In order to search for sources of the raw material of the Qin’s terracotta warriors and horses, we selected 20 samples of pottery warriors and pottery horses of the Qin’s Mausoleum from pit No. 1,19 samples of potte...In order to search for sources of the raw material of the Qin’s terracotta warriors and horses, we selected 20 samples of pottery warriors and pottery horses of the Qin’s Mausoleum from pit No. 1,19 samples of pottery warriors and brick from pit No. 2, 20 samples of clays near the Qin’s Mausoleum and 2 samples of Yaozhou porcelain bodies. The 32 kinds of element content of each sample were measured by neutron activation analysis (NAA). These data were analyzed by fuzzy cluster analysis, the trend cluster analysis diagram was obtained. The results showed that samples of terracotta warriors and horses from pits No.1 and No. 2 were closely related to the loam layer near Qin’s Mausoleum, but their relations with the loess layers were not so close, and they were out of all relation to Yaozhou porcelain bodies. Thus, it could be deduced that the Li Mountain clay may be considered as the original place of the raw materials of the terracotta warriors and horses, the kiln sites might be located nearby the Qin’s展开更多
This study reports the investigation of the influence of adding waste glass on the properties of fired clay specimen. Four different particle sizes (smaller than 100 μm, 300μm, 500μm, and 800 μm) of waste glass we...This study reports the investigation of the influence of adding waste glass on the properties of fired clay specimen. Four different particle sizes (smaller than 100 μm, 300μm, 500μm, and 800 μm) of waste glass were mixed with a clay material at contents of 0%, 2%, 6% and 10% per weight. Specimen samples were fired at 750℃ in an electrical furnace for 6 hours, at a heating rate of 5℃/min. The physical and mechanical properties of terracotta are studied. The chemical analysis revealed that the clays were dominated by kaolinite and montmorillonite with small proportion of mixed layers clay. The fine grained texture (0.002 mm > 25%) and high plasticity (WP > 30%) of the clays were responsible for the moderate and high values of shrinkage upon oven drying and firing. The firing color variation from reddish brown shade was due to the amounts of iron and titanium oxides present in the obtained material. The water absorption was varied between 17.40% and 13.70%, while the linear shrinkage was estimated to be between 0.70% and 1.20% and the flexural strength from 5.30 to 8.10 MPa. These results showed that mixing clay with waste glass at 750℃ is an interesting approach to obtain reddish brown ceramics destined for bricks or roofing tiles.展开更多
Terracotta rider fi gurines are common artifacts in the past, generally combinations of person riding animals like horse or camel, through these organic fi gures we can see vivid pictures of ancient social life and cu...Terracotta rider fi gurines are common artifacts in the past, generally combinations of person riding animals like horse or camel, through these organic fi gures we can see vivid pictures of ancient social life and cultural evolution. A lot of researches on terracotta fi gurines have been reported, but terracotta rider fi gurines have been less studied as an independent object. This paper studied terracotta rider fi gurines, and found that this cultural form originated from the Warring States Period, thrived in the Tang Dynasty, and declined gradually after the Yuan Dynasty. The declination of ancient terracotta rider fi gurine culture owes to the changing social environment in different historical periods. Researches on terracotta rider fi gurines explored social customs and conventions behind them, and provided signifi cant theoretical support for protecting the cultural heritage.展开更多
This article focuses on representations of Emperor Qin Shihuang＇s necropolis, an example of the tomb as a special form of landscape in Chinese literature and visual culture. Unlike remnants of other historic structur...This article focuses on representations of Emperor Qin Shihuang＇s necropolis, an example of the tomb as a special form of landscape in Chinese literature and visual culture. Unlike remnants of other historic structures, the tomb is built to be an enclosed space and is contained in its own system of time. If a tomb is broken into, its system of time/space is fractured, and it becomes a ruin from the point of view of both its own historical function and its larger contemporary context. Both Chinese and American popular culture have a demonstrated fascination with breaking into Emperor Qin Shihuang＇s tomb. This article provides an analysis of three groups of texts from China and the United States, including Lilian Lee＇s novella The Terracotta Warrior and its screen adaptations, the 2005 film The Myth, directed by Stanley Tong, and its TV adaptation, and American texts including the 2001 NBC TV movie The Lost Empire, directed by Peter MacDonald, and the 2008 film The Mummy： Tomb of the Dragon Emperor, directed by Rob Cohen. After demonstrating how the special chronotope of Qin Shihuang＇s tomb directly affects the major thematic developments of these texts, this article then examines and compares how the different groups of texts confront the topics of death and immortality, excavation vs. preservation, and good vs. evil in ways that reflect the politics of representation.展开更多
