汉代复色低温铅釉陶器初探

复色釉陶是汉代低温铅釉陶中的一个特殊品种,其施釉烧制工艺系在普通单色釉陶的基础上,于一件器物上施加两种及以上釉料,以低温一次入窑烧制而成,呈现出绚丽的艺术效果,达到了汉代釉陶的高峰。此类釉陶主要分布于宝鸡、济源和延安及其周边地区;最早出现于西汉中晚期,流行于西汉晚期至东汉初期。就施釉工艺而言,其多色施釉技术与北魏时期的二色釉陶一脉相承,并在北齐时期与新出现的"瓷胎铅釉陶"二次烧制技术相结合,形成了北齐特有的多色瓷胎铅釉陶器,为后来唐三彩的出现奠定了技术基础。     

Early Navajo land use in northwestern New Mexico: Big Bead Mesa in regional perspective

Big Bead Mesa (LA 12351) is the most famous Navajo archaeological site ever investigated and has played an important role in the interpretation of Navajo culture history. It remains a sacred place to the Navajo, both for historical and spiritual reasons. Pioneering work by Dorothy L. Keur resulted in the publication of the first Society for American Archaeology Memoir and brought Navajo archaeology national recognition. James Hester used Big Bead Mesa as the type site for his Cabezon Phase, although he conducted no research at the site. Big Bead Mesa is not the only Early Navajo site in the Rio Puerco Valley; however, the surrounding area has never been adequately investigated or reported. This paper documents a variety of Navajo sites in the Rio Puerco Valley and indicates that Big Bead Mesa was only a small part of a much larger Navajo occupation that extended to the north, west, and south.     

Ancient ‘Black’ Decorative Stones and the Ephesian Origin of Sculptural bigio antico

Isotopic, EPR and petrographic studies aimed at establishing the provenance of sculptural bigio antico are reported, including 18 possible quarry sites and 21 ancient sculptures. The results demonstrate that the Belevi quarry, north‐east of Ephesos, above the more famous white marble quarry, was the major source of this marble. Nineteen artefacts belong to Belevi, whereas the precise origin of the remaining two is unknown, but must probably be found within the same area. The peculiar distribution of δ¹³C values both for Belevi and artefacts was crucial for inferring the correct provenance, subsequently confirmed by additional analytical and petrographic data.     

山东危山西汉墓出土陶器彩绘颜料研究

为研究山东危山西汉墓出土彩绘陶器颜料成分,采用偏光显微镜、显微拉曼光谱仪和扫描电子显微镜-能谱仪进行了分析。研究结果显示,危山汉墓陶器彩绘颜料有朱砂、铅丹、中国紫(汉紫BaCuSi2O6)、铁红、铁黑、白土等。中国紫颜料首次在山东省的发现,扩大了该颜料的使用区域,具有重要的考古学意义。另外,还在紫色颜料中分析出了BaCu2Si2O7蓝色晶体,这是继中国蓝中国紫之后的又一重大发现。     

彩绘回贴技术在秦代高级军吏俑保护修复中的应用

秦俑一号坑新出土一件高级军吏俑(俗称"将军俑"),发现该俑彩绘病害复杂。彩绘脱落严重、泥土附着物面积过大、部分彩绘层已剥离陶俑本体并附着于背部土层上、土层厚重且严重开裂、移位,必须进行保护修复。针对这种复杂的彩绘病害情况,先期进行彩绘分析,根据分析的结果,进行局部回贴试验。在小面积彩绘回贴技术成功的基础上,通过准确定位将残存于土块上的彩绘花纹图案回贴于原位,进行大面积彩绘回贴保护,效果良好。本研究结果可为以后出土的陶质彩绘文物回贴技术提供参考和借鉴。     

