Beam-loss driven injection optimization for CSNS/RCS

This paper summarizes the painting injection optimization for the Chinese Spallation Neutron Source （CSNS） ring. This optimization focuses on two main design goals： the lower beam loss and a spacecharge tune shift low enough to avoid strong resonances. Finally, the 3-D particle tracking is performed and we get some important results about the beam properties and beam loss.     

DEA meets Picasso: The impact of auction houses on the hammer price

Employing a hedonic price approach within a framework of central tendencies no conclusive results about the impact of auction houses on final prices of art objects have been found. In order to focus on auction houses as a unit we have applied a benchmarking technique, DEA, developed for efficiency studies. New performance indicators are developed and calculated giving an insight into auction house differences impossible to obtain using hedonic price approach. The performance indicators may also be regarded as quality indicators assuming perfect arbitrage leads to the same unobservable quality of art object obtaining the same price.     

褶纹冠蚌寄生蚌螨群落结构

通过对太湖、巢湖、鄱阳湖中褶纹冠蚌寄生蚌螨的感染调查，发现3个湖泊的褶纹冠蚌中有3种蚌螨寄生，但蚌螨群落组成不同。弯弓蚌螨是巢湖的绝对优势种，优势度指数为99．7％；太湖的优势种是Y纹蚌螨，优势度指数70．3％，次优势种为弯弓蚌螨，优势度指数23．4％；鄱阳湖优势种是Unionicola spp，优势度指数52．4％，次优势种为弯弓蚌螨，优势度指数29.5％。蚌螨在宿主褶纹冠蚌内都呈聚集分布，但3个湖泊中不同种寄生蚌螨的分布参数不同，说明其聚集强度不同。利用卡方对种间关联关系进行检验，结果表明鄱阳湖中Y纹蚌螨与弯弓蚌螨之间呈负关联关系（x^2=5．95〉x0.05^2 =3，84，V=-0．57），弯弓蚌螨与Unionicola spp．呈正关联关系（x^2=4．22〉x0.05^2=3．84，V=0．48）。由群落相似系数可以看出3个湖泊寄生蚌螨群落相似程度较低。     

Detection of Organic Colorants in Historical Painting Layers Using UV Laser Ablation Surface‐Enhanced Raman Microspectroscopy

Surface‐enhanced Raman spectroscopy (SERS) has been increasingly used in the study of works of art to identify organic pigments and dyes in paintings, which (depending on the material) are difficult or not possible to detect by other current methods. The application of SERS to the study of paintings has been limited, however, by the lack of a sampling approach with sufficient sensitivity and spatial resolution. We show that ultraviolet laser ablation (LA) sampling coupled with SERS detection can be successfully used to study paint layers. LA‐SERS permitted the isolation of signals from colorants in individual thin paint layers in sample cross‐sections, avoiding contamination from adjacent layers. These results expand the range of analytical applications of SERS demonstrating how the technique can be used to sensitively detect minor organic components in complex matrices. While this is fundamental for the study of cultural heritage, it is also relevant in other fields such as forensic analysis, food science, and pharmacology.     

西藏扎什伦布寺壁画的科学研究

壁画是寺院建筑的重要装饰元素,也是藏传佛教艺术的重要组成部分。扎什伦布寺始建于明正统12年（公元1447年）,作为后藏最大的寺院,寺内保存了大量精美壁画,这些壁画对研究藏传佛教及佛教艺术具有重要意义。扎什伦布寺自建寺起一直为传播佛教文化服务,经历了频繁的大规模修建。为了解扎什伦布寺壁画的制作材料与工艺,为今后壁画的保护及修复提供重要的参考及科学支撑,选取寺内强巴佛殿四层北壁、吉康扎仓南殿西侧的典型壁画,共采集8个样品。采用超景深三维视频显微镜观察壁画的制作结构,显微激光拉曼光谱仪对有机与无机颜料的成分信息进行表征,偏光显微镜根据晶体的光学信息鉴别拉曼光谱相似的颜料颗粒,X射线衍射仪用于测定地仗成分,扫描电镜/能谱仪则对微观数据进行确认和补充。通过分析研究,壁画由地仗层、准备层、颜料层构成。颜料包括矿物及人工合成颜料,其中红色颜料为朱砂与颜料红14,绿色颜料为块铜矾、酞菁绿,黑色颜料为碳黑,黄色颜料为雌黄,蓝色颜料为合成群青。颜料红14与酞菁绿为有机合成颜料,合成群青则为无机合成颜料。块铜矾作为矿物颜料,在欧洲曾用于架上画、壁画、手稿等艺术作品中,但在国内还未曾发现其使用历史,这一发现扩展了对绿色颜料的认识。壁画的地仗层依据藏式壁画制作传统使用了阿嘎土,准备层则由黄土制备。研究结果表明,壁画制作时以阿嘎土打底,刷一层黄土找平壁面,以胶调和颜料绘制于黄土层之上。壁画除了使用一些常见的传统藏式壁画材料,还发现了一些近代人工合成材料,说明扎什伦布寺强巴佛殿四层北壁及吉康扎仓南殿西侧壁画曾经历过重绘或补绘。该研究结果不仅弥补了扎什伦布寺壁画的研究空缺,也为扎什伦布寺修缮历史的补充及完善提供了重要证据。     

