Analysis of Two Bronze Mirrors with Tin-Rich Surface Zhihui Yao1 Jiatian
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The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
MIRROR MIRROR the Mind’S Mirror FILMS Seaglass 4 Restaurant 5 Outdoor Exhibits with Zarinah Agnew 7:30 P.M
AFTER DARK AFTER DARK SCHEDULE MAP PRESENTATIONS ACTIVITIES Upper Level Bay Observatory Gallery and Terrace 6 Observing Landscapes Mirrors in Technology and Art Through the Looking Glass Mirrors in Technology and Art With Sebastian Martin With the Explainers 6 With Sebastian Martin 6:30–8:30 p.m. | Bay Observatory Gallery 6:30–9:30 p.m. | Central Gallery 6:30–8:30 p.m. THURSDAY, OCTOBER 1, 2015 A Reflection on Mirrors Light Boxes and Anamorphic Mirrors The History of Mirrors 6:00—10:00 P.M. With Ron Hipschman With Explorables With Massimo Mazzotti 7:00 and 9:00 p.m. 7:00–10:00 p.m. | Central Gallery Main Level 8:30 p.m. Phyllis C. Wattis Webcast Studio BAR North Gallery MIRROR MIRROR The Mind’s Mirror FILMS SeaGlass 4 Restaurant 5 Outdoor Exhibits With Zarinah Agnew 7:30 p.m. | Kanbar Forum On Reflection East Gallery 9:00 p.m. | Kanbar Forum 4 Living Systems The History of Mirrors East With Massimo Mazzotti Corridor Contemplando la Ciudad (2005, 4 min.) Central Gallery 8:30 p.m. | Bay Observatory Gallery by Angela Reginato 5 3 Seeing & Listening Visions of a City (1978, 8 min.) by Lawrence Jordan A Reflection on Mirrors INSTALLATIONS BAR 3 With Ron Hipschman Suspended 2 (2005, 5 min.) by Amy Hicks Wattis 7:00 and 9:00 p.m. The Infinity Boxes Webcast Phyllis C. Wattis Webcast Studio Studio By Matt Elson Pier 15 (2013, 4 min.) by Michael Rudnick 6:00–10:00 p.m. | Central Gallery The Infinity Boxes By Matt Elson Visible Spectres 6:00–10:00 p.m. -
2000 Stainless Steels: an Introduction to Their Metallurgy and Corrosion
Dairy, Food and Environmental Sanitation, Vol. 20, No. 7, Pages 506-517 Copyright© International Association for Food Protection, 6200 Aurora Ave., Suite 200W, Des Moines, IA 50322 Stainless Steels: An Introduction to Their Metallurgy and Corrosion Resistance Roger A. Covert and Arthur H. Tuthill* and why they sometimes do not. In most cases, selection of the proper stainless steel leads to satisfactory performance. COMPOSITION, NOMEN- CLATURE AND GENERAL PROPERTIES Most metals are mixtures of a primary metallic element and one or more intentionally added other ele- This article has been peer-reviewed by two professionals. ments. These mixtures of elements are called alloys. Stainless steels are alloys, as are brasses (copper + zinc), bronzes (copper + tin), the many alu- INTRODUCTION better understanding of stainless minum alloys, and many other me- Worldwide, in industry, in busi- steels, especially to the non-metal- tallic materials. In general, solid ness and in the home, metals called lurgist. metals and alloys consist of randomly stainless steels are used daily. It is Industries are concerned with oriented grains that have a well-de- important to understand what these integrity of equipment and product fined crystalline structure, or lattice, materials are and why they behave purity. To achieve these, stainless within the grains. In stainless steels, the way they do. This is especially steels are often the economical and the crystalline structures within the true because the word “stainless” is practical materials of choice for pro- grains have been given names such as itself somewhat of a misnomer; these cess equipment. However, before ferrite, austenite, martensite, or a materials can stain and can corrode intelligent decisions can be made mixture of two or more of these. -
The Smart Mirror Technology
THE SMART MIRROR TECHNOLOGY A STYLISH MIRROR - WITH UNIQUE EXTRA FEATURES • A COMPLETE DIGITAL SIGNAGE SOLUTION • HIGH BRIGHTNESS SCREEN COMBINED WITH MEDIA PLAYER & FULL FUNCTIONAL CONTENT MANAGEMENT SYSTEM • DECORATIVE AND INFORMATIVE • PROVIDING INFORMATION THROUGH A NON-DISTURBING WAY ADMIRING OURSELVES IN MIRRORS COMES AS NATURALLY TO US AS BREATHING. WHETHER WE BASK IN OUR MAGNIFICENCE, LOOK FOR FLAWS OR SIMPLY TRY TO MAKE OURSELVES AS PERFECT AS POSSIBLE WE SPEND A MUCH TIME LOOKING AT OUR REFLECTIONS. SO WHY NOT COMBINE THIS MOST MUNDANE HUMAN INSTINCT WITH THE REALM OF INFINITE POSSIBILITIES? IN THE WORLD OF COMMERCIALS, ALMOST EVERYONE HAS A SELECTIVE BLINDNESS FOR ORDINARY MARKETING TOOLS. PROVIDE YOUR CUSTOMERS WITH DESIRED INFORMATION AND TARGETABLE MESSAGES ON A SURFACE THEY WOULD NEVER EXPECT TO GET IT. LEAVE A LASTING IMPRESSION WITH THE DENSION SMART MIRROR TECHNOLOGY. CONTENT & DEVICE MANAGEMENT THE MIRROR IS AVAILABLE IN FIVE DIFFERENT SIZES: MINI, SMALL, MEDIUM, LARGE, X-LARGE. CUSTOMERS MAY CHOOSE THE EXACT SIZE OF THE GLASS WITH A GIVEN SURFACE MAXIMUM. CUSTOMIZED MIRROR AND SCREEN COMBINATIONS ARE ALSO AVAILABLE IN HIGHER VOLUMES, PLEASE GET IN TOUCH TO DISCUSS. [email protected] FRONT VIEW MINI SMALL MEDIUM LARGE X-LARGE Display size (inch) 10 32 42 46 55 Display resolution HD Full HD Full HD Full HD Full HD Max Mirror Surface 0,9 0,9 2 2 (sqm) UPPER SIDE VIEW Minimum Width 250 870 1 100 1 180 1 380 (mm) Minimum Height 150 570 690 740 850 (mm) Depth (mm) 30 45 45 45 45 45 ° ANGLE REAR VIEW Weight (kg) 2 18 25-30 35-38 -
