N. A. Pérez, L. Bucio, E. Lima, C. Cedillo, D. M. Grimaldi
The Gran Piramide , a Mexican cultural heritage site, is located at the archaeological site of Cholula, Puebla, Mexico. At the base of its platform this pyramid is the largest in the world. It was built in layers from 800 to 1100 AD by the Cholultecan pre-Hispanic culture. The archaeological site is famous by its great mural paintings that have been well-studied. The pyramid was built with earthen construction, a system of multiple bulding episodes with layers of adobe. The building material, adobe, has not been well studied. Due to its fragile condition, a more extensive study was conducted to understand the behavior of the building and the mural paintings substrate, in order to propose conservation strategies. Geological context of the area was the starting point to propose the relevant materials used in its construction. That was a fundamental key for the interpretation of the experimental techniques used that include X-ray Diffraction (XRD), Particle-Induced X-ray Emission (PIXE), 29 Si and 27 Al Nuclear-Magnetic Resonance with Magic-Angle Spin (NMR-MAS), Thermal Analysis, Optical and Scanning Electron Microscopy (SEM) and colorimetric measurements. The results obtained from the original adobes have been compared with fresh soils from horizons related with pre-Hispanic activity. The results indicate presence of amorphous materials and neo-mineral formation besides feldspars and opal. The amorphous phases have been identified by NMR-MAS and SEM. Differences were found in the composition from the adobe used for the joints, mainly in the clay fraction, that can be distinguished by color and that guided to group the information acquired. These results provide new information on the composition and microstructure of adobes from the Gran Piramide of Cholula. Further studies will involve soil physics methods and erosion tests to complete the task of having a comprehensive knowledge of the earth architecture of the pyramid.
Gran Piramide是墨西哥文化遗产，位于墨西哥普埃布拉州乔卢拉的考古遗址。在它的平台底部，这个金字塔是世界上最大的。它是在公元800年到1100年由前西班牙文化的乔勒特克人分层建造的。这个考古遗址以其伟大的壁画而闻名，这些壁画已经得到了充分的研究。金字塔是用土制建筑建造的，这是一个由多层土坯组成的建筑系统。建筑材料，土坯，还没有得到很好的研究。由于其脆弱的状态，我们进行了更广泛的研究，以了解建筑和壁画基材的行为，以便提出保护策略。该地区的地质背景是提出建筑中使用的相关材料的出发点。这是解释所使用的实验技术的基本关键，包括x射线衍射(XRD)，粒子诱导x射线发射(PIXE)， 29 Si和27 Al魔角自旋核磁共振(NMR-MAS)，热分析，光学和扫描电子显微镜(SEM)和比色测量。从原始土坯中获得的结果已与与前西班牙人活动有关的地平线上的新鲜土壤进行了比较。结果表明，除长石和蛋白石外，还存在非晶态物质和新矿物的形成。通过NMR-MAS和SEM对非晶相进行了表征。不同的是用于接缝的土坯的成分，主要是粘土部分，可以通过颜色来区分，并指导对所获得的信息进行分组。这些结果为研究乔卢拉大酰胺土坯的组成和微观结构提供了新的信息。进一步的研究将涉及土壤物理方法和侵蚀测试，以完成对金字塔土壤结构的全面了解。
{"title":"Unraveling the Core of The Gran Pirámide From Cholula, Puebla. A Compositional and Microstructural Analysis of the Adobe","authors":"N. A. Pérez, L. Bucio, E. Lima, C. Cedillo, D. M. Grimaldi","doi":"10.1557/OPL.2015.3","DOIUrl":"https://doi.org/10.1557/OPL.2015.3","url":null,"abstract":"The Gran Piramide , a Mexican cultural heritage site, is located at the archaeological site of Cholula, Puebla, Mexico. At the base of its platform this pyramid is the largest in the world. It was built in layers from 800 to 1100 AD by the Cholultecan pre-Hispanic culture. The archaeological site is famous by its great mural paintings that have been well-studied. The pyramid was built with earthen construction, a system of multiple bulding episodes with layers of adobe. The building material, adobe, has not been well studied. Due to its fragile condition, a more extensive study was conducted to understand the behavior of the building and the mural paintings substrate, in order to propose conservation strategies. Geological context of the area was the starting point to propose the relevant materials used in its construction. That was a fundamental key for the interpretation of the experimental techniques used that include X-ray Diffraction (XRD), Particle-Induced X-ray Emission (PIXE), 29 Si and 27 Al Nuclear-Magnetic Resonance with Magic-Angle Spin (NMR-MAS), Thermal Analysis, Optical and Scanning Electron Microscopy (SEM) and colorimetric measurements. The results obtained from the original adobes have been compared with fresh soils from horizons related with pre-Hispanic activity. The results indicate presence of amorphous materials and neo-mineral formation besides feldspars and opal. The amorphous phases have been identified by NMR-MAS and SEM. Differences were found in the composition from the adobe used for the joints, mainly in the clay fraction, that can be distinguished by color and that guided to group the information acquired. These results provide new information on the composition and microstructure of adobes from the Gran Piramide of Cholula. Further studies will involve soil physics methods and erosion tests to complete the task of having a comprehensive knowledge of the earth architecture of the pyramid.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"3 1","pages":"41-50"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85785201","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}
