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

Abstract

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.

A Technical Study of Chinese Buddhist Sculptures: First Insights into a Complex History of Transformation through Analysis of the Polychrome Decoration

“…According to this manual, starch, in the form of flour, was commonly mixed with other ingredients within the ground layer of architectural paintings [24]. Moreover, starch-based yellow pigments have been detected in mixtures for red, white, blue, green, and yellow colors from the Tibetan Buddhist Monastery of Puren, China [27]. As for Inv.…”

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

“…Raman spectroscopy reveals characteristic peaks at 253, 403, and 766 cm⁻ 1 , aligning with the Raman spectrum of lapis lazuli. Notably, the pigment's Raman spectrum, as shown in Figure 6a, exhibits a distinct peak at 1094 cm⁻ 1 , attributable to the symmetric stretching of the C-O bonds [4]. Further, the XRD results, as illustrated in Figure 6b, display diffraction peaks at 17.5°, 24.2°, and 35.3°.…”

“…Its physical properties, notably its stability and resistance to discoloration over time, have made it a favored choice among oil painting masters and craftsmen from ancient times to today [21]. The Raman spectra of the white sample (Figure 3b) show characteristic peaks at 167 cm −1 , 417 cm −1 , and 1052 cm −1 [4]. These peaks align with the standard Raman spectra of lead white, where the 1052 cm −1 peak represents a completely symmetrical vibration, and the 417 cm −1 peak corresponds to the vibration of the Pb-O bond [22][23][24][25].…”

“…Based on these values, it is inferred that the pigment layer contains mature tung oil. The presence of mature tung oil in the sample is likely a result of the historical production techniques employed in ancient Chinese architectural painting [4]. The correlation between the presence of mature tung oil and the painting process suggests that an oil layer was applied to the ground before The analysis of fatty acid concentration in the sample, obtained through Py-GC/MS, is depicted in Figure 8.…”

“…These paintings possess immense artistic and research value. However, over 200 years of natural aging and maintenance neglect have led to extensive damage, including peeling, pollution, warping, cracking, and hollowing [3,4]. This deterioration is increasingly severe, making the protection and repair of these paintings urgent.…”