Three-dimensional laser scanning technology can be used to quickly, efficiently, and accurately obtain spatial three-dimensional information of cultural relics without contacting the target during the scanning process. The results of this study showed that the extraction of human bones from the Shenna ruins via the auxiliary application of three-dimensional scanning technology reduced human intervention and destruction on the site compared with the traditional archaeological human bone packaging and extraction work method. When combined with the application of three-dimensional scanning technology, the original data information extracted on the spot were more comprehensive and accurate. Additionally, the technology provided us with important scientific data which can be used to discuss the phylogenetic composition of the ancient Qiang people in the settlement village, as well as a new applications of ideas for three-dimensional laser scanning technology usage in the field extraction of cultural relics. However, a follow-up study is needed to improve the comparisons of its applications, providing a conventional auxiliary means for cultural relic extraction and a technical means for cultural relic protection evaluation.

Jiatang scroll paintings listed in the Chinese intangible cultural heritage list are an important form of family trees. In this paper, a Jiatang scroll painting drawn in the seventh year of Guangxu (AD 1881) was chosen as a prototype to analyze its components. Samples were taken from different parts of the Jiatang scroll painting to analyze the composition of fibers, pigments, and adhesives. Herein, fiber analyzer, Fourier transform infrared spectroscopy (FTIR), and Herzberg stain were conducted to identify the type of fiber used. Microstructural and microchemical analyses by means of SEM-EDX and Raman spectroscopy were performed to characterize the pigments present in the painting, while the nature of the adhesive was examined using pyrolysis gas chromatography–mass spectrometry (Py-GC/MS). The results show that the painting fiber is from cotton, while the red, black, and green pigments were identified as cinnabar, carbon black, and emerald green, respectively. Finally, the adhesive is a mixture of animal glue, benzoin gum, and starch. The research results provide a basis for the protection and restoration of this precious cultural heritage in the future.