Gyptis: Sailing Replica of a 6th‐century‐BC Archaic Greek Sewn Boat

A sailing replica based on the archaeological remains and structural analysis of the 6th‐century archaic Greek sewn boat Jules‐Verne 9 was built in Marseille as part of the city's European Capital of Culture 2013 programme. Full‐scale reconstruction allowed investigation of specific aspects of the methods used to build a shell‐first, sewn‐plank, and lashed‐frame vessel, as well as learning the gestures and know‐how of the original shipbuilders. The first two seasons of sailing trials, including short journeys in the Bay of Marseille and longer, coast‐hopping expeditions, reflecting the uses of the original vessel have taken place and are reported here.     

Building a copy of the Gokstad Faering

This is the story of the building of a replica Viking craft. Being only 22 ft (6.7 m) long and having 4 ft 6 in (1.37 m) beam, the Gokstad faering does not conform to our usual image of a Viking boat. However, the smaller craft shows all the construction details found in the larger ships. A close examination can help us to see some of the principles the Vikings applied to their boatbuilding.     

Sailing the Bremen Cog

The 14th-century Bremen Cog is the only near-complete representative of a type of large ship with a single square-sail which dominated North European waters for c. 200 years. The evaluation of sailing properties, seaworthiness, potential and characteristics of two replicas is made by professional seamen who have taken them to their limits. Their judgements need to be recorded now, or they will be forgotten especially as systematic tests and sea-trials have been limited and documentation lost. The replicas' captains' expert opinion on the Bremen Cog as a sea-going vessel is a rare case of long-term evaluation of a large-scale experimental-archaeology project.
© 2009 The Authors     

Caught between nationalism and internationalism: replicating histories of Antarctica in Hobart

In December 2013, a replica of ‘Mawson’s Hut’ (a historic structure in Antarctica) joined a growing list of polar tourist attractions in the Australian city of Hobart, Tasmania. Initially promoted as the city’s ‘latest tourist hotspot,’ the ‘replica museum’ quickly took its place in Hobart’s newly redeveloped waterfront, reinforcing the city’s identity as an ‘Antarctic Gateway’. The hut forms part of a heritage cluster, an urban assemblage that weaves together the local and national, the past and present, the familiar and remote. In this article, we examine the replica hut in relation to the complex temporal and spatial relations that give it meaning, and to which it gives meaning. Our focus is the hut as a point of convergence between memory, material culture and the histories – and possible futures – of nationalism and internationalism. We argue that the replica hut, as a key site of Hobart’s Antarctic heritage tourism industry, reproduces and prioritises domestic readings of exploration and colonisation over a reading of Antarctic engagement as a transnational endeavour. However, like other ‘gateway city’ heritage sites, it has the potential for aligning with a larger trend in international heritage conservation and heritage diplomacy, that of prioritising narratives of the past that weave together transnational connections and associations.     

静怡轩的建筑渊源及其复原设计

静怡轩是紫禁城建福宫花园中一座建于乾隆七年(1742年)的建筑,1923年毁于火。作者通过对大量文献、实物资料的研究,结合对建筑基址的考察,阐述了静怡轩的渊源和发展,认为静怡轩仿建于圆明园西峰秀色的含韵斋,圆明园西峰秀色又仿自杭州西峰秀色,而故宫宁寿全宫现存的景福宫则仿自静怡轩。景福宫因此成为今日复原静怡轩的实物依据。综合对景福宫建筑和静怡轩基址中台基、踏跺、柱础的考察,作者认为静怡轩应是一座面阔五间,周围廊,三卷棚勾连搭歇山式屋顶,绿琉璃瓦黄剪边,斗升云交麻叶斗,苏式彩画的建筑。     

曾侯乙尊盘采用失蜡法工艺铸造毋庸置疑——与《中国青铜时代不存在失蜡法铸造工艺》讨论

近年来,学术界对曾侯乙尊盘铸造法讨论颇多。本文通过埘范铸说的质疑和亲身经历的仿制实验进行分析,认为曾侯乙尊盘用范铸法铸造存存诸多技术障碍,尊盘主体及所有附饰皆应为失蜡法铸造。并且认为失蜡法是中国传统青铜铸造工艺,是非物质文化遗产。