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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]

Rural revitalization strategies are an important task in China. Currently, it is in the transition from poverty alleviation to rural revitalization. This paper proposes an evaluation index of rural revitalization and development potential based on a summary of previous studies. Together with the TOPSIS method, the corresponding coefficients of each index layer and the weight coefficient of the criterion layer were analyzed. This shows that during the process, the work direction of rural revitalization varies based on different revitalization types. In this study, diagnostic tools are utilized to conduct a potential development analysis of rural human settlements by identifying the main influencing factors for rural revitalization. In addition, an index system for improving rural human settlement strategies is established. Overall, it helps in defining the interventions of reducing and managing the risk of rural vitalization and evaluating the potential ability of rural revitalization. It also suggests that Anhui Province should focus on carrying out the comprehensive revitalization of rural areas according to the different functional positions of the countryside. [ABSTRACT FROM AUTHOR]

The restoration of incomplete artifacts is important for presenting the value of artifacts. Even though the existing methods provide rich solutions for the restoration of artifacts, they may not be the ultimate and perfect methods. The innovation of restoration methods may provide better restoration effects in some aspects or bring people a different visiting experience, which motivates people to explore new restoration methods. In this paper, based on virtual imaging technology, a virtual imaging restoration method for incomplete artifacts were proposed. In order to examine the effects and potential of the virtual imaging restoration, a bronze mirror and a mural were restored through our newly invented virtual imaging restoration device. The effects of the restorations were evaluated through the illumination test and the questionnaire surveys. The results proved that the virtual imaging restoration can visually achieve in situ restoration, and it is completely reversible. Virtual imaging restoration also performed well in terms of visiting experience, authenticity, discernibility, and economy. Limitations of this restoration method are related to the scope of application, the viewing angle, and the imaging effects. Overall, virtual imaging restoration is worth recommending and the potential of this method and its encouraging results may provide a choice or pretest tool for the restoration of some incomplete artifacts in the near future. [ABSTRACT FROM AUTHOR]

The precious collections of the Qing Dynasty paper-made theatrical figurines known as Shage xiren (纱阁戏人) represent a unique type of Chinese traditional folk art. The name, "Shage xiren" can be explained as the theatrical figurines that display in gauze curtains covered showcases. There were originally 36 showcases of Shage xiren of which 34 are preserved with 28 showcases exhibited at Qingxu Taoist Temple of Pingyao and the other damaged 6 are kept in the storeroom. It is rare that ancient paper-made figurines can be retained; therefore Shage xiren became a valuable source for understanding the traditional folk art as well as exploring rarely inherited crafts. Due to the material specificity and the poor preservation conditions, most of the figurines are found with various damages. It appears necessary to carry out appropriate conservative and restorative actions. To date, very few works have been reported on investigating the materials and crafts of making Shage xiren, resulting in a lack of basis for restoration. In this research, the samples collected from the damaged figurines, including wooden stick, plant fibers, paper pieces, clay fragments and textile fibers were studied. Polarized light microscope, X-ray diffraction, granulometry, Raman spectrum, digital microscopy and Fourier transform infrared spectrum analyses were employed to characterize the materials used in producing the cultural relics. The results indicated that not only paper, but also various materials were utilized in making the figurines. To form well-shaped bodies, the figurines have moso bamboo sticks applied as supporting structures, then covered with wheat straw and filled with natural cotton. The paper costumes and decorations were made from coniferous wood pulp and bamboo fibers respectively, and the textile belts were made from silk. The heads, feet and fingers of the figurines were shaped with fine local clay mixed with natural fibers to prevent cracking. The heads were further applied with lime to improve the surface smoothness and brightness. The pigments of red lead, basic lead carbonate, indigo and artificial ultramarine were used in painting and dyeing the clay heads and feet, and paper decorations. Although the figurines were made from accessible materials, the ingenious design and the sophisticated skills combining sculpturing, paper folding and elaborate ornamenting made it one of the unique artefacts. This research further provided reliable evidence in guiding the conservation and restoration work. [ABSTRACT FROM AUTHOR]

H NMR cryoporometry and solid-state C cross-polarization (CP) magic-angle spinning (MAS) NMR spectroscopy were used to characterize the microstructure of historic and fresh silk samples. Silk is a polymeric bicomponent material composed of fibroin and water located in micropores. According to the H NMR cryoporometry method, the intensity of the water resonance as a function of the temperature was used to obtain the pore size distribution, which was strongly asymmetric with a well-defined maximum at 1.1 nm. Compared with the fresh silk samples, the volume of pores around 1.1 nm decreased distinctly in the historic silk, and more pores larger than 2 nm emerged accordingly. In addition, these results correlated well with solid-state C CP/MAS NMR spectroscopy as the percentage of random coil in the historic silk sample was much less than that in the fresh silk samples. Therefore, it is suggested that the water-filled microvoids grow larger as the random coil conformation fades away in the degradation process. [Figure not available: see fulltext.] [ABSTRACT FROM AUTHOR]

Historically, sutras played an important role in spreading Buddhist faith and doctrine, and today these remain important records of Buddhist thought and culture. A Mahamayuri Vidyarajni Sutra with polychrome paintings was found inside the cavity on top of the Nanmen Buddhist pagoda, built in the early Tang dynasty (618–627 CE) and located in Anhui Province, China. Textile was found on the preface which is strongly degraded and fragile. Unfortunately, the whole sutra is under severe degradation and is incomplete. Technical analysis based on scientific methods will benefits the conservation of the sutra. Optical microscopy (OM), micro-Raman spectroscopy combined with optical microscope (Raman), scanning electron microscopy in combination with energy dispersive X-ray analysis (SEM–EDS) and Fourier Transform Infrared Spectroscopy (FTIR) were used to characterize the pigment and gilded material, as well as the paper fiber and textile. Pigments such as cinnabar, minium, paratacamite, azurite, lead white were found. Gilded material was identified as gold. A five-heddle warp satin, made of silk, was found as the textile on the preface of the sutra. The sutra's preface and inner pages were made of paper comprised of bamboo and bark. As a magnificent yet recondite treasure of Buddhism, the sutra was analyzed for a better understanding of the material. A conservation project of the sutra will be scheduled accordingly. [ABSTRACT FROM AUTHOR]

Burial conditions play a crucial role in archaeological heritage preservation. Especially, the microorganisms were considered as the leading causes which incurred degradation and vanishment of historic materials. In this article, we analyzed bacterial diversity and community structure from M1 of Wangshanqiao using 16 S rRNA gene amplicon sequencing. The results indicated that microbial communities in burial conditions were diverse among four different samples. The samples from the robber hole varied most obviously in community structure both in Alpha and Beta diversity. In addition, the dominant phylum in different samples were Proteobacteria, Actinobacteria and Bacteroidetes, respectively. Moreover, the study implied that historical materials preservation conditions had connections with bacterial community distribution. At the genus level, Acinetobacter might possess high ability in degrading organic culture heritage in burial conditions, while Bacteroides were associated closely with favorable preservation conditions. This method contributes to fetch information which would never recover after excavation, and it will help to explore microbial degradation on precious organic culture heritage and further our understanding of archaeological burial environment. The study also indicates that robbery has a serious negative impact on burial remains. [ABSTRACT FROM AUTHOR]