内蒙古塔尔梁五代墓葬壁画材料和制作工艺研究
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(1.东京艺术大学文化财保存学保存科学研究室,日本东京 1108714;2.内蒙古博物院文物保护中心,内蒙古呼和浩特 010010;3.浙江大学文物与博物馆学系,浙江杭州 310027)

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沈 灵(1992—),女,2017年毕业于东京艺术大学文化财保存学,现浙江大学文物与博物馆学系,研究方向为文物保护,E-mail: shenling920610@hotmail.com

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Material and technical study of the mural paintings at Ta’erliang Village, Inner Mongolia
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(1. Conservation Science laboratory, Graduate School of Conservation, Tokyo University of Arts, Tokyo 1108714, Japan;2. Heritage Cultural Property Protection Center, Inner Mongolia Museum, Hohhot 010010, China;3. Department of Cultural Heritage and Museology, Zhejiang University, Hangzhou 310027, China)

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    摘要:

    塔尔梁墓葬壁画墓位于内蒙古呼和浩特市南部的清水河县。为了解该壁画的材料和制作工艺,通过显微镜、扫描电镜及能谱仪(SEM-EDS)、X射线衍射仪(XRD)和拉曼分光光谱仪对揭取时脱落的5个试料的颜料层、白灰层和地仗层的材料进行了分析。结果表明,红色颜料的主要成分为三氧化二铁,黄色为水合氧化铁,黑色与灰色中包含石墨构造碳黑;白灰层的主要成分为碳酸钙。地仗层主要成分为石英、方解石以及长石等粘土矿物,且在地仗中发现石灰籽粒,由此推测地仗制作时加入了石灰。地仗出土时多空洞,并发现了植物硅酸体,根据形态综合判断制作地仗时拌入了麦草与麦壳。根据材质分析结果,壁画的制作工艺为:加入了石灰的拌草泥层地仗上涂抹较薄的石灰浆,之后在上面作画。研究结果可为内蒙古五代墓葬壁画制作工艺的研究提供科学依据和同类科学分析提供参考。

    Abstract:

    Located in Qingshuihe County (in southern Inner Mongolia), Ta’erliang tomb mural paintings can date back to the Five Dynasties and Ten Kingdoms periods. In our study, we examined the pigment layer, white underground layer and plaster layer of five fallen fragments, with the aim of investigating the composition of the mural painting materials. The methods used in this study include optical microscopy, scanning electron microscopy-energy dispersive spectrometry (SEM-EDS), X-ray diffraction (XRD) and Raman spectrometry. The results show that 1) the red pigment is mainly ferric oxide, the yellow pigment hydrous ferric oxide and the black and grey part graphite-structured carbon black; 2) the main composition of the white ground layer is calcite; 3) the plaster containing quartz, calcite and feldspar also shows some white grains identified as lime, which suggests that lime was added into the plaster to improve its cohesion; 4) The track and the plant opal inside the mud layer indicate that natural fibers of wheat leaves and wheat shells were mixed in preparation for making the plaster layer. According to the analytical results for the materials, the mural paintings were probably made through the following procedures:lime was added into the mud which had been mixed with plant fibres to make the ground layer, and then white lime was brushed on it. The paintings were finally drawn on the top of the plaster layer.

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  • 收稿日期:2017-04-05
  • 最后修改日期:2017-07-31
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  • 在线发布日期: 2019-01-11
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