摩崖石刻危岩加固所用水泥类灌浆材料的评价研究

水泥在历史建筑保护中使用一直存在很大争议,主要表现为强度过高、与建筑物本体相容性差、易析盐,以及有碍于体现建筑物的历史价值。很多早期的加固案例也显示出它的种种弊端。但是,水泥作为摩崖石刻等危岩体的加固材料,在我国依然有不少应用。目前,对于这类加固灌浆材料的的问题很少研究,对相关弊病缺乏评价,因此也难以提出改进措施。为此,本研究通过对不同种类水泥以及不同添加剂改性的水泥灌浆材料的工作性能、力学性能以及离子溶出性进行了研究,以探讨水泥类灌浆材料用于摩崖石刻危岩加固的适宜性。结果显示,添加有机硅在不影响水泥浆工作性能和强度的情况下,可以有效抑制水泥中可溶性离子的析出;超细水泥在强度、抗析盐和防水性能上比普通水泥具有一定优势,但发现市售超细水泥中CaSO_4含量较高,导致SO_4~(2-)析出量较大。若摩崖石刻危岩加固需要使用水泥砂浆灌浆,建议选用CaSO_4含量低的超细水泥,添加适量有机硅,并通过进一步实验获得离子溶出量较低的最佳配方。本研究成果可为未来灌浆加固材料选择提供借鉴。     

Variability and sampling strategy of cave wall concretion: Case study of the moonmilk found in Leye Cave (Dordogne)

Cave Art is a fragile testimony of past human societies and the development of modern behaviours. In limestone caves, moonmilk commonly endanger the artworks. It is a calcite deposit with a large variability of chemical composition and morphological structures and it hosts numerous microbial communities. The possibility to characterize this deposit in the field would aid in a better understanding of cave behaviour and allow the setting up of proper conservation measures. The present study analyses the variability of a moonmilk strip of metric size in Leye Cave in the Vézère Valley (Dordogne, France). The cave was not ornate and was selected as a laboratory cave in which in‐situ observations and micro‐sampling could be carried out, before they were performed in cavities hosting parietal artworks. Scanning electron microscope (SEM) observations of 24 samples allowed, for the first time, an investigation of the variability of moonmilk deposits over the same wall of a few metres dimension. The observations highlighted the low variability of the moonmilk at the microscopic scale when regarding the chemical composition and morphological structures, despite significant macroscopic diversity, thus providing insights into how to optimize the sampling strategy of moonmilk in ornate caves.     

Cultural actors as agents of generating social co-presences within the place: Istanbul’s contemporary art scene

This paper builds on the designation of cultural actors’ actions as a decisive factor in the emergence of urban patterns of art-driven social co-presences in Istanbul. It contributes to the creative city debate from the perspective of community development by incorporating the contemporary arts into urban social space making efforts. Methodologically, the locations of art organizations in the contemporary arts scene of Istanbul are approached as an urban pattern of art driven social co-presences that resulted from the ‘collective action’ in which a multitude of cultural actors are involved. We find that the clusters of art organizations serve as multidimensional social interactions among artist communities. There are, however, inefficiencies in spreading this interactive networking throughout different social segments. Research findings conclude that the cultural actors as agents of generating social co-presences within the place, are not effectively contributing to the society’s social coherence, particularly in terms of creating links with disadvantageous neighbourhood residents.     

艺术品市场疲软是江苏文化大省的“软肋”

江苏因文化艺术资源丰富而被誉为文化大省,但江苏艺术品市场却相对疲软和欠发达,这已经成为江苏文化大省的一根“软肋”。艺术品产业作为文化产业的高端部分,需要江苏省全力去打造江苏艺术品市场,从北到南分区成立艺术品市场板块,然后系统有机地联合各板块市场共创江苏艺术品市场品牌,不仅具备深厚的文化艺术基础,而且具有江苏特色和切实可行性。     

