Pub Date : 2021-09-01DOI: 10.15964/J.CNKI.027JGG.2021.05.001
Qiu Zhili, BO Haonan, Yang Jiong, Luo Han, Wu Mo
Ivory carving, jade carving, cloisonne and carved lacquer were once known as the "four great masters" of Chinese arts and crafts, and they are also one of the artistic symbols recording the process of human civilization. From the 17th to 19th century, Guangzuo, namely Canton style, ivory carving was one of the quintessence of Chinese crafts that was deeply welcomed by the western world and there are many monographs and articles discussed by predecessors. However, the exploration of the relationship between Guangzuo ivory carving and the intercultural communication of the "Maritime Silk Road" is still weak. By excavating and combing the source of raw materials, technical characteristics, source and export development process of Guangzuo ivory carving, this paper discussed the relationship between overseas market expansion of Guangzuo ivory carving and intercultural communication on the "Maritime Silk Road", and puts forward the following understandings: (1) Since the Tang and Song Dynasties, especially from the 17th to the mid-19th century, ivory materials were mainly obtained through the "Maritime Silk Road" trade with the South China Sea as the starting point. (2) The typical ivory carvings exported in the 17th-19th century included ivory balls, baskets, fans, jewel cases, sewing boxes, card cases, letter holders, and brooches etc. In spite of the category, the quantity of ivory products is far less than the other export goods. But the Guangzuo ivory carvings were still one of the important export commodities at that time for its high material value, craft skills, unique characteristics in artistry, appreciation and cultural compatibility. (3) The exquisite skills, styles and decorative patterns of Guangzuo ivory carving not only inherited Chinese traditional crafts, but also absorbed overseas skills, and were strongly influenced by European consumer culture at the meantime. The Guangzuo ivory carvings exported to the western world are actually the ODM(original design manufacturer) products made by local craftsmen in reference to the needs of overseas customers, which are representing the wisdom of Chinese skilled craftsmen and the integration of multicultural exchanges. (4) The success of the Guangzuo ivory carving foreign trade during the 17th to the 19th century showed that the intercultural communication and mutual learning are important factors, even the key factors, for expanding the international market, which may provide a typical paradigm for other precious jade and stone products exporting to foreign countries or expanding the international market today.
{"title":"Guangzuo Ivory Carving: Intercultural Communication on the \"Maritime Silk Road\" During the 17 th -19 th Century","authors":"Qiu Zhili, BO Haonan, Yang Jiong, Luo Han, Wu Mo","doi":"10.15964/J.CNKI.027JGG.2021.05.001","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.05.001","url":null,"abstract":"Ivory carving, jade carving, cloisonne and carved lacquer were once known as the \"four great masters\" of Chinese arts and crafts, and they are also one of the artistic symbols recording the process of human civilization. From the 17th to 19th century, Guangzuo, namely Canton style, ivory carving was one of the quintessence of Chinese crafts that was deeply welcomed by the western world and there are many monographs and articles discussed by predecessors. However, the exploration of the relationship between Guangzuo ivory carving and the intercultural communication of the \"Maritime Silk Road\" is still weak. By excavating and combing the source of raw materials, technical characteristics, source and export development process of Guangzuo ivory carving, this paper discussed the relationship between overseas market expansion of Guangzuo ivory carving and intercultural communication on the \"Maritime Silk Road\", and puts forward the following understandings: (1) Since the Tang and Song Dynasties, especially from the 17th to the mid-19th century, ivory materials were mainly obtained through the \"Maritime Silk Road\" trade with the South China Sea as the starting point. (2) The typical ivory carvings exported in the 17th-19th century included ivory balls, baskets, fans, jewel cases, sewing boxes, card cases, letter holders, and brooches etc. In spite of the category, the quantity of ivory products is far less than the other export goods. But the Guangzuo ivory carvings were still one of the important export commodities at that time for its high material value, craft skills, unique characteristics in artistry, appreciation and cultural compatibility. (3) The exquisite skills, styles and decorative patterns of Guangzuo ivory carving not only inherited Chinese traditional crafts, but also absorbed overseas skills, and were strongly influenced by European consumer culture at the meantime. The Guangzuo ivory carvings exported to the western world are actually the ODM(original design manufacturer) products made by local craftsmen in reference to the needs of overseas customers, which are representing the wisdom of Chinese skilled craftsmen and the integration of multicultural exchanges. (4) The success of the Guangzuo ivory carving foreign trade during the 17th to the 19th century showed that the intercultural communication and mutual learning are important factors, even the key factors, for expanding the international market, which may provide a typical paradigm for other precious jade and stone products exporting to foreign countries or expanding the international market today.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86256439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-31DOI: 10.15964/J.CNKI.027JGG.2021.03.007
Wu Mo
Han Dynasty is an important era in the development history of Chinese jade articles. Some rare and precious jade articles unearthed from the Han Dynasty tombs in Anhui Province are important proofs of the craft progress and artistic innovation of jade articles in the Han Dynasty. These jade articles show that the jade craftsmen at that time could skillfully apply a variety of complex crafts to jade crafting, and they also developed the high level skills of multi-layer jade carving and jade inlaying into metal. In the aspect of artistic creation, the craftsmen had realized the perfect combination of the function and aesthetics of the jade articles, and created more simple and realistic works. The review and analysis of these excellent jade carvings help us to have a deeper understanding of the material production level and the degree of civilization evolution of the Han Dynasty society, and it also provides some helpful illuminations for today's art design.