The Neolithic Copper Melting Crucibles from Switzerland
In: A. Shortland, I. Freestone and Th. FromRehren mine (eds) to microbe 2009, From Mine to Microscope, 155-162 155 Chapter 15 From mine to microbe – the Neolithic copper melting crucibles from Switzerland Th. Rehren1 Abstract The occurrence of chalcopyrite in several late Neolithic crucibles from NW Switzerland and SW Germany has been variously interpreted as indicating evidence for local copper smelting, or being due to post-depositional phenomena. This study uses optical microscopy and a discussion based on textural and micro-stratigraphical arguments to demonstrate that chalcopyrite is a late formation and not indicative of copper smelting. This has significant implications for the technological and archaeological interpetation of these finds, but also illustrates the potential of image-based studies in science-based archaeology. Introduction these cultures back into line with their neighbours. The emergence and spread of metallurgy in Europe Only after a further half a millennium or so metal- is a major concern of archaeological and archaeo- lurgy emerges again in Central Europe, heralding the metallurgical research. In the 1960s scholars such as beginning of the Bronze Age throughout the Contin- Renfrew and Branigan focused their attention – and ent. This time, it is a broad and sustained develop- consequently that of others – on the role which metals ment with no particular emphasis on the Swiss or have played in the development of stratified societies southwest German regions. and the emergence of elites, showing off with their It is against this background that the crucible access to these new materials. The Balkans and fragments of the Pfyn culture have attracted attention Western Asia are now both known to have had for more than a century, having been found at a wide metallurgically competent Neolithic cultures, and range of sites and representing certainly several issues of technology transfer and autochthonous dozen different vessels. -
"Ancient Mirror": an Interpretation of Gujing Ji in the Context of Medieval Chinese Cultural History Ju E Chen
East Asian History NUMBER 27 . JUNE 2004 Institute of Advanced Studies Australian National University Editor Geremie R. Barme Associate Editor Helen Lo Business Manager Marion Weeks Editorial Advisors B0rge Bakken John Clark Lo uise Edwards Mark Elvin (Convenor) John Fitzgerald Colin Jeffcott Li Tana Kam Lo uie Le wis Mayo Gavan McCormack David Marr Tessa Morris-Suzuki Benjamin Penny Kenneth Wells Design and Production Design ONE Solutions, Victoria Street, Hall ACT 2618 Printed by Goanna Print, Fyshwick, ACT This is the twenty-seventh issue of Ea st Asian History, printed August 2005, in the series previously entitled Papers on Far Ea sternHist ory. This externally refereed journal is published twice a year. Contributions to The Editor, Ea st Asian Hist ory Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra ACT 0200, Australia Phone +61 2 6125 314 0 Fax +61 26125 5525 Email [email protected] Subscription Enquiries to Marion Weeks, East Asian History, at the above address, or to [email protected]. au Annual Subscription Australia A$50 (including GST) Overseas US$45 (GST free) (for two issues) ISSN 1036-6008 iii CONTENTS 1 Friendship in Ancient China Aat Vervoom 33 The Mystery of an "Ancient Mirror": An Interpretation of Gujing ji in the Context of Medieval Chinese Cultural History Ju e Chen 51 The Missing First Page of the Preclassical Mongolian Version of the Hs iao-ching: A Tentative Reconstruction Igor de Rachewiltz 57 Historian and Courtesan: Chen Yinke !l*Ji[Nj. and the Writing of Liu Rushi Biezhuan t9P�Qjll:J,jiJf� We n-hsin Yeh 71 Demons, Gangsters, and Secret Societies in Early Modern China Robert]. -
Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject. -
Piece Mold, Lost Wax & Composite Casting Techniques of The
Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour. -
Evaluation of Scale-Up Model for Flotation with Kristineberg Ore
Evaluation of Scale-up Model for Flotation with Kristineberg Ore Adam Isaksson Chemical Engineering, master's level 2018 Luleå University of Technology Department of Civil, Environmental and Natural Resources Engineering Evaluation of Scale-up Model for Flotation with Kristineberg Ore Adam Isaksson 2018 For degree of MASTER OF SCIENCE Luleå University of Technology Department of Civil, Environmental and Natural Resources Engineering Division of Minerals and Metallurgical Engineering Printed by Luleå University of Technology, Graphic Production 2018 Luleå 2018 www.ltu.se Preface As you may have figured out by now, this thesis is all about mineral processing and the extraction of metals. It was written as part of my studies at Luleå University of