Analysis of the materials and processes of hanging sculptures in Guanyin Hall

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 m 2 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.