There have been selected 83 samples of terracotta warriors and horses of Emperor Qin Shi Huang's Mausoleum, 20 samples of clays taken from around Qin's Mausoleum and 2 samples of Yaozhou porcelain bodies. All ...There have been selected 83 samples of terracotta warriors and horses of Emperor Qin Shi Huang's Mausoleum, 20 samples of clays taken from around Qin's Mausoleum and 2 samples of Yaozhou porcelain bodies. All these samples have been measured by instrument neutron activation analysis (INAA) and as many as 32 kinds of element contents of each sample are measured. The following conclusion has been reached when fuzzy cluster analysis is conducted to element contents of all these samples: (i) The samples are roughly classified into five categories: namely, samples from pits No. 1 and No. 2; samples from pit No. 3; loam layers; the mixture of loam and loess; and Yaozhou porcelain bodies. (ii) The terracottawarriors and horses in pits No. 1, No. 2 and No. 3 are relatively independent from one another. The clays from which they were made are not entirely identical.We have found that samples in pit No. 3 are very closely related and their claysources are comparatively concentrated. Samples in pits No. 1 and No. 2 are less related and their clay sources are comparatively scattered. (iii) The clays from which the terracotta warriors and horses were made are closely related to theloam layer near Qin's Mausoleum, particularly to the loam layer of Zaoyuan village and Gaoxing village, but they are not so related to loess layers there, nor to the loam layers of Anhoubao, even less related to Yaozhou porcelain bodies. Arational deduction thus drawn is that the raw material of clays from which the terracotta warriors and horses were made might probably be taken from loam layers around Zaoyuan and Gaoxing, or loam layers near Qin's Mausoleum whose properties are identical with those of loam layers of Zaoyuan and Gaoxing, rather than loess layers around the above places. Since the raw material of the terracotta warriors and horses was taken from loam near Qin's Mausoleum, it could be deductedthat the kiln sites might be located in around Qin's Mausoleum.展开更多
On Oct 1,2017,Mystery of Terracotta Warriors aired on Channel 1 of Romania’s state televisio n,in troducing the achievements that China’s Shaaxi province and the city of Xi’an had made in conserving historic herita...On Oct 1,2017,Mystery of Terracotta Warriors aired on Channel 1 of Romania’s state televisio n,in troducing the achievements that China’s Shaaxi province and the city of Xi’an had made in conserving historic heritages and developing the economy,tourism,education and culture,as well as changes that had taken place in society,urban appearance and people’s lives.Shaanxi,especially its capital,Xi’an,展开更多
为有效加固秦俑彩绘,选择单体渗透、电子束辐照加固方法进行保护。在最佳辐照加固条件:以2-羟基甲基丙烯酸乙酯为单体,用1MeV2.0 mA 60kGy电子束辐照可有效地加固秦俑彩绘层。加固后的陶俑表面没有出现光泽,彩绘层颜色鲜艳如初,生漆层...为有效加固秦俑彩绘,选择单体渗透、电子束辐照加固方法进行保护。在最佳辐照加固条件:以2-羟基甲基丙烯酸乙酯为单体,用1MeV2.0 mA 60kGy电子束辐照可有效地加固秦俑彩绘层。加固后的陶俑表面没有出现光泽,彩绘层颜色鲜艳如初,生漆层、颜料层也再无起翘、脱落现象,干燥、自然。展开更多
基金This work was supported by the National Natural Science Foundation of China (Grant Nos. 59872032 and 10175053) the Natural Science Foundation of Henan Province (Grant No. 004051500) the Youth Foundation of Zhengzhou University and Open Lab of Nuclear
文摘In order to search for sources of the raw material of the Qin’s terracotta warriors and horses, we selected 20 samples of pottery warriors and pottery horses of the Qin’s Mausoleum from pit No. 1,19 samples of pottery warriors and brick from pit No. 2, 20 samples of clays near the Qin’s Mausoleum and 2 samples of Yaozhou porcelain bodies. The 32 kinds of element content of each sample were measured by neutron activation analysis (NAA). These data were analyzed by fuzzy cluster analysis, the trend cluster analysis diagram was obtained. The results showed that samples of terracotta warriors and horses from pits No.1 and No. 2 were closely related to the loam layer near Qin’s Mausoleum, but their relations with the loess layers were not so close, and they were out of all relation to Yaozhou porcelain bodies. Thus, it could be deduced that the Li Mountain clay may be considered as the original place of the raw materials of the terracotta warriors and horses, the kiln sites might be located nearby the Qin’s
文摘This study reports the investigation of the influence of adding waste glass on the properties of fired clay specimen. Four different particle sizes (smaller than 100 μm, 300μm, 500μm, and 800 μm) of waste glass were mixed with a clay material at contents of 0%, 2%, 6% and 10% per weight. Specimen samples were fired at 750℃ in an electrical furnace for 6 hours, at a heating rate of 5℃/min. The physical and mechanical properties of terracotta are studied. The chemical analysis revealed that the clays were dominated by kaolinite and montmorillonite with small proportion of mixed layers clay. The fine grained texture (0.002 mm > 25%) and high plasticity (WP > 30%) of the clays were responsible for the moderate and high values of shrinkage upon oven drying and firing. The firing color variation from reddish brown shade was due to the amounts of iron and titanium oxides present in the obtained material. The water absorption was varied between 17.40% and 13.70%, while the linear shrinkage was estimated to be between 0.70% and 1.20% and the flexural strength from 5.30 to 8.10 MPa. These results showed that mixing clay with waste glass at 750℃ is an interesting approach to obtain reddish brown ceramics destined for bricks or roofing tiles.
