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Research article
Xiaojian Bai
Taiyuan University of Technology
Corresponding Author
ORCiD: https://orcid.org/0000-0001-5821-3947
License:
This work is licensed under a CC BY 4.0 License. Read Full License
There are more painted clay sculptures in Shanxi Province than in any other province in China. These fine relics, dating from the Sui and Tang dynasties to the Ming and Qing dynasties, are important to the study of ancient sculpture in China. We investigated the Tutang Buddha (from the Jin dynasty) and two attendant bodhisattvas (from the Ming dynasty) in the Buddha Pavilion of the Jingyin Temple in Taiyuan. The Tutang Buddha was the first clay Buddha in Jinyang (now Taiyuan). According to the inscription, the Tutang Buddha was carved out of the hill. Our onsite investigation revealed that there were coarse and fine layers of clay mixed with wheat straw. It is clear that the construction of the Tutang Buddha is different with the traditional painted clay sculpture. The two attendant bodhisattvas are the traditional painted clay sculptures, which consist of a wood framework covered with layers of coarse clay, fine clay, white ash, paper and pigments. Damaged sections of the painted sculptures were visually examined, sampled and subsequently analysed. All three sculptures have been repainted at least twice. The material samples were analyzed using scanning electron microscopy, energy dispersive spectrometry, Raman spectroscopy, X-ray diffraction, biological microscopy, and particle size analysis. The analysis enabled us to infer the techniques used by the creators of the sculptures. This research provides a foundation for the conservation and future protection of these and similar sculptures.
Keywords
Painted clay sculpture, Jingyin Temple, Sculpture craft, Painted layer
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Received 16 Aug, 2020
Reviewer #2 agreed
On 31 Jul, 2020
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On 28 Jul, 2020
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On 28 Jul, 2020
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On 27 Jul, 2020
Editor invited
On 27 Jul, 2020
Version 1
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Received 09 May, 2020
Editorial decision: Major revision
On 09 May, 2020
Review #2 received
Received 04 May, 2020
Review #1 received
Received 30 Apr, 2020
Reviewer #2 agreed
On 08 Apr, 2020
Reviewer #3 agreed
On 08 Apr, 2020
Reviewer #4 agreed
On 08 Apr, 2020
Reviewer #1 agreed
On 03 Apr, 2020
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See the published version of this preprint at Heritage Science.
This is a preprint, a preliminary version of a manuscript that has not completed peer review at a journal. Research Square does not conduct peer review prior to posting preprints. The posting of a preprint on this server should not be interpreted as an endorsement of its validity or suitability for dissemination as established information or for guiding clinical practice.
Learn more about In Review
Research article
Xiaojian Bai
Taiyuan University of Technology
Corresponding Author
ORCiD: https://orcid.org/0000-0001-5821-3947
Badges
Prescreen
This manuscript passed our Prescreen assessment
Complete author information
Appropriate declaration statements
Potential risks to human health
Prescreen
Peer Review Timeline
CURRENT STATUS: Published
View the published article at Heritage Science.
No community comments so far
Editorial decision: Accept
On 02 Dec, 2020
Editor assigned
On 01 Dec, 2020
Submission checks complete
On 01 Dec, 2020
Editor invited
On 01 Dec, 2020
No comments provided
Editorial decision: Minor revision
On 30 Oct, 2020
Review #1 received
Received 19 Oct, 2020
Reviewer #1 agreed
On 29 Sep, 2020
Editor assigned
On 25 Sep, 2020
Reviewers invited
Invitations sent on 25 Sep, 2020
Submission checks complete
On 24 Sep, 2020
Editor invited
On 24 Sep, 2020
No comments provided
Editorial decision: Major revision
On 24 Aug, 2020
Review #2 received
Received 20 Aug, 2020
Review #1 received
Received 16 Aug, 2020
Reviewer #2 agreed
On 31 Jul, 2020
Editor assigned
On 28 Jul, 2020
Reviewers invited
Invitations sent on 28 Jul, 2020
Reviewer #1 agreed
On 28 Jul, 2020
Submission checks complete
On 27 Jul, 2020
Editor invited
On 27 Jul, 2020
Version 1
Posted 02 Apr, 2020
No comments provided
Review #3 received
Received 09 May, 2020
Editorial decision: Major revision
On 09 May, 2020
Review #2 received
Received 04 May, 2020
Review #1 received
Received 30 Apr, 2020
Reviewer #2 agreed
On 08 Apr, 2020
Reviewer #3 agreed
On 08 Apr, 2020
Reviewer #4 agreed
On 08 Apr, 2020
Reviewer #1 agreed
On 03 Apr, 2020
Reviewers invited
Invitations sent on 01 Apr, 2020
Editor assigned
On 31 Mar, 2020
First submitted
On 30 Mar, 2020
Submission checks complete
On 30 Mar, 2020
Editor invited
On 30 Mar, 2020
Metrics
Comments: 0
PDF Downloads: ...
HTML Views: ...
License:
This work is licensed under a CC BY 4.0 License. Read Full License
View the published article at Heritage Science.
There are more painted clay sculptures in Shanxi Province than in any other province in China. These fine relics, dating from the Sui and Tang dynasties to the Ming and Qing dynasties, are important to the study of ancient sculpture in China. We investigated the Tutang Buddha (from the Jin dynasty) and two attendant bodhisattvas (from the Ming dynasty) in the Buddha Pavilion of the Jingyin Temple in Taiyuan. The Tutang Buddha was the first clay Buddha in Jinyang (now Taiyuan). According to the inscription, the Tutang Buddha was carved out of the hill. Our onsite investigation revealed that there were coarse and fine layers of clay mixed with wheat straw. It is clear that the construction of the Tutang Buddha is different with the traditional painted clay sculpture. The two attendant bodhisattvas are the traditional painted clay sculptures, which consist of a wood framework covered with layers of coarse clay, fine clay, white ash, paper and pigments. Damaged sections of the painted sculptures were visually examined, sampled and subsequently analysed. All three sculptures have been repainted at least twice. The material samples were analyzed using scanning electron microscopy, energy dispersive spectrometry, Raman spectroscopy, X-ray diffraction, biological microscopy, and particle size analysis. The analysis enabled us to infer the techniques used by the creators of the sculptures. This research provides a foundation for the conservation and future protection of these and similar sculptures.
Figure 1
Figure 2
Figure 3
Figure 4
Figure 5
Figure 6
Figure 7
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