Technology, for a master’s degree in Chemical Engineering with specialisation Mineral and Metal Winning. There are many people I would like to thank for helping me out during all these years. First of all, my thanks go to supervisors Bertil Pålsson and Lisa Malm for the guidance in this project. Iris Wunderlich had a paramount role during sampling and has kindly delivered me data to this report, which would not have been finished without her support. I would also like to thank Boliden Mineral AB as a company. Partly for giving me the chance to write this thesis in the first place, but also for supporting us students during our years at LTU. Speaking of which, thanks to Olle Bertilsson for reading the report and giving me feedback. The people at the TMP laboratory deserves another mention. I am also very grateful for the financial support and generous scholarships from Jernkontoret these five years. -
Bronze Mirrors
212 Bronze Mirrors François Louis Twenty-nine bronze mirrors were recovered from various locations at the wreck site. At the time of discovery most of the mirrors were covered by calcareous sediment, and their surfaces had corroded. Many have turned black. Originally, the mirrors were mostly silver to allow for a highly reflective surface. To achieve such a bright color, casters added more tin to the bronze alloy. On average, Tang mirrors are made of a bronze that is composed of 69 percent copper, 25 percent tin, and 5.3 percent lead.1 The mirrors from the Belitung shipwreck feature a panorama of shapes and designs popular in Tang China. Most of them are standard types that were commercially produced and widely traded. But the group also included two surprising pieces: an antique mirror from the Han era (206 BCE–220 CE), and a never-before-seen Tang mirror, whose inscription identifies it as one of the famed specimens cast on the Yangzi River in Yangzhou, a so-called Yangxin or Jiangxin mirror. The Belitung mirrors offer a rare glimpse into a commercial inventory of the early ninth century, the various designs and sizes reflecting different price categories and tastes. About a quarter of the mirrors are of restrained, modest design, with shallow floral reliefs or simple concentric lines on the back. Others, such as the four square mirrors that now look entirely plain, originally may have been splendidly decorated with ivory, mother-of-pearl, or gold and silver inlays in black lacquer. These would have catered to the more affluent customers, as did the heavy, sumptuous, so-called lion-and-grapevine mirrors. -
Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(S): Eugene Yuejin Wang Source: the Art Bulletin, Vol
Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(s): Eugene Yuejin Wang Source: The Art Bulletin, Vol. 76, No. 3, (Sep., 1994), pp. 511-534 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046042 Accessed: 17/04/2008 11:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Eugene Yuejin Wang a 1 Jian (looking/mirror), stages of development of ancient ideograph (adapted from Zhongwendazzdian [Encyclopedic dictionary of the Chinese language], Taipei, 1982, vi, 9853) History as Mirror: Trope and Artifact people. -
The Evolution of Engineering Materials
Paper ID #20611 The Evolution of Engineering Materials Dr. Amber L. Genau, University of Alabama at Birmingham Dr. Amber Genau is an assistant professor in the Materials Science and Engineering Department at the University of Alabama at Birmingham. She received her B.S. and M.S. from Iowa State University and Ph.D. from Northwestern University, all in materials engineering. Before coming to UAB, Dr. Genau spent two years as a guest scientist at the German Aerospace Center in Cologne, Germany, working on metal solidification and microstructural characterization. She is particularly interested in broadening participation in engineering and providing international experiences and perspectives to undergraduate students. c American Society for Engineering Education, 2017 The Evolution of Engineering Materials Abstract This paper describes the development of an upper level engineering elective entitled “The Evolution of Engineering Materials.” The course considers how the discovery of new materials and the ability of process materials in new ways has influenced the course of history, shaping both human societies and their surrounding environments, from the Stone Age to the Modern Era. Students become familiar with a variety of still-relevant technical content through the consideration of historical activity, from smelting and coking to polymerization reactions and cross linking. The course addresses a variety of ABET outcomes while also supporting the development of global competency through an increased appreciation of world history. Although this course was developed for and taught in the context of a three-week study abroad trip to Europe, the engaging and accessible nature of the content could also make it valuable as a service course for non-engineering majors.