{"title":"The Craft Progress and Artistic Innovation of Chinese Jade Article in the Han Dynasty: Taking the Han Dynasty Jade Unearthed in Anhui Province as An Example","authors":"Wu Mo","doi":"10.15964/J.CNKI.027JGG.2021.03.007","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.03.007","url":null,"abstract":"Han Dynasty is an important era in the development history of Chinese jade articles. Some rare and precious jade articles unearthed from the Han Dynasty tombs in Anhui Province are important proofs of the craft progress and artistic innovation of jade articles in the Han Dynasty. These jade articles show that the jade craftsmen at that time could skillfully apply a variety of complex crafts to jade crafting, and they also developed the high level skills of multi-layer jade carving and jade inlaying into metal. In the aspect of artistic creation, the craftsmen had realized the perfect combination of the function and aesthetics of the jade articles, and created more simple and realistic works. The review and analysis of these excellent jade carvings help us to have a deeper understanding of the material production level and the degree of civilization evolution of the Han Dynasty society, and it also provides some helpful illuminations for today's art design.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88461243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-31DOI: 10.15964/J.CNKI.027JGG.2021.03.009
Zhang Yue, LI Juzi
Literary masterpieces are historical heritages and the source of creative design. Journey to the West, as one of the four famous masterpieces in China, has a high reputation at home and abroad. In the Journey to the West, costume plays a crucial role in the creation of the characteristics of Tang Monk and his apprentices. Through the research on the literature, it is found that there are many serialized products based on the overall appearance of the Tang Monk and his apprentices among the existing cultural and creative products, and the applications in jewelry design are rare. It is rarely seen for jewelry works in the domestic or foreign market that uses the design method of morphological deduction to simplify the costume of Tang Monk and his apprentices in jewelry design. The authors first explained the important role of the costume of the characters in Journey to the West, and then designed the jewelry based on the costume form and the personality characteristics of the Tang Monk and his apprentices. The design ideas and methods used are not only suitable for the jewelry design based on the Journey to the West, but also applicable to other cultural and creative jewelry design, which provide new ideas and methods for creating more cultural and creative works with cultural characteristics in the future.
{"title":"Simplification and Application of Costume of Tang Monk and His Apprentices in Modern Jewelry Design","authors":"Zhang Yue, LI Juzi","doi":"10.15964/J.CNKI.027JGG.2021.03.009","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.03.009","url":null,"abstract":"Literary masterpieces are historical heritages and the source of creative design. Journey to the West, as one of the four famous masterpieces in China, has a high reputation at home and abroad. In the Journey to the West, costume plays a crucial role in the creation of the characteristics of Tang Monk and his apprentices. Through the research on the literature, it is found that there are many serialized products based on the overall appearance of the Tang Monk and his apprentices among the existing cultural and creative products, and the applications in jewelry design are rare. It is rarely seen for jewelry works in the domestic or foreign market that uses the design method of morphological deduction to simplify the costume of Tang Monk and his apprentices in jewelry design. The authors first explained the important role of the costume of the characters in Journey to the West, and then designed the jewelry based on the costume form and the personality characteristics of the Tang Monk and his apprentices. The design ideas and methods used are not only suitable for the jewelry design based on the Journey to the West, but also applicable to other cultural and creative jewelry design, which provide new ideas and methods for creating more cultural and creative works with cultural characteristics in the future.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86570657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.15964/J.CNKI.027JGG.2021.04.007
Li Yuan, Wenwen Hai
Jewelry with movable structure is time-consuming and difficult to make by traditional jewelry manufacturing process. By 3D printing active structure, jewelry design works can be rapidly integrated by printing equipment, which overcomes the limitations of traditional jewelry manufacture. The authors compared and analyzed three kinds of 3D printing technology applied in jewelry design. Finally the selective laser melting was chosen to study the suitable movable structure for jewelry 3D printing, and a ring with rotating movable structure that is difficult to realize in traditional jewelry manufacturing process was designed and printed. The combination of advanced jewelry manufacture technology and contemporary jewelry art were tried to broaden. By optimizing the internal structure of the model, the problems of support interference and uneven gaps between parts in printing active structure were overcome. Meanwhile, the interaction between people and jewelry is enhanced with the rotating movable structure.
