics of ceramics, the author subdivides the archaeological remains into two major periods and five phases, and generalizes the chronological idiosyncrasies of the Laoguantai Culture. This paper then lies down a solid foundation for the studies of settlement, demography and teelmology during the Middle Neolithic Period.     

宜兴陶业文化遗产及其当代意义辨识

以宜兴为中国陶业经济文化典型,从社会文化学和遗产学角度,对其6000年陶业生产活动进行分析梳理和分期归纳,从中提炼出宜兴陶业文化遗产的重要概念;陶业文化遗产对当代宜兴甚而中国社会可持续发展,以及振兴宜兴和中国陶业经济文化有着重要作用与意义。     

江苏宜兴西溪遗址发掘纪要

骆驼墩遗址位于太湖西部山地向平原过渡地带,其早期文化遗存以平底陶釜为主要特征,代表了太湖西部地区马家浜文化时期的一个新的文化类型。发掘中发现了马家浜文化时期的大型聚落遗址,崧泽文化时期、良渚文化时期的墓葬、灰坑等,以及广富林文化时期的灰坑,共出土陶器、石器、骨器、玉器等约400件,以及各类动物骨骼标本约2000件。发掘者建议将以骆驼墩早期文化遗存为代表的、以平底釜为主要特征的考古学文化遗存,命名为骆驼墩文化。     

杏花文化的侧装双鋬手陶鬲

侧装双手陶鬲是龙山时代分布于太行山脉两侧的杏花文化最具特征的标识性器物。据侧装双手陶鬲的形态变异及其层位关系,可排出其形态的演变序列。侧装双手陶鬲的制作工艺也相应地基本上经历了两个相继发展的阶段:前一阶段是受陶影响而产生的“式鬲”,由分制的鬲足和鬲身整合成全器,因鬲足的接法不同而形成宽弧裆和平裆;后一阶段才是真正意义的鬲,即抛弃鬲身靠鬲足的联接形成全器主体,并形成尖角裆。此型鬲工艺演变表明:工艺革命只是工艺演进的量的积累到一定程度出现的质变。它虽是变革传统,但它的发展速度、方向,又受传统以及传统中的矛盾逻辑地向前展现的轨迹或定式所影响乃至制约。没有革新与革命,就不能打破传统,然而传统确是伴随革新或革命的影子。这在纯粹的工艺中,则仅是惯性或为惰性思维,但工艺却是社会中的工艺,则又不能不涉及社会中不同人们的不同观念乃至利害矛盾以至冲突,甚至激起一部分人站出来捍卫祖法、保持传统的说教与斗争。这种陶鬲的排序,分别适用于岔沟、双务都、乔家沟和游邀、临水与杏花村诸遗址的杏花文化分期或文化阶段划分。这种陶鬲的谱系研究表明,杏花文化是一自具特征、演变清晰、源流有自,并对其周边地区产生了重要文化影响和起了重要作用的考古学文化。     

出土陶器现场保护研究的现状

对出土陶器的现场保护,主要包括出土陶器的提取方法和技术,对酥脆陶器和彩绘陶器的预加固处理,简单的清洗及运输中的保护与缓冲包装技术.     

究竟应当以怎样的历史观指导我们的研究——兼与蒋大椿教授讨论

以真理性的历史观念指导我们的研究,是一个极其重要的问题;而且,由于长期以来教条主义统治了我们的历史研究,因此,一个真实而且正确的历史观乃是非常必要的.本文认为:马克思主义的历史观即"唯物史观",不仅可以质疑而且可以批评.但是,这种质疑和批评必须是建立在理解乃至超越的基础之上的,否则,所有相关的讨论也就可能只是在前马克思的水平之下进行的.     

Technological features of Apulian red figured pottery

Apulian red figured pottery samples, dating back to the 5th and 4th centuries BC, from the archaeological site of Monte Sannace (Gioia del Colle, Bari, Italy) have been characterized from the physical–chemical, mineralogical and morphological points of view. Scanning electron microscopy, X-ray diffraction and atomic spectroscopy investigations have been carried out on the ceramic body, red decorated area and black gloss of the fragments, with the aim of outlining the technological features and of defining the nature of coatings and decorations. All 5th century fragments show the same features: fine texture of the ceramic body, red figures saved from the ceramic paste and black gloss painted directly on the ceramic body. The statistical treatment of compositional data of ceramic bodies excludes the local production of these objects. As regards the 4th century fragments, some show similar features to the 5th century ones; however others are characterized by the coarse texture of their ceramic body and an intermediate red layer of finer clay between the black gloss and the ceramic body. The analytical results make it possible to distinguish two different production technologies of red figured Apulian vases in Monte Sannace during the 4th century BC. Certain vases were produced using the “classic” Attic technology and others with a different technique, not previously known, which involved the application of a red engobe layer on the clay paste, before the black gloss painting.