阳高云林寺彩塑制作工艺与材料研究

在对阳高云林寺彩塑现场调查的基础上，利用X射线荧光分析、X射线衍射分析、扫描电子显微镜(SEM)及能谱分析(EDS)、显微共聚焦激光拉曼光谱分析等方法对颜料的化学成分进行了分析。研究发现云林寺彩塑是遵循传统工艺制作的，同时也有裱纸、颜料混合使用、拨金等个性之处。颜料方面，红色使用了铅丹、朱砂和铁红三种，绿色颜料为巴黎绿和碱式氯化铜两种，蓝色见有蓝铜矿和群青两种，黑色为炭黑。本研究比较全面地揭示了云林寺大雄宝殿彩塑制作工艺和使用材料的情况，丰富了对古代彩塑制作工艺和材料的认识，为保护修复实施奠定了基础。     

Reassessing the Age,Sex and Metric Variation of Commingled Human Remains from a 1911 Excavation of a Neolithic Passage Tomb Complex in North‐West Ireland

The Neolithic passage tomb complex at Carrowkeel, County Sligo, Ireland, is one of the best preserved and most significant megalithic funerary and ritual landscapes in Europe. The most substantial archaeological excavations at the complex were undertaken in 1911, from which a relatively large sample of commingled unburnt and cremated human remains from seven chambered passage tombs was recovered. Although the archaeological value of this material is reduced as its spatial and stratigraphic context is uncertain, the skeletal remains have the potential to provide insights into how these monuments were used. This study is a quantitative reassessment of that osteological material from the passage tombs excavated in 1911, with a focus on a contextual analysis of the remains. Overall, the age‐at‐death and sex ratios do not indicate any demographic differentiation between monuments in selecting locations for the deposition of bodies, and there is no clear evidence to suggest any selectiveness of certain skeletal elements took place. There may however have been a differentiating age and gender aspect in terms of the unburnt versus cremated bone surface depositions within the passage tombs, as a higher proportion of 5+ years non‐adults and adult females were present in the cremated material. By using the log‐ratio metric scaling technique on the cremated adult material, a statistically significant difference in skeletal dimensions is observed between individual passage tombs; however, it is unclear how significant this disparity is from a biocultural point of view. Despite apparent methodological difficulties in assessing an archaeological bone assemblage collected by early 20th‐century antiquarians, the material can still yield new knowledge about the rituals conducted at Carrowkeel. Copyright © 2016 John Wiley & Sons, Ltd.     

一对青花云龙纹象耳瓶热释光年代测定报告

应用前剂量饱和指数法对两件青花云龙纹象耳瓶瓷器作了热释光年代测定,得到这两件瓷器的烧制年代均小于距今100年,否定了成份分析法得到的这两件瓷器系元代真品的错误结论。     

湖南出土战国时期蜻蜓眼玻璃珠的科学研究

利用便携式能量色散型X射线荧光光谱仪和三维数字显微系统,对湖南出土的11颗战国时期典型的蜻蜓眼玻璃珠进行科学分析。基于获取的蜻蜓眼珠化学成分、表面和断面显微形貌等相关信息,确定了这批蜻蜓眼玻璃珠的成分体系、制作工艺和产地来源。研究结果表明:3颗蜻蜓眼玻璃珠属于泡碱型钠钙玻璃,1颗扁平蜻蜓眼玻璃珠为植物灰钠钙玻璃,均可能产自埃及或东地中海地区；3颗蜻蜓眼玻璃珠属于铅钡玻璃,还有4颗为钾钙玻璃,皆为战国时期典型的中国本土玻璃,应为楚国本地制作。这11颗蜻蜓眼玻璃珠均采用层叠镶嵌工艺,先制作珠体,然后再用不同玻璃条或片在未完全凝固的状态下进行镶嵌而成。     

