Micro-Raman, XRD and THM-Py-GC/MS analysis to characterize the materials used in the Eleven-Faced Guanyin of the Du Le Temple of the Liao Dynasty, China

Material and Microstructure Analysis of Wood Color Paintings from Shaanxi Cangjie Temple, China

Cangjie Temple was built to commemorate Cangjie, the legendary inventor of Chinese characters. It stands as one of the few remaining temples in China dedicated to the invention and creation of writing. In this study, the material properties of wooden paintings from the Cangjie temple were characterized using Polarized Light Microscopy (PLM), Scanning Electron Microscopy coupled with Energy Dispersive X-ray Spectroscopy (SEM-EDS), Micro-confocal Raman Spectroscopy, X-ray Diffraction (XRD), Fourier Transform Infrared Spectroscopy (FTIR), and Pyrolysis-Gas Chromatography-Mass Spectrometry (Py-GC/MS). It was confirmed that the pigments of the paintings included cinnabar, lapis lazuli, lead white, Paris green, and carbon black. The proteinaceous glue was used as an adhesive in the pigment samples, with tung oil likely being utilized as a primer for the wooden structures before painting. This study not only provides valuable data support for the conservation and restoration of the architectural features of Cangjie Temple but also provides useful reference for the maintenance and inheritance of similar ancient buildings.

A Study on the Materials Used in Ancient Wooden Architectural Paintings at DaZhong Gate in Confucius Temple, Qufu, Shandong, China

This study analyzes the pigments and binders used in the painted wooden structure of DaZhong Gate in the Confucius Temple in Qufu, Shandong Province, China. Five samples were collected from the building and analyzed using techniques such as polarized light microscopy (PLM), energy-dispersive X-ray spectroscopy (EDX), micro-Raman spectroscopy (m-RS), and Fourier-transform infrared spectroscopy (FT-IR). The findings reveal that the red, yellow, green, and blue pigments are identified as lead red, lead chromate yellow, emerald green, and ultramarine, respectively. The white pigment is determined to be a combination of chalk and lead white or anglesite. Considering the production period of the yellow and green pigments, it is inferred that architectural paintings underwent restoration or repainting during the late Qing Dynasty. The analysis of the binder in the pigment using pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) reveals that the binder employed is a protein-based glue. Additionally, the detected presence of Heat-bodied tung oil suggests a potential connection to traditional Chinese painting techniques on wooden surfaces. This discovery not only contributes to the historical research of the Confucius Temple but also provides crucial data for the conservation and restoration efforts of this culturally significant heritage site.

A Study on the Materials Used in the Ancient Architectural Paintings from the Qing Dynasty Tibetan Buddhist Monastery of Puren, China

Situated in the village of Lama Temple on the eastern bank of the Wulie River in Chengde, Puren Temple stands as one of the few remaining royal temples of great importance from the Kangxi era (1662-1722 AD). This ancient edifice has greatly contributed to the advancement of our comprehension regarding the art of royal temple painting. The present study undertakes a comprehensive analysis and identification of nine samples obtained from the beams and ceiling paintings within the main hall of Puren Temple. Furthermore, a systematic examination of their mineral pigments and adhesives is conducted. The findings from polarized light microscopy (PLM), energy-type X-ray fluorescence spectrometer (ED-XRF), micro-Raman spectroscopy (m-RS), and X-ray diffractometer (XRD) analyses reveal that the pigments present in the main hall beams of Puren Temple are cinnabar, lead white, lapis lazuli, and lime green, while the pigments in the ceiling paintings consist of cinnabar, staghorn, lead white, lapis lazuli, and lime green. The use of animal glue as a binder for these pigments on both the main hall beams and ceiling paintings is confirmed via pyrolysis-gas chromatography-mass spectrometry (Py-Gc/Ms) results. These findings hold significant implications for the future restoration of Puren Temple, as they provide valuable guidance for the selection of appropriate restoration materials.

Microplastic: A particulate matter(PM) generated by deterioration of building materials

Particulate matter (PM), an inhalable material, is generated from various sources, including building materials. To maintain indoor air quality, it is necessary to analyze harmful substances and establish a method for their remediation. The purpose of this study is to identify the particles generated during the deterioration of building materials and analyze the composition of fine dust particles with respect to the degree of deterioration. The concentration of particles generated was analyzed using an SPS30 PM sensor in the built chamber. PM10 and PM2.5 levels of the maximum of 41.95 mg/m³ and 20.63 mg/m³, respectively, were generated from the tested building materials. The components of the collected PM were carbon, hydrogen, and silicon, among others, which are high-molecular-weight compounds. Particles of size 2.5 µm or less were detected, and the possibility of generating nanoplastics was investigated.

A Multi-Analytical Approach to Investigate the Polychrome Clay Sculpture in Qinglian Temple of Jincheng, China

This article presents an integrated analytical method to investigate the polychrome clay sculptures of the Qinglian Temple in Jincheng City, Shanxi Province, China. Digital microscopy, SEM-EDS, XRD, Herzberg stain, Micro-Raman spectroscopy and FT-IR were selected to identify the raw materials and techniques used to produce the ground clay layer, the white powder layer and the mineral pigment of the polychrome clay sculptures. The investigation shows that the clay used to make the coarse and fine clay layer is consistent. However, different kinds of fibres were found mixed in the coarse and fine clay layers: wheat straw was the main fibre used in coarse clay layer, while the bast fibres, including ramie, kenaf and sisal hemp, were used as the fibre supports in the fine clay layers due to their useful properties. The white powder layer was made of a mixture of kaolinite and gypsum. For the mineral pigments, it principally contained red (hematite, minium or a mixture of minium and cinnabar), green (atacamite and atacamite), blue (azurite), yellow (yellow ochre), black (amorphous carbon) and white (the mixture of kaolinite and gypsum). Additionally, a gilding technique and multiple paint layers also typified many pigment areas. This work has furthered understanding of the materials and techniques used in making the sculptures of the Qinglian Temple and has clear implications for the restoration and conservation treatments on these kinds of ancient painted clay sculptures.