A combination of FTIR, normal Raman, SERS, Py-GC/MS and XRF was used to analyze commercial bistre samples to determine specific biomarkers that will allow for a rapid identification of the pigment in works of art. The results of the XRF analysis showed that potassium, calcium and iron are the main elements present. Characteristic bands belonging to phenolic components of lignin were observed in the FTIR spectra. The SERS analysis provided a fingerprint that may originate in the polymerization of the phenolic components catalyzed by the presence of the nanostructured silver surface under alkaline conditions. The Py-GC/MS analysis revealed the presence of lignin and cellulose biomarkers and a series of polycyclic aromatic hydrocarbons. The similarities observed between the commercial samples studied suggest that both originate in the same raw material, hardwood. The results demonstrate the potential of the multi-technique approach used for the characterization of this complex black-brown pigment.
{"title":"Characterization of Bistre Pigment Samples by FTIR, SERS, Py-GC/MS and XRF","authors":"M. L. Roldán, S. Centeno, Adriana Rizzo, Y. Dyke","doi":"10.1557/OPL.2014.823","DOIUrl":"https://doi.org/10.1557/OPL.2014.823","url":null,"abstract":"A combination of FTIR, normal Raman, SERS, Py-GC/MS and XRF was used to analyze commercial bistre samples to determine specific biomarkers that will allow for a rapid identification of the pigment in works of art. The results of the XRF analysis showed that potassium, calcium and iron are the main elements present. Characteristic bands belonging to phenolic components of lignin were observed in the FTIR spectra. The SERS analysis provided a fingerprint that may originate in the polymerization of the phenolic components catalyzed by the presence of the nanostructured silver surface under alkaline conditions. The Py-GC/MS analysis revealed the presence of lignin and cellulose biomarkers and a series of polycyclic aromatic hydrocarbons. The similarities observed between the commercial samples studied suggest that both originate in the same raw material, hardwood. The results demonstrate the potential of the multi-technique approach used for the characterization of this complex black-brown pigment.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"14 1","pages":"139-148"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74899988","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}
Although widely employed in Eurasia, lead glazes were produced in only two small regions of the Americas prior to European contact, both in the Southwest. Southwestern glaze paints are unique in that they developed as decorative elements instead of as protective surface coatings. The first independent invention of glaze paints was in the Upper San Juan region of southwestern Colorado during the early Pueblo I period (ca. 700-850 CE). Despite recent interest in the later Pueblo IV glaze paints of New Mexico (ca. 1275-1700 CE), there have been no technological analyses of the Pueblo I glaze paints. This research project presents the first analysis and technological reconstruction of the Pueblo I glaze paints. It is in the production of the glaze paints that the potters were innovating and experimenting with materials. These early glaze paints have the potential to provide important information regarding both technology of production as well as the relationships and interactions of potters during this period in the Upper San Juan region. Preliminary results reveal a pattern of traits that involves raw materials, processing, properties and performance of the final product suggesting the existence of a patterned technological behavior.