Presencing the divine: religion and technology in the Latin West

ABSTRACT

For over a millennium, Catholic and Protestant traditions have deployed technologies to address the central paradox of the Christian faith: God’s absence after Easter. The following essay brings together scholarship on religious technics in the Christian Latin West during the medieval and early modern periods with a focus on the performance of presence. Medieval actors utilized an array of techniques, instruments, and contraptions to manifest the divine power present in holy matter. The movement of artifacts and people across medieval and early modern horizons mobilized and multiplied the effects of sacred proximity. The Society of Jesus’ emphasis on sensuality in worship and spectacle linked older forms of ritual piety with routinized religion. The shift from a predominantly Christian to modern culture in the West did not terminate organized religion’s close association with technology, but extended the experience of spiritual presence in the West through industrial and post-industrial, digital means.     

Sonic Tomography for Masonry Walls Characterization

ABSTRACT

Nowadays, Sonic Pulse Velocity tests (SPV tests) are widely applied for detecting the morphology, hidden defects, and voids within structural elements. This technique, largely applied because non invasive and easy to perform, reveals particularly adapt in the case of ancient buildings, where usually any damage is not tolerated due to the historical preservation requirements. Moreover, recently the SPV tests have been also applied with tomography technology to obtain images of sonic speeds from which it is possible to rapidly reconstruct the internal elements morphology.

In this article, the results of some SPV tomographies regarding masonry elements are presented. The tests are carried out with the aim of establishing consistency and accuracy of this technique in determining the morphology of the investigated elements. The influence of investigation points number and noise smoothing is taken into account, too. At first, the results of a tomography derived from synthetic data of an ideal section are shown. Then, the SPV tomographies of some masonry specimens and of elements sections of a real case study are illustrated and compared among them.     

壁画酥碱病害研究概述

酥碱病害是壁画最为严重的病害之一,被称为壁画的“癌症”。因其受诸多因素的影响,使得病害产生机理复杂、修复材料匮乏和修复方法难度大等问题,严重制约着酥碱病害的修复与防治。本文系统梳理酥碱病害的成因、病害机理、加固材料、地仗修补材料,以及针对不同盐霜的保护修复方法的研究成果,客观评价酥碱壁画修复过程中的经验和教训,为古代壁画酥碱病害的防治与修复提供系统的技术参考和实践借鉴。     

故宫博物院藏“铜镀金嵌石花觚”的修复研究

故宫博物院收藏的铜镀金嵌石五供仅有一套，造型优美，工艺精湛，但其中的一对花觚伤况严重，缺失大量嵌件。修复前，采用X射线CT扫描仪、激光拉曼、X射线荧光光谱仪和红外光谱等方法对花觚结构、嵌件材质和粘接材料进行了检测分析。分析表明，花觚以清宫失传“粘蜡胶”为粘接材料，使用的绿色嵌件为绿松石，靛蓝色嵌件是以钴为着色剂、铅为助熔剂的钾钙玻璃。修复时，结合检测结果选用了传统“粘蜡胶”的现代替代品、绿松石和无铅钴蓝玻璃作为修复材料。同时以“精细分区”“先集中-再慢雕”的方式，准确快捷、有序地完成了700余件嵌件的复原补配。本工作可为大型镶嵌类文物修复提供典型案例。     

Salt Production of Late Imperial China in the Upper Three Gorges Region: A Case Study of the Zhongjingba Site in Chongqing

This article aims to improve the understanding of salt production in the upper Three Gorges region, based on archaeological investigation and excavation of salt-production sites in Yushan, Pengshui County, Chongqing. This article introduces the features of salt sources and the types and dates of the salt wells in Yushan, and investigates the local brine transportation and salt-making techniques. The Zhongjingba site is a large salt-making site with well-preserved remains of production and support facilities dating from the 18th and 19th centuries. Large numbers of evaporation furnaces, brine tanks, and working pits have been excavated and revealed a complete process of producing salt. Analysis of historical documents and the excavated remnants has allowed the reconstruction of the po lu yin zao salt-making process (which, in Chinese, means to splash brine onto the evaporation furnace), the first archaeological evidence of this technique; the management, output capacity, and sales area of the ancient salt production in Yushan are also discussed.