Evidence for local,regional and interregional exchange networks on Failaka: Some remarks on late Islamic pottery from Kharaib al-Dasht

The site of Kharaib al-Dasht, located on the northern coast of Failaka, is a late Islamic settlement with an extensive fishing infrastructure. It has been excavated since 2013 by the Kuwaiti-Polish Archaeological Mission. The ceramic assemblage collected so far exceeds 18,000 fragments. The sherds underwent technological and typological analyses, which demonstrated a wide diversity of local common kitchen wares, consistent with the needs of households specialised in fishing. A considerable percentage of imported vessels was brought to Failaka from the Arabian Gulf and Persia, though Far Eastern luxury tableware was also attested. This paper demonstrates the socioeconomic role of Kharaib al-Dasht in the context of trade exchange on the microregional (Kuwait) and macroregional (the Gulf, South and Eastern Asia) scales in the eighteenth and nineteenth centuries.     

拉曼光谱在纸质文物研究中的应用

纸张的老化程度一直是纸质文物保护中的重要研究方面,以往多采用目测法和经验来推断纸张的老化程度。纸张物理强度、聚合度等能表征老化状态的理化性能测试由于需要大量的样品而无法用于文物检测。近年来随着显微共聚焦拉曼光谱、近红外傅里叶变换拉曼光谱、表面增强拉曼光谱等技术的发展,作为一种原位、无损、微区的分析方法,拉曼光谱被越来越多地应用到了纸质文物的相关分析研究中,为纸质文物的保护修复提供科学依据。结合国内外文献,对拉曼光谱在纸张老化、碳黑颜料以及其他颜料上的应用和研究现状进行了梳理归纳。随着拉曼光谱应用的不断深入,以及与其他分析技术、化学计量学等的结合,未来将在纸质文物研究中发挥更多的作用。     

Invasive cordgrass (Spartina spp.) in south‐eastern Australia induces island formation,salt marsh development,and carbon storage

Invasive vegetation species can lead to major changes in the geomorphology of coastal systems. Within temperate estuaries in the southern hemisphere, especially Australia and New Zealand, the cordgrass Spartina spp. has become established. These species are highly invasive, and their prolific growth leads to the development of supratidal environments in formerly intertidal and subtidal environments. Here, we quantified the impact of Spartina invasion on the geomorphology and sequestration capacity of carbon in the sediments of Anderson Inlet, Victoria, Australia. Spartina was first introduced to the area in the 1930s to aid in land reclamation and control coastal erosion associated with coastal development. We found that Spartina now dominates the intertidal areas of the Inlet and promotes accretion (18 mm/year) causing the formation of over 108 ha of supratidal islands over the past 100 years. These newly formed islands are calculated to potentially contain over 5.5 million tonnes of CO₂ equivalent carbon. Future management of the inlet and other Spartina‐dominated environments within Australian presents a dilemma for resource managers; on the one hand, Spartina is highly invasive and can outcompete native tidal marshes, thereby warranting its eradication, but on the other hand it is likely more resilient to rising sea levels and has the potential for carbon sequestration. Whether or not the potential advantages outweigh the significant habitat change that is anticipated, any management strategies will likely require additional research into costs and benefits of all ecosystem services provided by Spartina including in relation to nutrient cycling, shoreline stabilisation, and biodiversity as well as in response to the longevity of carbon found within the sediments.     

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.     

红外光谱在传统年画红蓝色料分析中的应用研究

年画是中国特有的民间艺术形式。本研究介绍了传统年画印制所用红蓝色料的发展历史,选取15种中国古代与近现代常用红蓝色料进行红外光谱分析,并归纳总结了标准样品的化学结构与红外谱图特征。在此基础上,利用衰减全反射傅里叶变换红外光谱仪对三幅清末民初时期的传统年画开展无损检测。结果显示三幅年画的红蓝色料均为合成颜料或染料,包括酸性大红G、酸性墨水蓝G、普鲁士蓝等。本研究扩展了红外光谱在书画文物分析检测中的应用范围,为传统年画色料的无损鉴定提供科学依据。     