{"title":"Technological Behavior in the Southwest: Pueblo I Lead Glaze Paints from the Upper San Juan Region","authors":"Brunella Santarelli, D. Killick, S. Goff","doi":"10.1557/OPL.2014.813","DOIUrl":"https://doi.org/10.1557/OPL.2014.813","url":null,"abstract":"Although widely employed in Eurasia, lead glazes were produced in only two small regions of the Americas prior to European contact, both in the Southwest. Southwestern glaze paints are unique in that they developed as decorative elements instead of as protective surface coatings. The first independent invention of glaze paints was in the Upper San Juan region of southwestern Colorado during the early Pueblo I period (ca. 700-850 CE). Despite recent interest in the later Pueblo IV glaze paints of New Mexico (ca. 1275-1700 CE), there have been no technological analyses of the Pueblo I glaze paints. This research project presents the first analysis and technological reconstruction of the Pueblo I glaze paints. It is in the production of the glaze paints that the potters were innovating and experimenting with materials. These early glaze paints have the potential to provide important information regarding both technology of production as well as the relationships and interactions of potters during this period in the Upper San Juan region. Preliminary results reveal a pattern of traits that involves raw materials, processing, properties and performance of the final product suggesting the existence of a patterned technological behavior.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"60 2","pages":"199-209"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91503913","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}
Knowledge of the composition of many cultural heritage objects is limited, resulting in many unanswered questions in regards to the provenance, composition, and production methods. In this paper, our objective is to show that dual beam scanning electron microscope (SEM) and focused ion beam (FIB) can be used rapidly and non-destructively to determine the surface and bulk metal compositions in small cultural heritage objects. We show, for the first time, that this novel FIB technique can be successfully applied non-destructively to cultural heritage objects by examining three representative silver plated objects (Candelabra, “Century” spoon, and New York World’s Fair spoon) from the Dallas Museum of Art’s unparalleled collection of modern American silver. In each case, we successfully reveal and characterize the bulk metal as well as the Ag-plating, up to ∼80 µm deep and show that there is no visual damage resulting from the milling process of the FIB. This novel characterization technique can be applied, due to its ease of availability and rapid use, to many other problems in addition to silver plated objects, making dual beam SEM/FIB a possible cornerstone technique in the study of cultural heritage objects.
{"title":"Dual-Beam Scanning Electron Microscope (SEM) and Focused Ion Beam (FIB): A Practical Method for Characterization of Small Cultural Heritage Objects","authors":"M. Carl, C. Smith, M. L. Young","doi":"10.1557/OPL.2014.873","DOIUrl":"https://doi.org/10.1557/OPL.2014.873","url":null,"abstract":"Knowledge of the composition of many cultural heritage objects is limited, resulting in many unanswered questions in regards to the provenance, composition, and production methods. In this paper, our objective is to show that dual beam scanning electron microscope (SEM) and focused ion beam (FIB) can be used rapidly and non-destructively to determine the surface and bulk metal compositions in small cultural heritage objects. We show, for the first time, that this novel FIB technique can be successfully applied non-destructively to cultural heritage objects by examining three representative silver plated objects (Candelabra, “Century” spoon, and New York World’s Fair spoon) from the Dallas Museum of Art’s unparalleled collection of modern American silver. In each case, we successfully reveal and characterize the bulk metal as well as the Ag-plating, up to ∼80 µm deep and show that there is no visual damage resulting from the milling process of the FIB. This novel characterization technique can be applied, due to its ease of availability and rapid use, to many other problems in addition to silver plated objects, making dual beam SEM/FIB a possible cornerstone technique in the study of cultural heritage objects.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"6 1","pages":"355-369"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75512107","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}
Pores in archaeological ceramics can form in a number of different ways, and reflect both deliberate choices and uncontrollable factors. Characterizing porosity by digital image analysis of thin sections holds a number of advantages as well as limitations. We present the results of experiments aimed at improving this method, focusing on high-resolution scans of entire thin sections. We examine the reproducibility of pore measurements by petrographic image analysis of ceramic thin sections using laboratory-prepared specimens of clay mixed with sand of known amount and size. We outline protocols for measuring Total Optical Porosity, using the Image-Pro Premier software package. We also briefly discuss use of pore size and pore shape (aspect ratio and roundness) in characterizing archaeological ceramics. While discerning reasons for observed amounts, sizes, and shapes of pores is an extremely complex problem, the quantitative analysis of ceramic porosity is one tool for characterizing a ware and comparing a product to others. The methods outlined here are applied to a case study comparing historic bricks from the Read House in New Castle, Delaware; the porosity studies indicate that different construction campaigns used bricks from different sources.
