黄铜器表面着色方法的研究

在总结古代铜器表面处理的文献基础上一通过化学成膜探讨含锌32％－36％的黄铜试样表面着色的方法,通过调整和控制试液的浓度、温度、酸度及浸泡时间的实验,确定黄铜表面栗色膜形成的最佳条件。对表面形成的粟色膜用多种实验手段进行了测定,结果表明栗色股厚度约为8μm主要组成为Cu2O。并对化学过程中形色栗色膜的机理作了初步探体     

X-ray fluorescence analysis of late Roman and Sassanian silver plate

About 200 analyses have been made on late Roman and Sassanian silver objects using energy-dispersive X-ray fluorescence. This has shown that the main feature of the composition of the silver throughout the period and across the geographical area studied was towards high fineness (average silver percentage about 95%). Compositional differences are found between Roman and Sassanian silversmiths' products for the elements copper and lead. Much of the material analysed came from hoards, and using a statistical technique on the analytical data (Discriminant Analysis) broad compositional differences between hoards were found to emerge. The use of different compositions of silver for different joined parts of a single object are discussed.     

A technological study of ancient faience from Egypt

The chemical compositions and microstructures of some 35 faience objects from Egypt spanning the period from the Middle Kingdom through to the 22nd dynasty are determined using analytical scanning electron microscopy. Replicate faience beads glazed in the laboratory using the efflorescence and cementation methods are similarly investigated. In efflorescence glazing, there appears to be preferential efflorescence of soda over potash, and in cementation glazing, preferential take up of potash over soda into the glaze. These data are then used to try to infer the raw materials and methods of glazing employed in the production of the ancient faience. The glaze/glass phases present in the faience differ significantly in composition from that of New Kingdom glass. This could be due either to the use of different plant ashes or to changes in the composition of the plant ashes during the production of faience and/or glass. Although it is only rarely possible to determine with certainty whether ancient faience was glazed by efflorescence, cementation or application, the observed microstructures provide an indication of the approach adopted to achieve desired performance characteristics such as strength.     

Identification of Green Pigment Used in Persian Wall Paintings (ad 1501–1736) Using PLM,FT–IR,SEM/EDX and GC–MS Techniques

The technique of oil painting was introduced to Iran via a cultural exchange with Europe in the Safavid period (ad 1501–1736). Since the first attempt at scientific conservation of wall paintings in Iran in the 1960s, the nature of green pigment used in Persian wall paintings has not been clear, although work on contemporary miniature paintings has identified malachite and verdigris. PLM, FT–IR, SEM/EDX, GC–MS and the study of contemporary historical treatises of the Safavid period were the main tools used in the present study to identify the green pigments in Persian (oil‐based) wall paintings. Eight samples taken from the two famous Safavid buildings, Chehel Sotoon Palace and the Sukias House in Isfahan, were analysed. Here, the identification of copper‐based pigment and of verdigris in oil as oleate amends the existing knowledge of the green pigment used in these paintings. It also suggests that oleate was introduced to Persian artists via the European influence on Persian painting as a result of cultural exchange in the Safavid period, when the technique of Persian painting changed from tempera to oil painting. However, as verdigris in oil and resin can appear as oleate over time, it is unknown whether the Persian artists did this deliberately or accidentally.     

On the Origin of the Green Colour of Archaeological Bone Artefacts of the Gallo‐Roman Period

Recent findings in the city of Reims have lead to the discovery of manufactured bone objects coloured in green throughout their entire volume. In order to discover the intentional nature of the colouration and to propose a colouration mechanism, modern ox bones have been coloured in the laboratory. Bones with a hue similar to that of the archaeological artefacts have been obtained by boiling in an acidic brine in a copper vessel. A combination of infrared spectroscopy, X‐ray diffraction and transmission electron microscope observations did not reveal the speciation of copper, but allowed us to validate the colouration process and to discuss the intentional origin of the colouration.     

中国钱币博物馆部分陈列银币、铜币的腐蚀产物及成因研究

为探讨部分陈列银币、铜币腐蚀产物及其成因,采用三维视频显微镜、扫描电镜-能谱(SEM-EDS)、X射线荧光(XRF)、X射线衍射(XRD)等方法,对中国钱币博物馆部分遭受腐蚀的展陈钱币的腐蚀产物进行了分析,并通过红外光谱(FT-IR)对展陈材料进行了分析,最后对硫的来源进行了初步分析。结果表明,银币和铜币的腐蚀产物均含有硫化物,银币(银铤)的腐蚀产物为硫化银,铜币的腐蚀产物中主要为铜的硫化物,此外还含有铜的氧化物。经分析,展柜中的黏合剂氯丁胶在光照和较高温湿度条件下能分解并释放出硫化氢气体,因而初步判断银币或铜币的腐蚀产物是由于展柜内材料产生的硫化氢与银币或铜币反应生成。     

上海博物馆书画陈列馆环境监测与治理

为了全面了解上海博物馆书画陈列馆陈列空气环境现状,对它进行了氮氧化物、二氧化硫、臭氧的检测,得出了氮氧化物是主要污染源。为此用氮氧化物自动测定仪、铜银试片法、On guard2000对此进行了较长时间的监测,在监测数据分析的基础上确定了治理方案,并已在实施。     

铜离子对纸张的腐蚀降解作用综述

绿色含铜颜料是书籍和艺术品中重要的着色物质,一些含铜化合物颜料例如铜绿,随着时间的推移,自身会发生明显褪色,随之引发载体纸张材料的损坏,腐蚀降解纸张。铜离子与纤维素间反应机理是氧化、催化、酸化水解和光化学作用等复杂反应机理的综合,对损伤后纸张的保护修复要在了解腐蚀机理的基础上运用去酸或者络合金属离子等缓蚀方法处理。结合国内外文献和现有研究工作对此进行了梳理和综述,提出了6点今后值得进一步研究的方向。希望该综述能为纸质文物保护工作者开展相关研究时提供思路和借鉴。     

东汉铜镜和画像石的图像比较

东汉时期的铜镜和画像石是两种不同质地、不同用途,分别处在阴阳两间的文物资料,然而,两者却有着相同的图案装饰,其创作设计的出发点都是为人生服务的。     

Emergence,collapse and continuity of the first political system in the Guadalquivir Basin from the fourth to the second millennium BC: The long-term sequence of Úbeda (Spain)

Over the last decade, a long-running archaeological project in the Guadalquivir Basin (Spain) has identified the emergence (c. 3000 BC) and collapse (between c. 2500 and c. 2300 BC) of a regional inter-settlement hierarchical system centred on the south-western Pyrite Belt and the Lower Guadalquivir Basin.