调查希腊和罗马的彩绘石刻雕塑

本文目的介绍了哥本哈根彩绘网络（CPN）各学科间的结构,成立于2004年,调查和记录哥本哈根纽约嘉士伯希腊和罗马大型和重要的彩绘雕塑收集。2004年至2008年,哥本哈根彩绘网络实施了小规模的试验计划。本文介绍了一个试点项目的研究,是关于一个阁楼古典女性的大理石头像。所采用的方法解释了一些细节,主要是关于2008至2011年哥本哈根彩绘网络之后的项目。获得的数据可以从保护科学、自然科学和古典考古学的角度解释。这篇文章接着介绍了哥本哈根彩绘网络主要项目,概述其目标、方法和组织。工作空间中描述了建立画廊可视检查方法。这个空间变得活跃,并在2009年1月的文章中提出了一个第一次初步研究报告,570B．C．E阁楼陈旧的石灰岩狮身人面像。     

考尔雅典女神，雅典卫城682——尊希腊古典晚期雕塑的重建工作

在15世纪的意大利,人们发现了大量的古代雕塑遗存,基本上都是大理石雕塑残片。出于对大理石的迷恋、对雕刻工艺的欣赏、对人体雕塑生动表现的着迷,当时的贵族热衷于收集这些残片并试图拼对与重建这些残破的雕塑。但是几乎没有发现任何颜色的残存,他们甚至不会去探究彩绘他们更赞赏大理石洁白无瑕的表面。19世纪早期,建筑学家们考察了西西里一些古代庙宇的彩绘残存,随后有关一些著名希腊神庙（如帕台农神庙）彩绘的重构工作在全欧洲引发了热烈的讨论。但是对于这些雕塑涂施彩绘的强烈质疑声一直持续到十九世纪八十年代,直到雅典卫城发掘工作的开展才证实了古代大理石雕塑彩绘的事实。出土时,很多破碎的雕塑残片上都残存有鲜亮的彩绘,但通常在出土几个小时后就由于干燥而剥落了,只有依稀的彩绘痕迹残存,以及工作人员的描述和水彩模画。今天,翻开现代有关古代雕塑的书籍,你会发现大量彩色照片,但总是显现白色大理石表面。有关雕塑的工艺、功能和历史发展的意义的讨论已经很多了,但是很难得到一个完整的古代雕塑彩绘的例子。不仅仅是雅典卫城的雕塑曾经涂饰彩绘,经过重建工作这一时期有大量彩绘的例子。本次工作即是采用古代颜料与模具,尽可能完整的重建了一尊古代雕塑。     

陕北马头山道教真身（肉身）泥塑像搬迁及保护研究

陕西马头山道教真身泥塑造像是以其身体为主,加入麦秸作局部支撑,裹布上泥而成,十分脆弱,急需搬迁和保护。为此,采用环十二烷预加固、贴布紧固及其底边托换等技术对真身造像进行了临时加固,圆满地完成了搬迁,并开展了展示性保护修复工作。本工作成果对高危造像的保护修复与搬迁具有借鉴作用。     

On Theme and Variation

Abstract

The ways in which the author, the sculptor Peter Randall-Page, has made use of the ideas of D’Arcy Thompson are described. How Thompson showed that commonalities of form and pattern exist across the biological and abiotic realms is described, and the implications that physical constraints limit and sometimes dominate the capabilities of evolutionary natural selection are explored. Since we evolved in a world shaped in this manner, the likelihood that this palette of forms is one that carries strong psychological meanings and associations is examined, and the ways in which these forms are a rich source of inspiration and allusion for visual artists are discussed, hinting at the play of opposing tendencies, the dance between order and randomness, and the ways in which nature can derive variations on a theme.     

A Picture Is Worth a Thousand Words: Building American National Identity Through Art

ABSTRACT

Even though agonistic democratic theory espouses and celebrates competition, it seemingly lacks a coherent ethic for decent winning and losing in everyday political life. This article is an effort to fill this void by suggesting a practice-based, non-perfectionist ethic drawn from sport. Focusing on Xenophon's On Hunting, we argue that sport, properly defined, offers an appropriate experience with ponos (toil, suffering) that teaches citizens perseverance, humility, generosity, empathy, and stewardship. This sporting ethic, we argue, provides a more suitable model for winning and losing in public life than the martial basis of agonistic democratic theory.