{"title":"Quantitative Porosity Studies of Archaeological Ceramics by Petrographic Image Analysis","authors":"Chandra L. Reedy, Jenifer Anderson, T. Reedy","doi":"10.1557/OPL.2014.711","DOIUrl":"https://doi.org/10.1557/OPL.2014.711","url":null,"abstract":"Pores in archaeological ceramics can form in a number of different ways, and reflect both deliberate choices and uncontrollable factors. Characterizing porosity by digital image analysis of thin sections holds a number of advantages as well as limitations. We present the results of experiments aimed at improving this method, focusing on high-resolution scans of entire thin sections. We examine the reproducibility of pore measurements by petrographic image analysis of ceramic thin sections using laboratory-prepared specimens of clay mixed with sand of known amount and size. We outline protocols for measuring Total Optical Porosity, using the Image-Pro Premier software package. We also briefly discuss use of pore size and pore shape (aspect ratio and roundness) in characterizing archaeological ceramics. While discerning reasons for observed amounts, sizes, and shapes of pores is an extremely complex problem, the quantitative analysis of ceramic porosity is one tool for characterizing a ware and comparing a product to others. The methods outlined here are applied to a case study comparing historic bricks from the Read House in New Castle, Delaware; the porosity studies indicate that different construction campaigns used bricks from different sources.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"20 1","pages":"337-353"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78961210","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}
M. Saheb, J. Mertz, E. Colas, O. Rozenbaum, A. Chabas, A. Michelin, A. Verney-Carron, J. Sizun
In the context of the preservation of the cultural heritage, it is important to understand the alteration mechanisms of the materials constituting historical monuments and architecture. Limestone especially is widely used in many French monuments exposed to an urban aggressive atmosphere affecting their durability. To better understand the alteration mechanisms, the first step is to characterize at different scales the stone material properties. In one hand, the pore network that drives the fluids transfer inside the materials was characterized. And on the other hand, the alteration layer formed on several decades aged materials was studied. Results on this fine-scale characterization are discussed.
{"title":"Multiscale characterization of limestone used on monuments of cultural heritage","authors":"M. Saheb, J. Mertz, E. Colas, O. Rozenbaum, A. Chabas, A. Michelin, A. Verney-Carron, J. Sizun","doi":"10.1557/OPL.2014.709","DOIUrl":"https://doi.org/10.1557/OPL.2014.709","url":null,"abstract":"In the context of the preservation of the cultural heritage, it is important to understand the alteration mechanisms of the materials constituting historical monuments and architecture. Limestone especially is widely used in many French monuments exposed to an urban aggressive atmosphere affecting their durability. To better understand the alteration mechanisms, the first step is to characterize at different scales the stone material properties. In one hand, the pore network that drives the fluids transfer inside the materials was characterized. And on the other hand, the alteration layer formed on several decades aged materials was studied. Results on this fine-scale characterization are discussed.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"42 1","pages":"309-317"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90662034","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}
Gessoes are widely used in easel painting as grounds or preparatory layers; in art conservation, gessoes are employed as infill materials to level a loss in the paint surface in preparation for inpainting. The goal of this investigation was to establish the relationship between the mechanical behavior of various gessoes when exposed to different relative humidities (25%, 50%, and 100%) and to compare modern commercial gesso products with a traditional gesso. The materials included two commercial artists’ acrylic gessoes (composed of largely titanium dioxide and aqueous dispersions of acrylic polymers), two commercial spackling compounds frequently used in the conservation of easel paintings, and a traditional gesso (calcium carbonate and rabbit skin glue). Uniaxial tensile testing was used to characterize the elastic modulus, strain at failure, and ultimate tensile strength (UTS) of the materials. By understanding the physical limits of these materials under different conditions, damage to artworks and the failure of conservation treatments containing these types of materials may be prevented or reduced.
