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Heritage buildings represent history and act as vessels of human civilisation. The significance of these architectural phenomena increases as society increases, which renders their preservation and ethical use increasingly crucial. Hence, preserving heritage buildings is necessary for societal benefit. The accuracy of three-dimensional (3D) point cloud models of heritage buildings is important to their digital conservation. Traditional mapping methods typically require more time and human resources. Furthermore, the outcome is subject to measurement omissions, errors, and other issues, which are contrary to the protection of the object measured. The complex elements of ancient Chinese architecture render it challenging for traditional measuring techniques to accurately capture spatial structural information. The 3D laser scanning technology is a novel technology to obtain 3D data rapidly. In this paper, the Great Achievement Palace of the Confucian Temple in Yuci District, Jinzhong City, Shanxi Province, was used as an example to examine the application of 3D laser scanning technology to acquire point cloud models of heritage buildings. Field data collection for architectural heritage using 3D laser scanning technology requires measuring station setting analysis to ensure effect accuracy while considering the elements of target location and quantity. For the 3D point cloud model of the Great Achievement Palace, error analysis and accuracy assessment were conducted on the quality elements of alignment accuracy between scanning stations, point cloud model reliability, point cloud data noise condition, and whether the point cloud data were stratified. The findings demonstrated that the improved method quickly and accurately acquired 3D point cloud model data and obtained realistic spatial data models of the heritage building. [ABSTRACT FROM AUTHOR]

Seven pieces of gold foils for surface decoration of the lacquerware were excavated in the late Western Han Dynasty tomb in the area of the Jin Yang (晋阳) Ancient City site in Taiyuan (太原), Shanxi (山西), China. These gold foils portray images of the carriage, the leopard, the tigers, the ox, and the dancer with fluttering sleeves, etc., with black lines outlining the contours and red paint depicting vivid patterns. The study used Stereo Microscopes, Metallurgical Microscopy, Environmental Scanning Electron Microscopy coupled with Energy-Dispersive X-ray Spectroscopy (ESEM-EDS), and Laser Raman Spectroscopy (LRS) to analyse the thickness of the gold foils, the alloy composition, the composition of the paint and other surface attachments, and investigate the manufacturing process. As the results show, the thickness of the gold foils is about 26 μm. The composition is a gold-silver alloy with about 96% Au/(Au + Ag) (surface) and 98% Au/(Au + Ag) (cross-section). The metallurgical observation shows that the gold foils underwent heating and forging. The black lines on the front side are Chinese ink lines, with cracking and peeling phenomenon, and parallel polishing lines can be seen at the peeling places, while no polishing lines are observed on the back side. Some red paint made of cinnabar is above the black lines, and the binder is organic. Some lacquer residues are found on the back. According to the results of the study, the manufacturing process of the gold foils applied on the lacquerware is as follows: the gold foils are obtained by heating and forging, the front sides of the gold foils are polished, the shapes are carved out, and the gold foils are pasted on the lacquerware when the lacquerware's surface is not yet dry. The gold foils are painted with black Chinese ink and red cinnabar pigment. The study's results offer important references for understanding the manufacturing craft of the gold foils applied on the lacquerware in the late Western Han Dynasty of China and guide the conservation of the lacquerware decorated with painted gold foils. [ABSTRACT FROM AUTHOR]

Changzhi Guanyin Hall, a folk temple from the Ming Dynasty, embodies the essence of the 'unity of the three religions' philosophy, centred around Guanyin Bodhisattva. Over 500 sculptures reside within a modest 70 m2 space, encompassing representations from Confucianism, Buddhism and Taoism. Ranging from a towering 2 m to a mere 10 cm, these sculptures depict an array of characters and mythological scenes, bestowing considerable importance upon the painted sculptures of Guanyin Hall. Varying degrees of deterioration have affected these sculptures due to the passage of time and suboptimal preservation conditions, highlighting the imperative need for meticulous restoration efforts. However, the absence of comprehensive analyses pertaining to the production process of Guanyin Hall sculptures has hindered the restoration groundwork. This study focuses on fallen hanging sculptures and debris, encompassing intact sculptures, clay fragments, wooden sticks, plant fibres, wires and pigments. Employing a series of techniques, including X-ray photography, microscopic analysis, mineral analysis (MLA), laser particle size testing, ion chromatography, X-ray fluorescence spectroscopy (XRF), X-ray diffractometer (XRD) and energy dispersive spectrometer (SEM–EDS) analysis, this research characterises the constituent materials used in crafting these artifacts. Instead of a full-body skeleton, the findings reveal that the small hanging sculpture is supported by delicate wires that hold specific areas, such as the arms and the gown hems. The hanging sculptures are made from a single type of clay and are reinforced with either mulberry bast or wheat straw fibres. A Pinaceae wood stick affixes the head to the body, and the sculpture is then suspended on the wall through nails inserted into the feet. The moulded clay undergoes a sequence of carving, drying and polishing and is coated with a white ash layer before receiving intricate painting. Mineral pigments, including cinnabar, red lead, iron red, cerussite, atacamite, brochantite and azurite, adorn the surface of the sculptures, with gold foil embellishing the golden elements. The intricate artisanry and multifaceted material composition of Guanyin Hall's painted sculptures render them unparalleled artistic treasures, not solely within Shanxi but across the entire nation. Furthermore, this study establishes a dependable foundation for conservation and restoration endeavours. [ABSTRACT FROM AUTHOR]