明清期间景德镇祭红釉的化学组成对比研究及其科技意义

为了进一步讨论明清两代祭红釉的发展沿革,用探针型能量色散X荧光光谱技术测定了10片明永乐祭红釉和胎的化学组成,并结合已发表的相关数据,进行了对明清期间祭红釉和胎的对比研究。结果表明,明代（永乐-宣德—万历）的祭红釉相比于清代（康熙—雍正-乾隆）的R2O＋RO（wt％）平均值约低20％,RO／R2O（mol/mol）平均值约低45％,RO2／R2O2,（mol/mol）平均值约高34％。明代永乐和宣德的祭红釉胎式分布RO：（m01）值均大于5．8,而清代样品均小于5．4。明清两代祭红釉化学组成的突然变化（shift）,可能暗示明代的制釉工艺在清代已经失传,而在清代则白行发展起来。     

Preservation of old‐growth forests: a case study of Big Timber Park,Whistler, BC

This paper explores the concepts of old‐growth forests, preservation and natural disturbance and demonstrates how contemporary biogeographic theory contributes to successful preservation of old‐growth forests. The case study analyzes the composition, structure, age and growth histories of trees in Big Timber Park, Whistler, British Columbia. Composition. The structure of the forest was diverse and tree ages ranged from 122 to 305 years. The densities of large old Douglas‐fir, shade‐tolerant trees and all snags are indicative of old‐growth forests; however, maximum tree diameters and densities of large snags and logs do not meet quantitative criteria for old‐growth forests. The abundance of tree regeneration and understory vegetation are relatively low. We conclude that some aspects of Big Timber Park are transitional between the mature and old‐growth stages of forest development. In the future, fine‐scale canopy gaps caused by tree senescence and interactions among insects, pathogens and wind are expected to dominate stand dynamics. Forest structure will become increasingly complex, exemplifying the dynamic nature of old‐growth forests. To successfully preserve Big Timber Park and La préservation des forêts other old‐growth forests in Canada requires understanding of natural disturbances. Preservation and the criteria and indicators used to measure successful preservation must explicitly include elements of natural change.     

徐州地区西汉陶俑的发现及初步研究

徐州地区西汉陶俑可分为兵俑、乐舞俑、仪仗俑、侍俑四个大类。并由俱象写实向形神兼备的方向演变,其乐舞俑生动的形象栩栩如生,成为汉代陶俑的经典之作。     

Narcissus's Mirror: Manufacture and Modernism in the American Great Basin—The Case of Pottery

The commodification of pottery cannot be reduced to strict econo-technological terms. Commodification is a cultural process, enmeshed in local, regional, and international systems of meaning. As Victorian Modernism eroded, anti-modern movements commodified traditional culture. These philosophies, themselves commodities, had repercussions on the pottery industry throughout the world. In both America and Australia, these processes produced art and studio potteries. In the American Great Basin, these changes were experienced very differently by potters from different cultures. The commodification and industrialization of modern pottery factories predicated the reification of a pre-industrial artisanal past.     

One Hundred Years of Archaeology in Niger

This paper considers, under rough chronological headings, work undertaken in Niger in the past century. Sites relevant to the Pleistocene occupation of the Sahara, to the adoption of elements of a Neolithic package, to the (perhaps misleadingly late) occupation of the Sahel, to alleged metalworking 3000 years ago, and to social complexity, are described and discussed. These data carry a relevance far beyond their immediate area, and the most fruitful application of the archaeology of Niger is to be found in theoretical rethinking.     

Lapis lazuli usage for blue decoration of polychrome painted glazed pottery: a recurrent technology during the Middle Ages in Apulia (Southern Italy)

Seven fragments of atypical proto-majolica from the archaeological site of Siponto (Manfredonia, Foggia) were analysed by chemical and physical methods. All fragments have blue, brown and yellow painted decorations. Raman microscopy and Scanning Electron Microscopy–Energy Dispersed Spectroscopy (SEM–EDS) investigations identified the blue pigment to lapis lazuli. We previously identified this mineral in the blue coloration of the tin–lead glaze of proto-majolica finds at other Medieval sites in Apulia (Castel Fiorentino and Lucera). The discovery of the fragments from Siponto, in spite of their peculiar technological-decorative features, proves that the use of lapis lazuli as a ceramic pigment was not an isolated occurrence, but was quite common in the Middle Ages in the production of typologically heterogeneous ceramics in Southern Italy.     

中国古建琉璃构件“粉状锈”之病变初探

琉璃构件是中国古代建筑中不可缺少的建筑材料,具有一定的功能性和艺术性.但因其长期处于露天环境之中,会产生釉面蜕变、开裂、脱落和胎体酥粉等多种病变.为了对琉璃构件的全面保护,对洛阳山陕会馆古建群琉璃构件进行了整体调查,发现部分构件釉面产生了一层亮绿色粉状物质,与青铜器粉状锈颜色非常相似,这是一种极其特殊的病变现象.为此,用偏光显微镜、扫描电镜、电子探针及X射线衍射等分析手段对这种病变产物进行分析研究.结果表明,琉璃"粉状锈"的主要成分为PbSO4.它是大气中SO2与水分和琉璃釉面共同作用的结果.该病变的形成过程为釉面弱酸水膜的形成,釉中铅离子的溶出和铅的硫酸盐形成三大步骤.研究结果可为琉璃构件的进一步保护研究奠定基础.     

中国古建琉璃构件“粉状锈”之病变初探

琉璃构件是中国古代建筑中不可缺少的建筑材料,具有一定的功能性和艺术性。但因其长期处于露天环境之中,会产生釉面蜕变、开裂、脱落和胎体酥粉等多种病变。为了对琉璃构件的全面保护,对洛阳山陕会馆古建群琉璃构件进行了整体调查,发现部分构件釉面产生了一层亮绿色粉状物质,与青铜器粉状锈颜色非常相似,这是一种极其特殊的病变现象。为此,用偏光显微镜、扫描电镜、电子探针及X射线衍射等分析手段对这种病变产物进行分析研究。结果表明,琉璃“粉状锈”的主要成分为PbSO4。它是大气中SO2与水分和琉璃釉面共同作用的结果。该病变的形成过程为:釉面弱酸水膜的形成,釉中铅离子的溶出和铅的硫酸盐形成三大步骤。研究结果可为琉璃构件的进一步保护研究奠定基础。     

ANOTHER ONE BITES THE DUST: QUALITY CONTROL AND FIRING TECHNOLOGY IN THE PRODUCTION OF MEDIEVAL GREYWARE CERAMICS IN CATALONIA,SPAIN

The following study sheds new light on the quality control procedures of ancient potters by comparing cooking vessels exported from the medieval kiln‐site of Cabrera d'Anoia (Barcelona) with ‘wasters' that were discarded at source. The firing temperature of examined sherds indicates that only pots subjected to a maximum temperature of 800–850°C were offered for sale. The potters at Cabrera d'Anoia appear to have been fully aware of the optimal balance between thermal and physical shock resistance of vessels fired within this range and strived to control firing in order to achieve better products than that of competing workshops.     

“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。