{"title":"Effects of Humidity on Gessoes for Easel Paintings","authors":"M. Doutre, A. Murray, L. Fuster-López","doi":"10.1557/OPL.2014.828","DOIUrl":"https://doi.org/10.1557/OPL.2014.828","url":null,"abstract":"Gessoes are widely used in easel painting as grounds or preparatory layers; in art conservation, gessoes are employed as infill materials to level a loss in the paint surface in preparation for inpainting. The goal of this investigation was to establish the relationship between the mechanical behavior of various gessoes when exposed to different relative humidities (25%, 50%, and 100%) and to compare modern commercial gesso products with a traditional gesso. The materials included two commercial artists’ acrylic gessoes (composed of largely titanium dioxide and aqueous dispersions of acrylic polymers), two commercial spackling compounds frequently used in the conservation of easel paintings, and a traditional gesso (calcium carbonate and rabbit skin glue). Uniaxial tensile testing was used to characterize the elastic modulus, strain at failure, and ultimate tensile strength (UTS) of the materials. By understanding the physical limits of these materials under different conditions, damage to artworks and the failure of conservation treatments containing these types of materials may be prevented or reduced.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"67 1","pages":"167-171"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82338151","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}
Our knowledge of glass production in ancient Egypt has been well augmented not only by the publication of recently excavated materials and glass workshops, but also by more recent materials analysis, and experiments of modern glass-makers attempting to reconstruct the production process of thin-walled core-formed glass vessels. The small but well preserved glass collection of the Freer Gallery of Art in Washington, D.C. was used to examine and study the technology and production of ancient Egyptian core-formed glass vessels. Previous study suggests that most of these vessels were produced in the 18th Dynasty in the 15th and 14th centuries BCE, while others date from the Hellenistic period and later. In an ongoing project we conducted computed radiography, x-ray fluorescence analysis and scanning electron microscopy on a selected group of vessels to understand further aspects of the ancient production process. This paper will provide an overview of our recent research.
