A Multi-Method Analysis of a Color Painting on Ancient Architecture from Anyuan Temple in Chengde, China

Abstract

Anyuan Temple, constructed in the 29th year of the Qing Dynasty (1764), serves as a repository of numerous Sanskrit inscriptions and Hexi color paintings from the Qing era. Among its collections, the green Tara Buddha statue, exquisitely carved from wood, is recognized as a national first-class cultural relic. This edifice is instrumental in advancing our comprehension of painting artistry in royal temples. The current research focused on the pigments and binders utilized in the color paintings within Anyuan Temple, located in Chengde. An investigative process entailed collecting four samples from the paintings adorning the temple’s beams. These samples underwent comprehensive analysis using a variety of techniques, such as Scanning Electron Microscopy and Energy-Dispersive Spectrometry (EDS), Micro Raman Spectroscopy (m-RS), and X-ray Diffraction (XRD). The examination revealed that the paintings comprised pigments of lead white, cinnabar, malachite, and azurite, corresponding to the colors white, red, green, and blue, respectively. The enduring stability and aesthetic appeal of these pigments suggest their suitability for use in future conservation efforts. Additionally, Pyrolysis Gas Chromatography/Mass Spectrometry (Py-GC/MS) analysis identified animal glue as the binding agent in the wood component paintings. These insights are pivotal for the forthcoming restoration endeavors of Anyuan Temple, offering essential guidance in selecting the appropriate materials for restoration.