Recycled Blessings: An Investigative Case Study of a Rewrapped Egyptian Votive Mummy Using Novel and Established 3D Imaging Techniques

This case study was the first of its kind, where neutron computed tomography (CT) was applied to a wrapped mummified animal. Conventional X‐ray CT was also used to allow for meaningful comparison, and complementary data for a comprehensive investigation. Previous applications of both techniques are limited to metallic objects, such as bronze Buddhas. The mummy used in this study (IA.2402) is dated between the Third Intermediate Period (1069–664 bce ) to Late Period (664–332 bce ) according to the wrapping style, and was originally believed to contain a complete skeleton of a feline. However, precise date and provenance were unknown. Our results prove the presence of only partial juvenile feline remains, and provide a date range for artefact creation (900–804 bce ± 30) and alteration (367–204 bce ± 30). Therefore, this study implements an established imaging technique (neutron CT) in a novel way, while preserving and conserving the intrinsic value of the artefact through non‐destructive investigation.     

Mast-Step Coins among the Romans

The archaeological evidence of more than a dozen ancient shipwrecks indicates that the tradition of placing a coin inside the mast-step of a ship's hold probably originated with the Romans. The mast-step coin phenomenon, which persisted through the Middle Ages and continues in various forms today, has often been characterized according to the modern concept of 'luck'. The custom was, however, not one of an exclusively maritime nature; rather, it was ultimately derived from a long-standing religious tradition that can be traced back to the consecration of the earliest Greek temples.
© 2007 The Author     

祭器、礼器、“邵局”——关于南宋官窑的几个问题

作者在多年积累的考古实物资料的基础上,结合历史文献,探讨了与南宋官窑密切相关的诸问题：如南宋陶质祭器的使用与特征,王晋锡、邵谔与礼器局、邵局、修内司官窑的关系,南宋官窑生产的仿青铜礼器瓷的性质与用途等。作者认为,王晋锡之陶质祭器的烧造与邵谔之修内司官窑的建立,是先后发生在南宋绍兴年间的两件不同的事件,两者之间并无直接或间接的关系,南宋陶质祭器与官窑仿青铜礼器瓷在形制及用途上有本质的区别。     

对红山文化玉三孔器的再认识

本文在红山文化的特殊历史背景、宗教信仰以及文化传承的条件下,对红山文化玉三孔器的造型、纹饰、出土情况、结构等几方面进行了详细的阐述。结合已有的考古发掘报告,参考了有关的历史文献,从玉神学、玉文化的角度说明了红山文化玉三孔器使用功能为巫师通神的法器,同时对相同和不同的观点都作了分析,进一步阐明此说的合理性。     

Shedding light on the Cypriot rural landscape: Investigations of the Athienou Archaeological Project in the Malloura Valley,Cyprus, 2011–2013

Abstract

Since its inception in 1990, the Athienou Archaeological Project (AAP) has focused on diachronic patterns of rural land use within the Malloura Valley located along the edges of Cyprus’s fertile Mesaoria plain. Employing careful field methods of excavation and recording, members of AAP have sought to reconstruct ancient life in this understudied region by charting local responses to regional and pan-Mediterranean networks of exchange. The present contribution reports on the results of excavations (2011–2013) in the Geometric to Roman period rural sanctuary and of limited pedestrian survey (2013) in light of the project’s research goals, while highlighting AAP’s effective implementation of a mobile computing platform that streamlined field recording through an increased reliance on born-digital data. For a discussion of AAP’s mobile computing platform in the context of our fieldwork in Cyprus, please see our online supplementary article on the JFA website (http://www.maneyonline.com/doi/suppl/10.1179/0093469015Z.000000000112).     

良渚文化瑶山玉神器分化及巫权调整之探讨

本文根据《瑶山》揭示的甲乙两类、南北两行墓列12座墓葬,分别判定墓主为觋与巫的不同性别,进而考定南行6位墓主为觋,北行6位墓主为巫。作者首先针对出自巫墓内的所谓“神面”、“兽面”及“神徽”进行分析,重新认定“神面”为觋面,“兽面”为小巫扮演的道具兽或兽面,并破译原定“神徽”为觋戴魃头骑小巫扮演的道具兽以玉事神图徽,可简称为“觋事神图徽”。经过对南行墓列6座觋墓出土的玉冠形器、带盖柱形器、三叉形器、成组锥形器、玉钺、琮等6种玉器进行分析,本文认为玉冠形器为玉梳背,琮中之大孔琮应是镯,不是原来意义上的神器之琮。巫专用的玉器有玉梳背、璜与圆牌。从觋巫所用玉器的尺寸、纹饰、形制来看,觋玉大大高于巫玉,也折射出觋的地位大大高于巫。本文论证了与母系、父系两种社会相关的由巫权向觋权过渡的新问题,指出瑶山墓地显示觋权已巩固,而巫权已败落并居于觋权之下。作者提出瑶山觋已是掌握政治军事大权而又兼顾事神的新型统治人物,即不称王的“王”,而当王掌权之后,巫觋便降格为“祝”与舞者,这就是《瑶山》在考古学上的重大贡献,也是玉文化研究的一次突破。     

黄帝受命有云瑞 夷巫事神琢瑞云

在红山文化墓葬发掘出土的上百件玉器中,玉箍和玉勾云形器是重要的玉神器,尤以玉勾云形器为最最重要之事神用巫玉。其表面器形构架由(?)三种图案组合成复合勾云纹造型,反映了红山文化群体对"云"、"雨"的崇敬和期盼。其深层内涵则是云上有天、天上有神,天神是至高无上之神,具有权威性和震慑性,也为红山文化群体视为保护神加以膜拜。玉勾云形器、玉龙、兽面饰块形器等红山文化玉神器均以云纹作结构框架并普遍应用,说明其群体以崇敬云天为己任,并创建了高度发达的东夷玉文化板块。此一玉文化或可能与"黄帝受命有云瑞"、"官名皆以云命,为云师"的记载有关联。而"玉勾云形器"之名称不甚准确,经考证古文献,应为"吉云饰玉神器"、"玉吉云形器",宜定名为"玉瑞云纹饰"。     

Accident not intention: Llyn Cerrig Bach, Isle of Anglesey, Wales—site of an Iron Age shipwreck

The assemblage recovered fortuitously from Llyn Cerrig Bach in 1942 has been assumed without evidence to be the result of a Late Iron Age casting of votive offerings into that lake. The circumstances of its recovery and a consideration of the natural forces that have worked great changes to the coastline of south-west Anglesey suggest an alternative origin for the assemblage, that of its being the remains of cargo from a trading vessel lost about 50 BC.