{"title":"Ring Design with Rotating Movable Structure by Selective Laser Melting","authors":"Li Yuan, Wenwen Hai","doi":"10.15964/J.CNKI.027JGG.2021.04.007","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.04.007","url":null,"abstract":"Jewelry with movable structure is time-consuming and difficult to make by traditional jewelry manufacturing process. By 3D printing active structure, jewelry design works can be rapidly integrated by printing equipment, which overcomes the limitations of traditional jewelry manufacture. The authors compared and analyzed three kinds of 3D printing technology applied in jewelry design. Finally the selective laser melting was chosen to study the suitable movable structure for jewelry 3D printing, and a ring with rotating movable structure that is difficult to realize in traditional jewelry manufacturing process was designed and printed. The combination of advanced jewelry manufacture technology and contemporary jewelry art were tried to broaden. By optimizing the internal structure of the model, the problems of support interference and uneven gaps between parts in printing active structure were overcome. Meanwhile, the interaction between people and jewelry is enhanced with the rotating movable structure.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85453630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.15964/J.CNKI.027JGG.2021.04.006
Zhao Linqi, LI Juzi
The honeysuckle pattern is a traditional Chinese pattern. It was introduced into China in the Wei, Jin, and the Southern and Northern Dynasties and combined with the cloud pattern of the Han Dynasty to form the unique traditional pattern. Its inherent cultural meaning and design concept are indispensable parts of modern design theory, and the study of honeysuckle pattern in that period provides a deep understanding of the history and culture of the Wei, Jin, Southern and Northern Dynasties. The article starts with the relevant literature, sorts out the types of the honeysuckle patterns in the Wei, Jin, and the Southern and Northern Dynasties and analyzes their inner implications. This article also studies the relationship between the honeysuckle pattern and modern jewelry design and discusses the feasible manufacturing techniques and materials. Finally, the design practice is carried out by combining the structure and cultural connotation of the honeysuckle pattern of the Wei, Jin, Southern and Northern Dynasties with modern jewelry design. The article uses jewelry design to inherit Chinese traditional patterns and puts forward some thoughts, hoping to better integrate Chinese traditional patterns into jewelry design, and show a jewelry of modern aesthetic without losing China's national characteristics.
{"title":"Application of the Honeysuckle Pattern in the Wei, Jin, Southern and Northern Dynasties in Jewelry Design","authors":"Zhao Linqi, LI Juzi","doi":"10.15964/J.CNKI.027JGG.2021.04.006","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.04.006","url":null,"abstract":"The honeysuckle pattern is a traditional Chinese pattern. It was introduced into China in the Wei, Jin, and the Southern and Northern Dynasties and combined with the cloud pattern of the Han Dynasty to form the unique traditional pattern. Its inherent cultural meaning and design concept are indispensable parts of modern design theory, and the study of honeysuckle pattern in that period provides a deep understanding of the history and culture of the Wei, Jin, Southern and Northern Dynasties. The article starts with the relevant literature, sorts out the types of the honeysuckle patterns in the Wei, Jin, and the Southern and Northern Dynasties and analyzes their inner implications. This article also studies the relationship between the honeysuckle pattern and modern jewelry design and discusses the feasible manufacturing techniques and materials. Finally, the design practice is carried out by combining the structure and cultural connotation of the honeysuckle pattern of the Wei, Jin, Southern and Northern Dynasties with modern jewelry design. The article uses jewelry design to inherit Chinese traditional patterns and puts forward some thoughts, hoping to better integrate Chinese traditional patterns into jewelry design, and show a jewelry of modern aesthetic without losing China's national characteristics.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88114760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.15964/J.CNKI.027JGG.2021.04.008
Zheng Xiaohua, Bai Ying
The West Yunnan Province is rich in precious jade resources, of which the Nanhong agate and quartzose jade (Huanglongyu) produced in the Baoshan area are the most representative. Based on the mineral resources of Nanhong agate and quartzose jade (Huanglongyu) in the area, this paper analyzes the corresponding benefits of the gemstone resource development and utilization to the local jewelry industry, and puts forward suggestions on the development and utilization of the resources from the perspective of industrial development and public management, and provides references for the formulation of industrial development policies. Through the comprehensive investigation and research on the output and market situation of the two kinds of precious gemstone, the problems existing in the exploitation of the resources in this area are analyzed, and the development plan of the gemstone resources is put forward. The governors should pay attention to the environmental protection factors in mining, strengthen the protection of cultural heritage, and speed up the industrial transformation and upgrading.