The digital restoration of painted patterns on the No. 2 Qin bronze chariot based on hyperspectral imaging

The No. 2 Qin bronze chariot unearthed from Qinshihuang's Mausoleum is world famous for its huge size and colourful painted patterns. However, since it had been buried for a long time and was affected by its harsh environment, its painted patterns have been severely damaged. The traditional restoration methods, which mainly rely on expert experience, are manual, inefficient and lack scientific support. Moreover, to protect the important cultural relics, any invasive operations, such as sampling analysis, are strictly prohibited. This paper presents a method that combines hyperspectral imaging and computer technology for the digital virtual restoration of the bronze chariot's patterns. It is non-destructive, more efficient and more scientific. The method reproduces the damaged patterns with the following approaches: restoring the missing edges of the patterns; and distinguishing the different pigments. The obtained result implies that the method can digitally reproduce some of the damaged patterns, and that it can be used as a reference for recreating the patterns of the other painted bronze.     

The estimation of live fish size from archaeological cranial bones of the New Zealand blue cod Parapercis colias

Twenty-four measurements were taken on five of the paired cranial bones and the otoliths of a modern sample of 177 blue cod. Parapercis colias. Regression analysis was performed on these measurements to estimate live fork length and ungutted weight. A number of regression models were examined (linear, logarithmic, exponential and power curve) to work out the optimum estimator for each bone measurement. It was found that live fork length of this species can be estimated with a standard error of less than ±28 mm, and the weight to less than ±140 g. Coefficients are provided for 48 equations linking bone size to live characteristics. This is followed by a study of blue cod from an archaeological site at Waihora in the Chatham Islands. Measurements were made on 8036 archaeological bones with a minimum number of individuals of 2547. It was found that the blue cod catch had near normal characteristics, with a mean fork length of 327 mm and SD of 57 mm. The mean body weight was estimated at 569 g. The usable meat weight represented by these fish is estimated to be 1.0 t. © 1997 John Wiley & Sons, Ltd.     

试论清代皇帝明黄色朝袍的功用

在清代皇帝冠服中,明黄色朝袍的功用尤其引人关注。但是,长期以来人们对“朝祭所御”的概念往往含混不清,以至认为清帝明黄色朝袍既可亲郊飨庙又能御殿朝贺,模糊了朝服与祭服的区别。顺治十年(1653年)都察院左副都御史傅景星奏言:“自古帝王一代之兴,必有一代之制,黄帝尧舜垂衣裳而天下治。衮冕黼黻代有不同,朝有朝服,祭有祭服,所以肃臣民而格上下也……”。本文旨在讨论清帝明黄色朝袍的不同作用,从而区分出朝服与祭服的不同。     

中国钴着色材料的分类和来源

中国历史上的钴显色材料有颜料、玻璃、陶瓷釉。花绀青、钴蓝属历史颜料;钴显色蓝色玻璃可能始于西汉;钴显色蓝色陶瓷釉始于战国陶胎釉珠,唐朝唐三彩陶瓷釉发展成多个品种。钴显色材料有国产钴土矿类和进口Smalt类。原料矿中带入的锰、铁、镍、砷、铋等杂质对色彩有一定影响。     

Tesserae Recycling in the Production of Medieval Blue Window Glass

The purpose of this paper is to develop a means of quantifying glass recycling and to discuss the ‘anachronistic’ chemical composition of medieval blue window glass. This method relies on a new numerical method using kernel density estimates and is based on a database of published glass chemical compositions. It seeks to reveal when, to what extent and why blue tesserae were recycled for the production of French and English blue glass. First, it is suggested that blue glass had an ‘anachronistic’ chemical composition only before the 13th century. Second, the ‘anachronistic’ chemical composition of 12th‐century blue glass comes from the recycling of both blue tesserae and non‐coloured glass. Finally, this recycling was motivated by the scarcity of cobalt sources until mines were found in the 13th century.