文摘Terracotta rider fi gurines are common artifacts in the past, generally combinations of person riding animals like horse or camel, through these organic fi gures we can see vivid pictures of ancient social life and cultural evolution. A lot of researches on terracotta fi gurines have been reported, but terracotta rider fi gurines have been less studied as an independent object. This paper studied terracotta rider fi gurines, and found that this cultural form originated from the Warring States Period, thrived in the Tang Dynasty, and declined gradually after the Yuan Dynasty. The declination of ancient terracotta rider fi gurine culture owes to the changing social environment in different historical periods. Researches on terracotta rider fi gurines explored social customs and conventions behind them, and provided signifi cant theoretical support for protecting the cultural heritage.
文摘This article focuses on representations of Emperor Qin Shihuang＇s necropolis, an example of the tomb as a special form of landscape in Chinese literature and visual culture. Unlike remnants of other historic structures, the tomb is built to be an enclosed space and is contained in its own system of time. If a tomb is broken into, its system of time/space is fractured, and it becomes a ruin from the point of view of both its own historical function and its larger contemporary context. Both Chinese and American popular culture have a demonstrated fascination with breaking into Emperor Qin Shihuang＇s tomb. This article provides an analysis of three groups of texts from China and the United States, including Lilian Lee＇s novella The Terracotta Warrior and its screen adaptations, the 2005 film The Myth, directed by Stanley Tong, and its TV adaptation, and American texts including the 2001 NBC TV movie The Lost Empire, directed by Peter MacDonald, and the 2008 film The Mummy： Tomb of the Dragon Emperor, directed by Rob Cohen. After demonstrating how the special chronotope of Qin Shihuang＇s tomb directly affects the major thematic developments of these texts, this article then examines and compares how the different groups of texts confront the topics of death and immortality, excavation vs. preservation, and good vs. evil in ways that reflect the politics of representation.
文摘There have been selected 83 samples of terracotta warriors and horses of Emperor Qin Shi Huang's Mausoleum, 20 samples of clays taken from around Qin's Mausoleum and 2 samples of Yaozhou porcelain bodies. All these samples have been measured by instrument neutron activation analysis (INAA) and as many as 32 kinds of element contents of each sample are measured. The following conclusion has been reached when fuzzy cluster analysis is conducted to element contents of all these samples: (i) The samples are roughly classified into five categories: namely, samples from pits No. 1 and No. 2; samples from pit No. 3; loam layers; the mixture of loam and loess; and Yaozhou porcelain bodies. (ii) The terracottawarriors and horses in pits No. 1, No. 2 and No. 3 are relatively independent from one another. The clays from which they were made are not entirely identical.We have found that samples in pit No. 3 are very closely related and their claysources are comparatively concentrated. Samples in pits No. 1 and No. 2 are less related and their clay sources are comparatively scattered. (iii) The clays from which the terracotta warriors and horses were made are closely related to theloam layer near Qin's Mausoleum, particularly to the loam layer of Zaoyuan village and Gaoxing village, but they are not so related to loess layers there, nor to the loam layers of Anhoubao, even less related to Yaozhou porcelain bodies. Arational deduction thus drawn is that the raw material of clays from which the terracotta warriors and horses were made might probably be taken from loam layers around Zaoyuan and Gaoxing, or loam layers near Qin's Mausoleum whose properties are identical with those of loam layers of Zaoyuan and Gaoxing, rather than loess layers around the above places. Since the raw material of the terracotta warriors and horses was taken from loam near Qin's Mausoleum, it could be deductedthat the kiln sites might be located in around Qin's Mausoleum.
文摘On Oct 1,2017,Mystery of Terracotta Warriors aired on Channel 1 of Romania’s state televisio n,in troducing the achievements that China’s Shaaxi province and the city of Xi’an had made in conserving historic heritages and developing the economy,tourism,education and culture,as well as changes that had taken place in society,urban appearance and people’s lives.Shaanxi,especially its capital,Xi’an,