{"title":"TECHNOLOGY OF EGYPTIAN CORE GLASS VESSELS","authors":"B. McCarthy, P. Vandiver, A. Nagel, L. Dussubieux","doi":"10.1557/OPL.2014.710","DOIUrl":"https://doi.org/10.1557/OPL.2014.710","url":null,"abstract":"Our knowledge of glass production in ancient Egypt has been well augmented not only by the publication of recently excavated materials and glass workshops, but also by more recent materials analysis, and experiments of modern glass-makers attempting to reconstruct the production process of thin-walled core-formed glass vessels. The small but well preserved glass collection of the Freer Gallery of Art in Washington, D.C. was used to examine and study the technology and production of ancient Egyptian core-formed glass vessels. Previous study suggests that most of these vessels were produced in the 18th Dynasty in the 15th and 14th centuries BCE, while others date from the Hellenistic period and later. In an ongoing project we conducted computed radiography, x-ray fluorescence analysis and scanning electron microscopy on a selected group of vessels to understand further aspects of the ancient production process. This paper will provide an overview of our recent research.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"42 1","pages":"123-136"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78195267","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}
M. Heinsch, P. Vandiver, K. Lyublyanovics, A. Choyke, Chandra L. Reedy, P. Tourtellotte, Claudia Chang
Between the fourth century B.C. and second century A.D., changes in climate, culture and commerce converged to extend networks of influence and intensify social stratification in communities situated along the Silk Road. The horse-riding nomads and agro-pastoralists of what is now Southeastern Kazakhstan were important actors in the unfolding of these events. The settlements and kurgan burials of the Saka and Wusun could be found dotting the alluvial fans north of the Tien Shan Mountains just a short time before Alexander the Great founded outposts in the Ferghana Valley and Chinese emissaries formalized relations with their periphery. In other words, the appearance of Iron Age Saka-Wusun sites anticipated the formation of the Silk Road’s northern branch and subsequently helped mediate long-distance relationships connecting East and West. Historical accounts appear to confirm the presence of the Saka and Wusun in this role, but there is much that remains unknown regarding relationships both within and across their communities. Typological variability in their material culture has fed speculation concerning their position within trade networks, but there has been very little in the way of materials analysis to test the validity of these assumptions. The ceramics recovered at Tuzusai near Almaty provide an excellent opportunity for examination of the impacts and implications of extended regional contacts throughout the region. Although no Persian or Chinese ceramic imports were identified, an extensive vocabulary of pot forms was locally produced. However, the pottery, particularly pitchers, drinking cups and bowls, and, especially with bright red surface decoration, is found in elaborate burial kurgans. The pottery is coarse, perhaps better called a “rock body” than a clay body, as very little clay is present. The frequency of sherds from the excavation (over 1000) and from surface survey is very low (e.g. 3 surface sherds for one-half days effort) compared with excavations in Southwest Asia or China. Rims are unusually worn. Thus, we suggest pottery was precious and high status, but difficult to make. A local survey of clay resources produced meager results. Tests showed that the finest sediments had perhaps 3% clay-sized particles. Among the adobe houses at Tuzusai is evidence of courtyard work areas for pottery production with fired remains of a possible firing pit or kiln and bone potting tools. Other courtyards were areas for dairying and spinning and some copper alloy and iron metal working. Our aim was to establish the life history, production sequences, status and uses of the pottery. Given our current understanding of local production resources and the technical difficulty associated with the production of thin walled forms using these materials, we suggest that these ceramics were high-status goods, many used in feasting activities, and valued not solely for their function in feasting activities, but for the labor and skill required to p
{"title":"Ceramics at the Emergence of the Silk Road: A Case of Village Potters from Southeastern Kazakhstan during the Late Iron Age","authors":"M. Heinsch, P. Vandiver, K. Lyublyanovics, A. Choyke, Chandra L. Reedy, P. Tourtellotte, Claudia Chang","doi":"10.1557/OPL.2015.841","DOIUrl":"https://doi.org/10.1557/OPL.2015.841","url":null,"abstract":"Between the fourth century B.C. and second century A.D., changes in climate, culture and commerce converged to extend networks of influence and intensify social stratification in communities situated along the Silk Road. The horse-riding nomads and agro-pastoralists of what is now Southeastern Kazakhstan were important actors in the unfolding of these events. The settlements and kurgan burials of the Saka and Wusun could be found dotting the alluvial fans north of the Tien Shan Mountains just a short time before Alexander the Great founded outposts in the Ferghana Valley and Chinese emissaries formalized relations with their periphery. In other words, the appearance of Iron Age Saka-Wusun sites anticipated the