便携式X射线荧光现场分析壁画颜料适用性研究——以西藏拉萨大昭寺壁画为例

便携式X射线荧光光谱仪作为快捷的无损分析技术,广泛应用于壁画文物的现场分析中.本文利用便携式X射线荧光光谱仪分析了西藏拉萨大昭寺转经廊壁画,选取部分样品,利用实验室X射线荧光分析,发现所分析颜料的主要显色元素具有一致性,并利用拉曼光谱确定了壁画颜料的成分.通过比较研究,发现便携式X射线荧光光谱仪可确定大部分色彩较为纯正的颜料的成分,同时,由于西藏拉萨大昭寺壁画颜料的杂多性,对于含砷的橙色颜料、含砷或含铅与含铁的黄色颜料、含铜砷的绿色颜料、含钙硫的白色颜料、群青与孔雀石的混合颜料则需结合拉曼光谱确定之.本研究工作显示,利用便携式X射线荧光光谱仪开展现场检测,可极大地减少实验室分析样品的取样数量,有利于壁画颜料的无损分析与微损分析.     

西藏阿里札达县洛当寺新发现的10-18世纪经书残卷插图的调查与初步研究

本文对洛当寺经书的内容、字体、书写、绘画风格、题材和题记等进行了首次调查和初步研究。研究显示,这批经书残卷及其插图由写本和刻本组成,写本最多,时代较早,主要为《般若波罗蜜多经》等经典;刻本较少,年代较晚。经书和插图制作于10-18世纪之间,基本反映出阿里古格王朝写经、刻经及其插图创作的历史脉络,是迄今国内发现藏传插图数量最多、时代跨度最大的写经和刻经作品。经书的发现对于弥补国内藏传写经彩绘插图,进一步研究阿里、西藏自治区乃至中国古代写经、刻经和译经的历史,以及插图艺术的题材、风格及其特点、演变,都具有重要的学术和艺术价值。     

西藏桑耶寺壁画表面烟熏污染物的分析研究

西藏寺庙内的壁画表面普遍存在被烟熏污染物覆盖的现象。为了解烟熏污染物的成分和来源,以便为文物保护作参考,本研究以西藏桑耶寺壁画表面烟熏污染物为研究对象,对烟熏污染物样品进行扫描电子显微镜分析(SEM)、红外光谱分析(IR)和剖面分析。结果表明,壁画表面烟熏污染物的厚度约为80μm,其主要成分为饱和脂肪酸甘油酯或饱和脂肪酸与大量的碳颗粒形成的混合物,环境检测结果表明酥油灯燃烧导致室内环境中的挥发性有机气体及颗粒物严重超标。研究成果可为以后的文物保护提供参考。     

A comparative study of wall paintings at the Cypriot monastery of Christ Antiphonitis: one artist or two?

The central church of the monastery of Christ Antiphonitis near Kalogrea, within the district of Kyrenia in Cyprus, is decorated with wall paintings that date from the last decades of fifteenth century. Two large and elaborate scenes, the Last Judgement and the Root of Jesse, had been preserved in the church until the Turkish invasion (1974) after which they were cut into tetragonal pieces, separated, and sent by looters to Germany for selling at illicit markets. The German Police returned thirty-two of the pieces to the Archbishop Makarios Foundation in Nicosia.     

A Rejection of the Aramaic Origin of the Chinese Word for Monastery

Christopher Beckwith has recently devoted two publications concerning the origin of the word for “monastery” in East Asia. The proposed Aramaic origin has met with criticism from two eminent authorities, Laurent Sagart and Alexander Vovin. While the present article is not interested in the debate per se, here renamed the “Beckwith Controversy,” it is important to discuss in more detail Beckwith’s view about the Chinese word si 寺 (monastery), its origin, and its reconstruction. It is concluded that, although very imaginative in its conclusions, Beckwith’s argument is methodologically opaque and, therefore, should be definitely abandoned in favour of more plausible solutions.     