The Upper Paleolithic Rock Art of Iberia

Nearly 200 rock art sites of Upper Paleolithic age are currently known on the Iberian Peninsula, in both caves and the open air. Over half are still concentrated in Cantabrian Spain and they span the period between c. 30–11 kya, but–tracking the course of human demography in this geographically circumscribed region–many of the images were probably painted or engraved during the Solutrean and, especially, Magdalenian. Dramatic discoveries and dating projects have significantly expanded the Iberian rock art record both geographically and temporally in recent years, in close coincidence with the growth of contemporaneous archeological evidence: cave art loci in Aragón and Levante attributable to the Solutrean and Magdalenian, many cave art sites and a few open-air ones in Andalucía and Extremadura that are mostly Solutrean (in line with evidence of a major Last Glacial Maximum human refugium in southern Spain), the spectacular Côa Valley open-air complex in northern Portugal (together with a growing number of other such loci and one cave) that was probably created during the Gravettian-Magdalenian periods, and a modest, but important increase in proven cave and open-air sites in the high, north-central interior of Spain that are probably Solutrean and/or Magdalenian. Despite regional variations in decorated surfaces, themes, techniques and styles, there are broad (and sometimes very specific) pan-Iberian similarities (as well as ones with the Upper Paleolithic art of southern France) that are indicative of widespread human contacts and shared systems of symbols and beliefs during the late Last Glacial. As this Ice Age world and the forms of social relationships and ideologies that helped human groups survive in it came to an end, so too did the decoration of caves, rockshelters and outcrops, although in some regions other styles of rock art would return under very different conditions of human existence.     

A discussion of rock carvings in Ra’s al Khaimah Emirate,UAE, and Musandam province,Sultanate of Oman,using local considerations

Conversations about various examples of rock carvings with interested local tribespeople across the study region revealed information about the different loci of carvings; subject matter and techniques; and the identities of possible carvers. It was possible to place sorts of rock carvings in specific cultural contexts and in long‐standing traditions across the peninsula. Rock carvers, in most cases, were either immature tribal members or male adults from outside Arab tribal society.     

民俗类博物馆与非物质文化遗产展示

本文结合河南省安阳市民间艺术博物馆近年来的工作实践,就当下非遗保护展示在综合类博物馆中展示位置日益靠前的普遍现象,论述民俗类博物馆在非遗保护、研究、收藏、尤其是展示中应该发挥的重要作用.     

Characterization and origin of black and red Magdalenian pigments from Grottes de la Garenne (Vallée moyenne de la Creuse-France): a mineralogical and geochemical approach of the study of prehistorical paintings

Pigments sampled from wall paintings and from crayons taken on the floor, at the Grottes de la Garenne (Saint-Marcel – Indre, France) have been analyzed and characterized by infrared spectroscopy, Raman micro-spectroscopy, X-ray diffraction, ICP/MS and analytical TEM. The red pigment used for the wall paintings is mainly composed by hematite, clays, carbon matter and carbonates. Results on the red pigments show that the compositions of the paintings are similar to that of some crayons. Regarding these analyses, their origin is compatible with local siderolithic facieses. Analysis of black pigments shows that they are made of cryptomelane, pyrolusite, clays, carbonates and carbon matter. It shows also that paintings and some crayons compositions are compatible. On the contrary of red pigments, the origin of black pigments is probably allochtonous. Indeed, the traces of thallium detected in cryptomelane, the cerium anomaly and the absence of iron are not compatible with local facieses or other sites from the French Massif Central.     

New tools for rock art modelling: automated sensor integration in Pindal Cave

This paper presents the integration of automated sensors based on a terrestrial laser scanner and an amateur digital camera with the aim of generating a photorealistic three-dimensional (3D) model of the Principal Panel in Pindal Cave (Spain). The approach developed for 3D modelling overcomes many of the problems related to the independent implementation of photogrammetry and laser scanning. Particularly, a sequential and hierarchical approach was developed based on the processing and matching of images from the camera (camera image) and the laser scanner (range image). The results obtained demonstrate that the workflow for this model is automatic, effective, and accurate. The presented approach was found to create hyper-realistic models, even improving upon human visual capabilities.     

High‐resolution geospatial surveying techniques provide new insights into rock‐art landscapes at Shuwaymis,Saudi Arabia

Many parts of the Arabian Peninsula contain rock art that has received minimal archaeological attention or has not yet been thoroughly surveyed. In 2001 an extensive rock‐art complex called Shuwaymis, Ha'il Province, Saudi Arabia was brought to the attention of the Saudi General Commission for Tourism and Antiquities. This paper sets out the results of the first high‐resolution geospatial mapping and recording of rock art at this remote site. The research saw the innovative use of a differential GPS to record rock‐art panels to within 5 mm of accuracy at the site of Shuwaymis‐2, the first time that such technology has been used to record rock art in the Arabian Peninsula. With such technology it was possible to show which of eighty‐three late prehistoric rock‐art panels surveyed were in their original position and which had fallen, and to demonstrate that there was spatial homogeneity of rock‐art styles and composition across the site. The mapping recorded multiple panels of cattle, ibex, equid, large cat and other animals. The depictions of lions and cattle in particular indicate that the rock art must have been engraved no later than the early Holocene humid phase (c.10–6 ka BP).