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商周以来青铜器物常饰有华丽生动的花纹,这些意匠奇妙的纹饰表现了该时代的工艺美术特征,也表现了人们的观念形态,因而具有重要价值,历来为国内外学者所重视。这种传统工艺在春秋战国时期虽占有重要地位,盛行一时,但在史籍中却找不到具体的技术记述。过去,一般认为这类纹饰是用红铜锤成薄片或长条,然后压入预铸的纹槽中而形成的。本文从纹饰的表面状态,宏观及微观孔洞的形状和排列,晶形的特征及模拟实验的立证,可以断定,青铜器上的红铜纹饰是以铸造的方法形成的。对所取之古代红铜的相结构进行了显微组织分析。从微量元素的含量,共晶体结构的特征,初步认为此红铜的组成是基体为α固溶体,灰色呈网状分布灰点为(Cu—Bi)共晶体中之Bi。此外尚有Cu_2O夹杂及“孤岛”状缩松。本文最后部份对如何实现铸造纹饰的工艺提出了初步看法。
Since the Shang and Zhou dynasties, bronze artifacts often have gorgeous vivid patterns. These wonderful motifs represent the characteristics of the arts and crafts of the era and also show the people’s concepts and forms. Therefore, they are of great value and have always been valued by scholars at home and abroad. Although this traditional craft occupies an important position in the Spring and Autumn Period and the Warring States Period, it has prevailed for a long time, but can not find a specific technical description in the historical records. In the past, it is generally believed that such decorations are formed by hammering a thin piece or strip of a red copper into a pre-cast groove. In this paper, we can conclude that the red bronze ornamentation on the bronze is formed by the method of casting, from the surface state of ornamentation, the shape and arrangement of macroscopic and microscopic holes, the characteristics of crystal form and the proof of simulation experiment. The microstructure analysis of the phase structure of the ancient copper taken was carried out. Based on the content of trace elements and the characteristics of eutectic structure, the composition of this copper is presumed to be α solid solution, and the gray gray distribution in the mesh is Bi in (Cu-Bi) eutectic. In addition there are still Cu_2O inclusions and “island” shaped shrinkage. The last part of this paper gives a preliminary view on how to realize the process of casting decoration.