{"title":"Suggestion on the Development and Utilization of Gem and Jade Resource in Western Yunnan Province","authors":"Zheng Xiaohua, Bai Ying","doi":"10.15964/J.CNKI.027JGG.2021.04.008","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.04.008","url":null,"abstract":"The West Yunnan Province is rich in precious jade resources, of which the Nanhong agate and quartzose jade (Huanglongyu) produced in the Baoshan area are the most representative. Based on the mineral resources of Nanhong agate and quartzose jade (Huanglongyu) in the area, this paper analyzes the corresponding benefits of the gemstone resource development and utilization to the local jewelry industry, and puts forward suggestions on the development and utilization of the resources from the perspective of industrial development and public management, and provides references for the formulation of industrial development policies. Through the comprehensive investigation and research on the output and market situation of the two kinds of precious gemstone, the problems existing in the exploitation of the resources in this area are analyzed, and the development plan of the gemstone resources is put forward. The governors should pay attention to the environmental protection factors in mining, strengthen the protection of cultural heritage, and speed up the industrial transformation and upgrading.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86597149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.15964/J.CNKI.027JGG.2021.04.001
Lai Shuqi, Qiu Zhili, Yang Jiong, Luo Han, Zheng Xinyu, Ye Xu
Lapis lazuli with a vivid and bright imperial blue colour was used widely in Mesopotamia, ancient Egypt, ancient India, ancient Rome, ancient China and other early ancient civilizations. However, due to the lack of producing areas and the constraints of archaeological materials, the domestic understanding of the origin, trade and cultural exchange of lapis lazis is still relatively limited. Based on the research at home and abroad, this study aimed to systematically sorting and summarizing the previous results of exploitation, trade route and employment of lapis lazuli, which provides reference for the interdisciplinary research of gemmology, archaeology, and other disciplines. The main results were summarized as follows: (1) Although archaeological findings still can not explain the origin of lapis lazuli found at some sites, geological and archaeological evidences suggest that Afghanistan is the most important source of lapis lazuli; (2) As early as 4500 B.C., the trade of lapis lazuli was well-organized, and three different trade and transportation routes in different time periods (4500 B.C.-3500 B.C., 3500 B.C.-1000 B.C. and 1000 B.C.-early A.D.) can be traced back. In the early stage, land and river transportation were the primary, in the medium-stage, sea transportation developed rapidly, and in the late stage, these three routes were closely combined. Route changes were controlled by multiple factors such as geographical environment, urban rise and fall, and the public demand; (3) Archaeological studies and literature records showed that the use and role of ancient lapis lazuli have changed significantly. The worldwide urban cultural diversification have made the sanctified lapis lazuli present a variety forms of use, and simultaneously it shows ancient people's multifarious cognition on the colour of lapis lazuli. The researches of lapis lazuli material resource exploitation, trading and uses in international academia can provide us important reference to explore the development and circulation of jade in early ancient China.
