In this paper, a comparative study was conducted on the extraction effects of six agents for collagen-based mural painting binders. These agents were used to extract the residual proteins in the non-aged and thermal aged samples. The protein extraction efficiencies of different extracting agents were quantitatively determined by bicinchoninic acid (BCA) method, and then processed by multivariate analysis of variance (MANOVA). The impact of the extraction process on the protein structure was characterized by sodium dodecyl sulfate polyacrylamide gel electrophoresis (SDS-PAGE), ultraviolet absorption spectrum (UV) and circular dichroism (CD). The results showed that, for both non-aged and aged samples, the extraction efficiency of 2 M guanidine hydrochloride (GuHCl) was significantly higher than the other five agents, with less damage to the protein structure during the extraction process.

This study identified and interpreted an adhesive used in the making of a tiara of the mid-Qing Dynasty (1776–1839 CE), in the collection of the Tang Clan Folk Museum. By performance of mass spectrometry-based proteomics, a sample of adhesive residue was identified as bovine collagen proteins at the molecular level with high confidence. The result highlights the first example of accurate determination of the origin of the adhesive adopted in the tian-tsui craft, providing novel information and contributing to study of the significance, development, and exchange of tian-tsui craftsmanship.

In order to accurately identify the ancient liquid contained in the plum vase excavated from Jurou Li’s Grave of the Jin Dynasty (1115–1234 CE) in Xi’an, mass spectrometry was applied to determine the amino acid sequences of the residual proteins extracted from the liquid sample. The sequences were searched against a standard protein sequence database. The proteins extracted was identified as glycosyltransferase from Sorghum bicolor, calcium-dependent protein kinase 2 from Wickerhamomyces ciferrii, and cytochrome b-c1 complex subunit Rieske from Nadsonia fulvescens. These findings indicate that the extremely degraded liquid in the plum vase was made from the cereal of sorghum by alcoholic fermentation of Wickerhamomyces ciferrii and Nadsonia fulvescens, providing direct evidence for liquor in the Jin Dynasty.

This investigation provides a meticulous examination of the organic materials employed in the construction of a Qing Dynasty Coromandel lacquer screen housed at the Jinhua Museum in Zhejiang Province, China. Utilizing a combination of analytical techniques, including microscopic cross-sectional observations, systematic layer-by-layer sampling, and thermally assisted hydrolysis and methylation pyrolysis gas chromatography / mass spectrometry (THM-Py-GC/MS), the study has provided insights into the complex material composition involved in the fabrication of the screen. The analytical results indicate the presence of multiple organic components within the layers of the lacquer screen. The lacquer film layer was found to contain thitsi, tung oil, camphor, and cedar oil, while the underlying lacquer ash layer comprised urushi, tung oil, and blood. This study presents two important observations that enhance our understanding of the diversity and complexity of lacquer applications in historical Chinese craftsmanship. Firstly, it reports the detection of thitsi in Chinese lacquerware artifacts, a finding that has not been previously documented. Secondly, it identifies an unusual sequence in the lacquer application process, with thitsi found in the outermost lacquer layer and urushi in the foundational ash layer. These observations invite a reconsideration of earlier assumptions about material usage and provide scientific data that may contribute to a more nuanced understanding of the technological variety in ancient Chinese lacquerware.

The Kizil Cave-Temple Complex has been registered as a World Heritage site and was formerly a part of Kucha—one of the most powerful and prosperous regions of ancient China. The No. 1 Cave is of great significance due to its three surviving clay sculptures. The mural paintings inside the cave are experiencing severe degradation. Scientific methods such as optical microscopy (OM), scanning electron microscopy combined with energy dispersive X-ray analysis (SEM-EDS), Raman spectroscopy, Fourier transform infrared spectroscopy (FTIR), and X-ray diffusion (XRD) were applied to analyze the pigments and organic coating used in the No. 1 Cave. The results show that paratacamite, gypsum, and lapis lazuli were used as the green, white, and blue pigments, respectively. Poly-n-butyl methacrylate (PBMA) was used as an organic coating of the blue pigment and has accelerated the aging of the mural paintings. This study shares insights into the materials and techniques employed and assesses the preservation status of the mural paintings, providing scientific support for protection and restoration schemes.