甘肃糟朽木器安全状况评估技术研究

甘肃木器代表了我国汉代雕刻技艺的最高水平。糟朽是甘肃木器的典型特征,通常纤维素降解度高达50%;甘肃木器因材质固有的木材属性及缺陷性,对环境中的湿度、湿气和水分较为敏感,容易引发“湿胀干缩”效应,致使器物后期不易保存、保护。如何对糟朽木器安全状况进行科学评估,是当前基础研究领域亟待解决的课题。针对目前评估技术中存在的弊端、难题,本研究通过对评估方法、方式的深刻剖析,对木材材质特征及属性分析,对衡量及表征材质形态与结构变化相关物理参数的梳理;应用现代分析仪器及其成熟分析技术对采集试样进行了形貌观察和测试数据分析;研究表明:胎木含水率作为影响糟朽木器结构与形态稳定的决定因素,是安全评估的唯一衡量指标;胎木容重值、纤维结晶度与纤维降解度作为材质物理化学性能综合考量的表征参数,均客观地反映了材质质量或状况的实际变化情况,可作为量化评估参考指标;确定胎木含水率的安全变化范围为9.3%~14.3%,安全波动幅度为±5%。依据上述结果,制定了糟朽木器安全评估的相关界定标准:1)胎木含水率在安全范围、幅度内波动、变化时,表征参数物理量变化轻微,器物则处于安全区;2)胎木含水率超出安全范围变化时,且波动频率频繁,往往会持续引起容重值变小、纤维结晶度降低、纤维降解度增大,造成胎木的形态与结构发生严重改变,致使器物处于危险区;3)胎木丧失维持自身平衡效应的能力,致使表征参数物理量变化值极度异常,尤其当胎木素含量达到85%时,纤维素几乎完全降解,器物则已处于濒危区。最后,综合、梳理分析结果,设计、创建了科学、规范的糟朽木器安全评估技术构架,该技术采用定量与定性相结合的方式,特点是重数据、重证据,提升、强化了科技含量,方法简单、实用,易于掌握。     

Metapodial asymmetry in draft cattle

Traction work by oxen has been well documented in various pictorial and written sources throughout human history. Analysis of metapodial dimensions has been carried out with the aim of quantifying asymmetry related to sexual dimorphism, body size and possibly heavy duty traction work. A modern reference sample of 103 animals from Hungary and Rumania has been used for this purpose. Bone measurements were correlated with bone density and morphological characteristics in order to make the results applicable for the identification of remains from draft cattle in archaeozoological assemblages. Asymmetry is more pronounced in the thoracic extremity and metacarpals of older or heavier animals, sometimes showing excessive widening of the third, medial ray within the fused bone. Relative broadening is also intensive in the distal end of medial metatarsals of cows and oxen. The bone mineral content of the medial carpal region attains mature density first. The weight of phalanges increases for a longer time in the laterally located toes.     

Anatomy,behavior, and modern human origins

The fossil record suggests that modern human morphology evolved in Africa between 150,000 and 50,000 years ago, when the sole inhabitants of Eurasia were the Neanderthals and other equally nonmodern people. However, the earliest modern or near-modern Africans were behaviorally (archaeologically) indistinguishable from their nonmodern, Eurasian contemporaries, and it was only around 50,000-40,000 years ago that a major behavioral difference developed. Archaeological indications of this difference include the oldest indisputable ornaments (or art broadly understood); the oldest evidence for routine use of bone, ivory, and shell to produce formal (standardized) artifacts; greatly accelerated variation in stone artifact assemblages through time and space; and hunting-gathering innovations that promoted significantly larger populations. As a complex, the novel traits imply fully modern cognitive and communicative abilities, or more succinctly, the fully modern capacity for Culture. The competitive advantage of this capacity is obvious, and preliminary dates suggest that it appeared in Africa about 50,000 years ago and then successively in western Asia, eastern Europe, and western Europe, in keeping with an African origin. Arguably, the development of modern behavior depended on a neural change broadly like those that accompanied yet earlier archaeologically detectable behavioral advances. This explanation is problematic, however, because the putative change was in brain organization, not size, and fossil skulls provide little or no secure evidence for brain structure. Other potential objections to a neural advance in Africa 50,000-40,000 years ago or to the wider Out-of-Africa hypothesis, include archaeological evidence (1) that some Neanderthals were actually capable of fully modern behavior and (2) that some Africans were behaviorally modern more than 90,000 years ago.     

Forbidden Images: Rock Paintings and the Nyau Secret Society of Central Malaŵi and Eastern Zambia

This paper examines the rock art of the nyau secret society of eastern Zambia and central Malai. The art dates principally from the nineteenth and early twentieth centuries. It has been known to researchers since the 1970s but has given up few of its secrets. I examine the questions of why the art was made and why the tradition ceased. Key to answering these is the realization that the art belonged to a specific historical and geographic context: the era and area where nyau was forced to become an underground movement because of its suppression by Ngoni invaders, missions, and the later colonial government. The art provides us with detailed insights into the way nyau has served in the process of overcoming and manipulating the traumatic social changes faced by Chea society in the last few centuries.Cet article examine l'art rupestre de la société secrète de nyau au est du Zambia et Malai centrale. L'art date principalement aux dix-neuvième et bas vingtième siècles. Recherchers ont su l'art depuis les années soixante-dix, mais ils ont appris peu de ses secrets. J'examine les questions de pourquoi l'art était fabriquer et pourquoi la tradition a cessé. Pour résoudre ces questions c'est important à réaliser que l'art était à sa place dans un milieu spécifique d'histoire et géographie: au temps et place où nyau était forcer à devenir un mouvement clandestin à cause de sa répression par les envahisseurs Ngoni, les missions et, plus tard, le gouvernement colonial. L'art nous donne les aperçus détaillé sur comment nyau a servi dans le procès à surmonter et manipuler les changements traumatiques que la société Chea a bravé dans les siècles récents.     

湟中、平安画像砖墓内容和年代考订

在青海省东部的平安县和湟中县 ,于1982年先后发现两处画像砖墓。本文对这两处画像砖墓的发掘过程、结构、造型、艺术风格以及有关的营造年代、画像题材、内容都在实地考查的基础上作了介绍