{"title":"Mining and Trading of Ancient Lapis Lazuli: The Exploration for A Combination of Twofold Evidence Based on Historical Documents and Archaeology Discovery","authors":"Lai Shuqi, Qiu Zhili, Yang Jiong, Luo Han, Zheng Xinyu, Ye Xu","doi":"10.15964/J.CNKI.027JGG.2021.04.001","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.04.001","url":null,"abstract":"Lapis lazuli with a vivid and bright imperial blue colour was used widely in Mesopotamia, ancient Egypt, ancient India, ancient Rome, ancient China and other early ancient civilizations. However, due to the lack of producing areas and the constraints of archaeological materials, the domestic understanding of the origin, trade and cultural exchange of lapis lazis is still relatively limited. Based on the research at home and abroad, this study aimed to systematically sorting and summarizing the previous results of exploitation, trade route and employment of lapis lazuli, which provides reference for the interdisciplinary research of gemmology, archaeology, and other disciplines. The main results were summarized as follows: (1) Although archaeological findings still can not explain the origin of lapis lazuli found at some sites, geological and archaeological evidences suggest that Afghanistan is the most important source of lapis lazuli; (2) As early as 4500 B.C., the trade of lapis lazuli was well-organized, and three different trade and transportation routes in different time periods (4500 B.C.-3500 B.C., 3500 B.C.-1000 B.C. and 1000 B.C.-early A.D.) can be traced back. In the early stage, land and river transportation were the primary, in the medium-stage, sea transportation developed rapidly, and in the late stage, these three routes were closely combined. Route changes were controlled by multiple factors such as geographical environment, urban rise and fall, and the public demand; (3) Archaeological studies and literature records showed that the use and role of ancient lapis lazuli have changed significantly. The worldwide urban cultural diversification have made the sanctified lapis lazuli present a variety forms of use, and simultaneously it shows ancient people's multifarious cognition on the colour of lapis lazuli. The researches of lapis lazuli material resource exploitation, trading and uses in international academia can provide us important reference to explore the development and circulation of jade in early ancient China.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90631612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.15964/J.CNKI.027JGG.2021.04.002
L. Jia, Yang Ming-xing, L. Ling
The turquoise from Mongolia is rich in colour, ranging from blue to green. To enrich the study on the composition of turquoise from Mongolia, this study determined the contents of main components, trace elements, and rare earth elements(REE) by electron probe microanalysis (EPMA) and laser ablation plasma mass spectrometer (LA-ICP-MS). The content of Al2O3, P2O5, CuO and TFeO were 35.22%-36.73%, 34.34%-35.84%, 8.27%-9.24% and 2.20%-3.76% respectively. The TFeO / CuO ratio of the sample increased with the colour change from blue to green. As the increase of Fe3+ content, the green hue of the sample increases. The content of As was as high as 1 453.9-1 760.3 mg/kg. The EDS scanning showed that As was uniform distributed in the sample substrate. The contents of Sr, Ba, and Pb in the samples were higher than those in Anhui, Shaanxi, and Hubei provinces. The U content was similar to that in turquoise samples from Ma'anshan and Ankang of Anhui Province, and lower than that in Yunyang district and Zhushan area of Hubei Province. There were two different patterns of REE distribution, one was right inclined, and the heavy and light rare earth were differentiated, and Eu loss was not obvious; the other was rich in medium rare earth, and the difference between light and heavy rare earth was relatively insignificant, and Eu showed positive anomaly. According to the difference of distribution curves, it was inferred that there were two stages of mineralization of turquoise, low temperature hydrothermal metasomatism and weathering leaching. The rare earth content of the former was higher than that of the latter, and the light rare earth was enriched, while the latter was lost, but the contents of medium rare earth and heavy rare earth were consistent with the former. The author studied and determined the composition characteristics of turquoise in this area and infers the genesis of turquoise and provided the basis for distinguishing the origin of turquoise from Mongolia.
{"title":"Composition Characteristic of Turquoise from Mongolia","authors":"L. Jia, Yang Ming-xing, L. Ling","doi":"10.15964/J.CNKI.027JGG.2021.04.002","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.04.002","url":null,"abstract":"The turquoise from Mongolia is rich in colour, ranging from blue to green. To enrich the study on the composition of turquoise from Mongolia, this study determined the contents of main components, trace elements, and rare earth elements(REE) by electron probe microanalysis (EPMA) and laser ablation plasma mass spectrometer (LA-ICP-MS). The content of Al2O3, P2O5, CuO and TFeO were 35.22%-36.73%, 34.34%-35.84%, 8.27%-9.24% and 2.20%-3.76% respectively. The TFeO / CuO ratio of the sample increased with the colour change from blue to green. As the increase of Fe3+ content, the green hue of the sample increases. The content of As was as high as 1 453.9-1 760.3 mg/kg. The EDS scanning showed that As was uniform distributed in the sample substrate. The contents of Sr, Ba, and Pb in the samples were higher than those in Anhui, Shaanxi, and Hubei provinces. The U content was similar to that in turquoise