formation of the Silk Road’s northern branch and subsequently helped mediate long-distance relationships connecting East and West. Historical accounts appear to confirm the presence of the Saka and Wusun in this role, but there is much that remains unknown regarding relationships both within and across their communities. Typological variability in their material culture has fed speculation concerning their position within trade networks, but there has been very little in the way of materials analysis to test the validity of these assumptions. The ceramics recovered at Tuzusai near Almaty provide an excellent opportunity for examination of the impacts and implications of extended regional contacts throughout the region. Although no Persian or Chinese ceramic imports were identified, an extensive vocabulary of pot forms was locally produced. However, the pottery, particularly pitchers, drinking cups and bowls, and, especially with bright red surface decoration, is found in elaborate burial kurgans. The pottery is coarse, perhaps better called a “rock body” than a clay body, as very little clay is present. The frequency of sherds from the excavation (over 1000) and from surface survey is very low (e.g. 3 surface sherds for one-half days effort) compared with excavations in Southwest Asia or China. Rims are unusually worn. Thus, we suggest pottery was precious and high status, but difficult to make. A local survey of clay resources produced meager results. Tests showed that the finest sediments had perhaps 3% clay-sized particles. Among the adobe houses at Tuzusai is evidence of courtyard work areas for pottery production with fired remains of a possible firing pit or kiln and bone potting tools. Other courtyards were areas for dairying and spinning and some copper alloy and iron metal working. Our aim was to establish the life history, production sequences, status and uses of the pottery. Given our current understanding of local production resources and the technical difficulty associated with the production of thin walled forms using these materials, we suggest that these ceramics were high-status goods, many used in feasting activities, and valued not solely for their function in feasting activities, but for the labor and skill required to p","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"29 1","pages":"251-281"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73758056","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}
Volatile organic compounds (VOCs) can be hazardous to human health and can negatively impact the long-term stability of art objects. This research evaluated the VOC adsorbent properties of three materials commonly used in museums as humidity regulating or air filtering agents. Silica gel, activated charcoal, and zeolite powder, materials often placed in proximity to art objects, were analyzed using Thermal Desorption GC-MS to qualitatively identify adsorbed VOC’s from model environments. This research compared the adsorbing capabilities of these materials with a solid-phase micro-extraction (SPME) carboxen/polydimethyl siloxane fiber to frame their adsorbing powers. It was found that different adsorbents have very different ranges of adsorption for the chemicals tested. Silica gel powder and zeolite powder have the greatest sensitivity for acetic acid over a 24 hour exposure period. Zeolite powder and activated charcoal were more sensitive for identification of naphthalene. Silica gel powder proved to be the most sensitive adsorbent overall. This research discovered that the methods used to condition silica gel pellets for reuse need to be re-examined in light of fact they trap VOC’s, especially as it was observed that VOC’s desorb from the silica gel pellets under ambient conditions.
{"title":"Environmental Monitoring of Volatile Organic Compounds Using Silica Gel, Zeolite and Activated Charcoal","authors":"Molly K. McGath, B. McCarthy, Jenifer Bosworth","doi":"10.1557/OPL.2014.812","DOIUrl":"https://doi.org/10.1557/OPL.2014.812","url":null,"abstract":"Volatile organic compounds (VOCs) can be hazardous to human health and can negatively impact the long-term stability of art objects. This research evaluated the VOC adsorbent properties of three materials commonly used in museums as humidity regulating or air filtering agents. Silica gel, activated charcoal, and zeolite powder, materials often placed in proximity to art objects, were analyzed using Thermal Desorption GC-MS to qualitatively identify adsorbed VOC’s from model environments. This research compared the adsorbing capabilities of these materials with a solid-phase micro-extraction (SPME) carboxen/polydimethyl siloxane fiber to frame their adsorbing powers. It was found that different adsorbents have very different ranges of adsorption for the chemicals tested. Silica gel powder and zeolite powder have the greatest sensitivity for acetic acid over a 24 hour exposure period. Zeolite powder and activated charcoal were more sensitive for identification of naphthalene. Silica gel powder proved to be the most sensitive adsorbent overall. This research discovered that the methods used to condition silica gel pellets for reuse need to be re-examined in light of fact they trap VOC’s, especially as it was observed that VOC’s desorb from the silica gel pellets under ambient conditions.","PeriodicalId":18884,"journal":{"name":"MRS Proceedings","volume":"42 1","pages":"51-72"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81548930","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：