青海热贡地区传统建筑彩画颜料光谱特征分析研究

青海省热贡地区是安多藏区藏式建筑彩画艺术的重要产地,作为热贡艺术的重要组成部分影响甚广。热贡地方建筑彩画不仅是附着建筑栋梁之上的艺术瑰宝,更是一项延续至今的传统技艺,至今仍有大批传统匠人画师从事相关行业。热贡地方建筑彩画有独立的用色方法和颜料制作工艺,对其所用传统颜料进行科学检测是系统研究该地区建筑彩画的基础性工作,在进一步研究热贡地区建筑彩画的制作工艺和艺术特色,传承地方建筑彩画技艺和完善保护政策等方面具有积极意义。通过对同仁市隆务寺夏日仓行宫火供殿所用当地传统建筑彩画颜料的采样,运用X射线荧光光谱、X射线衍射分析、激光显微拉曼光谱分析等多种实验分析方法,对颜料样品进行分析,测定其主要显色物质和成分占比。结果表明,热贡地方建筑彩画所用颜料多为无机颜料;蓝色颜料主要是人造群青;绿色颜料的主要矿物组成为绿土,显色物质为蒙脱石,存在将植物色染料加入当地所产的富镁蒙脱石中混合使用的可能性;红色颜料的主要矿物组成为铁红（赭石类红土）,通过焙烧富铁矿土来人工合成,材料来自于当地吾屯村所产红色赭石类粘土;黄色颜料主要矿物组成为密陀僧、硫磺及其他植物色染料制备而成;黑色颜料为碳黑,符合木炭黑的性状特征;白色颜料主要为生石灰及氧化镁粉,并在其他颜料中广泛使用石灰及氧化镁粉作为调色颜料;推测部分样品中含有包金土及植物色素染料、其他人工合成颜料的可能性。整体来看,热贡地区建筑彩画所用颜料成本价格较低,制取难度不大,来源大多是当地常见的矿土料和动植物染料,传统的制料工艺较简单,颜料多呈现为组分复杂的混合物状态;密陀僧、包金土和群青等颜料多来自于内地及国外,颜料人工合成的历史较早,反映出热贡地区建筑彩画在颜料使用上不仅使用本土材料制备,也广泛使用外来颜料的历史传统,为进一步研究热贡地区建筑彩画领域内汉、藏等多民族文化交往、交流、交融历史提供了良好实证材料。     

Editor change

Beaver Lake and Radok Lake, the largest known epishelf lake and the deepest freshwater lake on the Antarctic continent, respectively, were isotopically (δ²H, δ¹⁸O) and hydrogeochemically studied. Radok Lake is an isothermal and non-stratified, i.e. homogeneous water body, while Beaver Lake is stratified with respect to temperature, salinity, and isotopic composition. The results for the latter attest to freshwater (derived from snow and glacier melt) overlying seawater.     

On‐and off‐site Raman study of rock‐shelter paintings at world‐heritage site of Bhimbetka

Rock‐shelter paintings of Bhimbetka world‐heritage site near Bhopal, India have been investigated using a portable Raman spectrometer. These paintings in the rock shelters belong to periods starting from pre‐historic to the 19th century AD (Gond period). In addition, tiny fragments of pigments (100–200 µm in size) extracted from some of the artworks were also studied in laboratory using a micro‐Raman spectrometer and analyzed using energy‐dispersive X‐ray analysis for elemental composition. Based on the Raman spectra and the elemental analysis mineral‐based pigments such as calcite, gypsum, hematite, whewellite, and goethite could be identified. A comparison of the spectra recorded on‐site using a light‐weight portable spectrometer with those using laboratory equipment is also made and discussed. Copyright © 2012 John Wiley & Sons, Ltd.     

Analytical Methods for the Characterization of Organic Dyes in Artworks and in Historical Textiles

Abstract

Dyes are among the most significant components in works of art and archaeological findings. In the scientific examination of historical artefacts, the identification of natural dyestuffs is a challenging task, due to the complexity of their chemical composition and the possible presence of mixtures of chromophores and degradation products. For this reason, in the last few decades, new analytical procedures and techniques have been developed and improved for the characterization of organic dyes and their identification in microsamples. This review looks at the chemical composition of natural organic dyeing materials used in the field of the cultural heritage and focuses on several analytical methods based on spectrometric and chromatographic techniques that have contributed to the study of organic dyes in works of art and archaeological findings.     

Chemical Analysis of Historic Art and Painting Conservation Materials (19th and 20th Centuries) from the National Museum in Krakow by Gas Chromatography–Mass Spectrometry and Fourier Transform Infrared Spectroscopy

Chemical composition of varnishes Vernis a Tableaux Vibert by Lefranc & Cie, Schutzfirnis für Oelgemalde Schmincke's Retuschier-Firnis by Schmincke & Co. Düsseldorf, Tempera-Firnis by Schmincke & Co. Düsseldorf, Bernstein-Gemaldefirniss für Ludwig'sche Petroleumfarben by Dr. Schoenfeld Düsseldorf, and Vernis Martin Pour Laquer by Lefranc & Cie Paris; oil medium Copal en pâte by Duroziez; essential oils Oleum Cupressi by Polak & Schwarz and Oleum Calami by Polak & Schwarz; fixative for charcoal, crayons, and pastels Nr 840/4 by Iskra & Karmański; and restoring medium for paintings Prof. Dr. Büttner's Phobus by Schmincke Düsseldorf were analyzed with gas chromatography–mass spectrometry. The analyses were conducted to obtain information about the exact composition of these products, which are stored at the National Museum in Krakow and were used by conservators. The results of research facilitate understanding of processes used in paintings and planning methods for their conservation.