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.

This research sheds light on the analysis of pigments and adhesives applied on a color painting on wooden architecture in Taiping Heavenly Kingdom Prince Dai’s mansion, located in Changzhou, Jiangsu Province in China. Four samples were collected from the painting above the building beam in the mansion, and the samples were analyzed and identified using a series of techniques, including polarized light microscopy (PLM), scanning electron microscope coupled with an energy-dispersive X-ray spectroscopy (SEM-EDS), micro-Raman spectroscopy (m-RS) and Fourier-transform infrared spectroscopy (FTIR). The results indicate that the red, black, blue, and green pigments were identified to be cinnabar, ivory black, indigo, and phthalocyanine green, respectively. The green pigment was inferred to be a lately repainted pigment based on its production age, suggesting that this ancient building had been refurbished or repaired. Given the good stability and visual effect of this green pigment, it is suggested to be used in future conservation processes. The pyrolysis-gas chromatography/mass Spectrometry (Py-Gc/Ms) results indicate that glue containing protein was used as a binder for the pigment samples, and that walnut oil might have been applied to the wooden architecture as a primer before painting. Our findings can well inform curators and conservators of the selection of appropriate restoration materials if necessary, and also provide data support for conservation of similar ancient buildings in southern China.

Some painted pottery figurines were excavated from the tomb of Qibi Ming of the Tang Dynasty. A series of analytical techniques were employed to understand the craftsmanship of these painted pottery figurines. The pigment, cross-section, adhesive, and firing temperature were analyzed using microscopy (OM), energy X-ray fluorescence spectrometry (EDX), micro-Raman spectroscopy, pyrolysis–gas chromatography–mass spectrometry (Py-GC/MS), and a dilatometer (DIL). The results demonstrated that the surface of the pigment layers had degraded to different degrees. The pigment particles were litharge, gypsum, malachite, cinnabar, hematite, minium, white lead, and carbon black. The cross-sectional images show that the painted layer of figurines 10-0966 and 10-0678 included a pigment layer and a preparation layer. The preparation layer of both pigments was lead white. Animal glue was used as an adhesive. The firing temperature of the pottery figurines was likely 1080 °C. This study can provide more accurate information with regard to the composition of the raw materials utilized in the making of these artifacts and support the selection of appropriate substances for the purposes of conservation and restoration of the painted pottery figurines.

Color paintings have much aesthetic value and historical importance. This study examined the color paintings of the east pillar of the Taiping Heavenly Kingdom’s Great Hall. The pillars in interiors of ancient buildings were painted with a layer of red lacquer. The painted pillars are valuable because they symbolize the highest rank of a building’s hierarchy and the esteemed status of the owner. In this study, we investigated pigments, inorganic fillers, and adhesives used in the color paintings of the royal residence. Energy dispersive X-ray spectrometry, polarized light microscopy, and Raman spectroscopy were used to investigate the pigments of the paintings. Pyrolysis–gas chromatography–mass spectrometry (Py–GC/MS) was used to classify the composition of adhesives. The results showed that the painted pigments included vermilion (HgS), graphite (C), white lead (2PbCO₃·Pb(OH)₂), and lead red (Pb₃O₄). The Py–GC/MS showed possible presence of tung oil and flour in the mortar. The X-ray diffraction demonstrated the presence of limewater and brick dust (gismondine, dolomite). The analyses of pigment, inorganic fillers, and adhesives of the Taiping royal palace paintings provide information on the long-standing preservation of the paintings.

In this research, the caisson painting of Dayu Temple in Hancheng, Shaanxi, China, was analyzed via a multi-analytical methodology, using a pH meter, an ultra-depth-of-field optical microscope, a scanning electron microscope-energy dispersive spectrometer (SEM-EDS), a high-resolution X-ray diffractometer (XRD), a micro-confocal laser Raman spectrometer, a gas chromatography mass spectrometer (GC-MS), and X-ray fluorescence spectroscopy (XRF). With the corroborative evidence derived from the above analyses, it could be determined that the caisson painting of Dayu Temple was painted on bamboo paper and attached to hemlock wood substrate of the Pinaceae Tsuga genus using starch paste, with common colorants such as carbon black, cinnabar mixed with a small amount of red lead, ultramarine, and ultramarine mixed with Paris green, with animal glue having been adopted as a sizing agent. These results provide important scientific data for the production craft of precious caisson paintings, contributing to the revelation of their historic, artistic, and scientific value, and should enable conservators to make informed decisions in restoration.

Delving into the past through the study of pottery, this research employs scientific techniques to explore Jiangzhai pottery from circa 3000–4000 BCE. The investigation revealed that the red and grey pottery, despite their color differences, have similar elemental compositions, suggesting that these variations are not due to elemental differences but likely due to a higher concentration of Fe³⁺ in the red pottery. Analysis of the pigments using elemental analysis, polarized light microscopy, and XRD showed that the red pigment contains ochre, the black is a mix of pyrolusite and magnetite, and the white is composed of calcite. Additionally, thermal expansion analysis determined that the firing temperature of Jiangzhai colored pottery is around 1050 °C, with similar temperatures for both red and grey pottery, suggesting that kiln operations like stacking or overlapping are likely causes of the color variations. This study not only broadens our understanding of ancient pottery-making techniques and cultural practices but also emphasizes the critical role of scientific analysis in preserving and interpreting the rich artistic and technological legacy of ancient cultures.