Preliminary Investigation of Sri Lankan Copper-alloy Statues

K. A. Anusha Kasthuri
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引用次数: 4

Abstract

Abstract The historical framework for the discussion is the chronology of Sri Lankan culture, which, based on the most recent archaeological evidence and radiocarbon dates, has been defined by three major periods: Early Historic (500 BC-300 AD), Middle Historic (300 AD-1200 AD) and Late Historic (1200 AD-1815 AD). A classification for the evolution of bronze sculpture with reference to the established historical chronology for Sri Lanka has been proposed by Reedy (2007) who sets out the following four major developmental periods of Late Anuradhapura (ca.432–993 AD), Polonnaruva (late 10th to early 13th century), Divided Kingdoms (13th to late 16th century), and Kandyan (17th to 19th century). This technical study investigated thirty sculptures including 25 tin bronzes in The Metropolitan Museum of Art and five from the Archaeological Department of Sri Lanka, representing all four major historic periods. The methods used to analyse the manufacture, composition, and condition of the statues were examination under magnification and Ultraviolet light, X-ray radiography, elemental analysis using X-ray fluorescence spectroscopy, and metallography. The results of the study included the finding that all the statues in the sample were cast using the lost-wax technique. Size does not seem to have had a bearing on whether statues were cast solid or hollow. Many of the small seated figures in the sample were solid cast, while a few were hollow cast. In addition the radiographs indicate that a variety of armatures of different thickness, size, and shape were present inside the hollow figures, irrespective of the size of the statues. Generally, metal of low porosity and few casting defects are observed in most of the radiographs, indicating that the castings are generally of good quality. Traces of five gates (or vents) observed on the backs of a group of five Lokapala figures examined, indicated that they were cast face-down in a horizontal position. Ten figures, particularly those from the later periods, show traces of gilding or intact gold layers. In all but one case, gold was found in association with mercury, confirming that they were amalgam gilded. Metallurgical studies were carried out on four figures in the sample: a Buddha, a Bodhisattva and two Hindu deities. A sample from a tang that was cast onto the goddess figure in antiquity proved to be quenched high-tin bronze, as evident from its microstructure; a tin content of 24.8 w/o was confirmed using X-ray energy dispersive spectroscopy in a scanning electron microscope. The four statues were from different historical periods and showed different microstructures, reflecting dissimilarities in composition, thermal history, and state of preservation.
斯里兰卡铜合金造像的初步调查
讨论的历史框架是斯里兰卡文化的年代学,根据最近的考古证据和放射性碳年代测定,斯里兰卡文化被定义为三个主要时期:早期历史(公元前500年至公元300年)、中期历史(公元300年至1200年)和晚期历史(公元1200年至1815年)。根据斯里兰卡已建立的历史年表,Reedy(2007)提出了青铜雕塑演变的分类,他列出了以下四个主要发展时期:阿努拉德普勒晚期(公元432 - 993年)、Polonnaruva(10世纪末至13世纪初)、Divided Kingdoms(13世纪末至16世纪)和Kandyan(17世纪至19世纪)。这项技术研究调查了30个雕塑,包括大都会艺术博物馆的25个锡青铜和斯里兰卡考古部门的5个,代表了所有四个主要的历史时期。分析这些雕像的制作、成分和状况的方法有:放大镜和紫外线检查、x射线照相、x射线荧光光谱元素分析和金相学。研究结果包括发现样本中的所有雕像都是使用失蜡技术铸造的。大小似乎与雕像是实心铸造还是空心铸造无关。样品中的许多小坐像是实心铸造的,而少数是空心铸造的。此外,x光片显示,空心雕像内部存在各种不同厚度、大小和形状的电枢,与雕像的大小无关。一般来说,在大多数x光片上观察到的金属孔隙率低,铸件缺陷很少,表明铸件质量一般较好。在一组洛卡帕拉雕像的背部观察到五个门(或通风口)的痕迹,表明它们是面朝下的水平位置。十幅图,特别是后期的,显示出镀金或完整的金层的痕迹。除了一个案例外,在所有案例中,黄金都被发现与汞有关,这证实了它们是用汞合金镀金的。对样本中的四个人物进行了冶金研究:一尊佛像,一尊菩萨和两尊印度教神像。从古代浇铸在女神雕像上的一个唐的样本被证明是淬火的高锡青铜,从它的微观结构可以看出;扫描电镜x射线能谱分析证实锡含量为24.8 w/o。这四尊石像来自不同的历史时期,其微观结构不同,反映了其成分、热历史和保存状态的不同。
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