samples from Ma'anshan and Ankang of Anhui Province, and lower than that in Yunyang district and Zhushan area of Hubei Province. There were two different patterns of REE distribution, one was right inclined, and the heavy and light rare earth were differentiated, and Eu loss was not obvious; the other was rich in medium rare earth, and the difference between light and heavy rare earth was relatively insignificant, and Eu showed positive anomaly. According to the difference of distribution curves, it was inferred that there were two stages of mineralization of turquoise, low temperature hydrothermal metasomatism and weathering leaching. The rare earth content of the former was higher than that of the latter, and the light rare earth was enriched, while the latter was lost, but the contents of medium rare earth and heavy rare earth were consistent with the former. The author studied and determined the composition characteristics of turquoise in this area and infers the genesis of turquoise and provided the basis for distinguishing the origin of turquoise from Mongolia.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77129265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.15964/J.CNKI.027JGG.2021.04.005
Yan Xiaoxu, Yue Suwei, LI Suitian, Wang Peilian
The colour center caused by radioactive decay in zircons can be removed by heat treatment. This behavior also may modify their colour and transparency to improve the ornamental and commercial value. A large majority of blue zircons in the market are obtained from reddish-brown zircon by heat treatment under high temperature. However, the colour mechanism of which have long been controversial.Reddish-brown and yellowish-brown zircons were applied in this study, and heated in reducing atmosphere in order to confirm the optimum temperature of blue colour modification. The mechanism of altering colour in heat treatment was also investigated in this study by analyzing their standard gemmological properties, infrared absorption spectroscopy (IR) and ultraviolet-visible spectrophotometry (UV-Vis). The results of heat treatment showed that reddish-brown zircons could be changed into light blue zircons by heat treatment under 950-1 000 ℃ in reducing atmosphere.The IR spectra of the samples at 434 cm-1 and 610 cm-1 before heat treatment show their low metamictization.After heat treatment, the absorption of 438/436 cm-1 (peak) get strengthened and the 1 100-900 cm-1 (band) narrowed down, which indicates that the crystalline state of the samples restored. The UV-Vis spectra of the samples showed that the absorption band around 510 nm was generated by Y3+substituting with Zr4+, leading to radiation and turned colourless crystalline zircons into reddish-brown metamict ones. After heat treatment, the vanishment of 510 nm band was caused by the breaking down of colour center generated by Y3+substitution. The 800 nm band showed weak intensity, with the emergence of absorption around 640 nm. The strong absorption peak of 653 nm and 690 nm and a series of weak absorption peaks were caused by U4+. The 640 nm band was presumed to be the main cause of the blue colour of the treated samples, and the 653 nm with its surrounding absorptions might relevant to it.
{"title":"Gemmological Characteristic and Colour of Zircon under Heat Treatment in Reducing Condition","authors":"Yan Xiaoxu, Yue Suwei, LI Suitian, Wang Peilian","doi":"10.15964/J.CNKI.027JGG.2021.04.005","DOIUrl":"https://doi.org/10.15964/J.CNKI.027JGG.2021.04.005","url":null,"abstract":"The colour center caused by radioactive decay in zircons can be removed by heat treatment. This behavior also may modify their colour and transparency to improve the ornamental and commercial value. A large majority of blue zircons in the market are obtained from reddish-brown zircon by heat treatment under high temperature. However, the colour mechanism of which have long been controversial.Reddish-brown and yellowish-brown zircons were applied in this study, and heated in reducing atmosphere in order to confirm the optimum temperature of blue colour modification. The mechanism of altering colour in heat treatment was also investigated in this study by analyzing their standard gemmological properties, infrared absorption spectroscopy (IR) and ultraviolet-visible spectrophotometry (UV-Vis). The results of heat treatment showed that reddish-brown zircons could be changed into light blue zircons by heat treatment under 950-1 000 ℃ in reducing atmosphere.The IR spectra of the samples at 434 cm-1 and 610 cm-1 before heat treatment show their low metamictization.After heat treatment, the absorption of 438/436 cm-1 (peak) get strengthened and the 1 100-900 cm-1 (band) narrowed down, which indicates that the crystalline state of the samples restored. The UV-Vis spectra of the samples showed that the absorption band around 510 nm was generated by Y3+substituting with Zr4+, leading to radiation and turned colourless crystalline zircons into reddish-brown metamict ones. After heat treatment, the vanishment of 510 nm band was caused by the breaking down of colour center generated by Y3+substitution. The 800 nm band showed weak intensity, with the emergence of absorption around 640 nm. The strong absorption peak of 653 nm and 690 nm and a series of weak absorption peaks were caused by U4+. The 640 nm band was presumed to be the main cause of the blue colour of the treated samples, and the 653 nm with its surrounding absorptions might relevant to it.","PeriodicalId":15852,"journal":{"name":"Journal of Gems & Gemmology","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75109873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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