四世班禅生平及与四世达赖、五世达赖之关系

四世班禅精通佛学和传统文化知识,他担任扎什伦布寺住持,使该寺成为班禅活佛系统执掌的主寺;同时,他对四世达赖倾囊相授,担任拉萨祈愿大法会首座,维修大昭寺和甘丹寺灵塔殿金顶,成为格鲁派的领袖人物。此外,他还是五世达赖的上师,协助五世达赖的政教事业,并首倡与关外的清政权建立联系,参与觉囊派改宗等事。四世班禅为格鲁派的发展做出了重大贡献,由此确立了班禅活佛系统在格鲁派中的崇高地位。     

甘肃合水金代清凉禅院敕牒碑考释

甘肃合水金代清凉禅院敕牒碑是甘肃庆阳地区目前发现的唯一一通载有金代寺额敕牒的碑刻,其所载的清凉禅院牒在历代金石著作中均未收录。该敕牒的发现,为了解金代佛教寺院管理制度提供了新资料,对研究庆阳地区政治史、佛教史等具有重要意义。本文利用原碑拓片对敕牒的内容进行了补释,对金代敕牒的格式、获取寺额的程序、缴纳钱数以及敕牒产生的原因和时代背景等进行了探讨。     

A golden calf in sacred space?: The future of St Katherine's monastery,Mount Sinai (Egypt)

Abstract

The spectacular fortified monastery of St Katherine, continuously inhabited since the 4th century and with a library second only in historical significance to that of the Vatican, forms the epicentre of a sacred landscape surrounding Mount Sinai, in the southern Sinai desert (Egypt). This site, with religious significance for Jews, Muslims and Christians alike, is currently threatened by very rapid growth in visitation Jrom Egypt's new tourist resorts on the Red Sea coast, less than three hours drive away. Currently, 97,000 visitors per year arrive at St Katherine, 80% of whom are day‐trip visitors and many of whom stay less than half an hour. This represents a 300% increase in the last decade, projected to increase by a further 500% by 2017. Tourism pressure is having a serious effect on the sustainability of monastic life, despite efforts to limit visiting hours and access. This fieldwork‐based case study summarises the current impact of tourism in the Mount Sinai area suggesting that although high visitation levels have imperilled its spirit of place they have also, conversely, provided some measure of protection for both site and landscape in the current political climate.     

山东长清灵岩寺宋代罗汉像彩绘分析研究

山东省济南市长清区灵岩寺彩绘罗汉像是我国宋代泥塑罗汉的代表作,具有极高的历史、艺术和科学价值。但罗汉像保存现状较差,彩塑存在颜料脱落、残损、酥碱等病害,亟待保护修复。为此,本工作选取彩绘脱落严重的两尊宋代彩塑罗汉像,利用光学显微镜(OM)、拉曼光谱(Raman)、扫描电子显微镜与能谱仪(SEM-EDS)等分析其彩绘颜料样品。结果表明,彩绘罗汉像从塑制之初至今,经过数次彩绘,可确定的多达六次。黑色颜料为炭黑(C);红色颜料为朱砂(HgS),铅丹(Pb_3O_4),以及朱砂、铁红(Fe_2O_3)和方解石(CaCO_3)混合物;绿色颜料为巴黎绿(Cu(C_2H_3O_2)·3Cu(AsO_2)_2)和舍勒绿(Cu(AsO_2)_2),还发现有斜氯铜矿(CuCl(OH)_3)及其与铅白(2PbCO_3·Pb(OH)_2)的混合物;橙色颜料为铅铬黄(PbCrO_4)和铅丹混合物;蓝色颜料为蓝铜矿(2CuCO_3·Cu(OH)_2),人工合成群青(Na_3CaAl_3Si_3O_(12)S);白色颜料为铅白和方解石;黄色颜料为铁黄(FeO(OH));金色为金箔(Au);沥粉的主要成分是方解石。白色底层为铅白和以硅、铝、钙为主的细白土。彩塑罗汉像重绘过程中,保持了将细白土作为底层和衣领镶边沥粉贴金的传统。彩绘颜料所用铅铬黄、巴黎绿、舍勒绿表明,彩塑罗汉像最近一次彩绘在清末之际,与文献记载相符,且这些人工颜料应是西方舶来之物。本分析研究结果为灵岩寺罗汉像艺术史研究提供了丰富信息,同时为保护修复工作开展提供了可靠依据。