Search Results (8)

Zhenwu (Perfected Warrior), one of the most influential Daoist martial deities, was historically shaped by the northern celestial emblem Xuanwu and later personified and integrated into the Daoist pantheon. While scholarship on Zhenwu has largely relied on textual sources, cliff sculptures provide a material setting in which doctrine, ritual space, and iconography can be examined together. Taking the Zhenwu niche (No. 1) at Nanshan, Dazu (Chongqing) as a case study, this article first situates the niche within the spatial program of the Nanshan Daoist carvings and describes its architectural design, composition, and inscriptional evidence of worship. It then revisits key motifs associated with Zhenwu—such as the sword, bare feet, and the turtle–snake pair—through Daoist and inner-alchemical (neidan) textual traditions. Rather than positing a direct or exclusive link between the Nanshan sculpture and inner-alchemical practice, the article argues that the niche mobilizes an established iconographic repertoire that could have resonated with late imperial discourses of self-cultivation, and that its northern placement within the Nanshan ensemble reinforces these cosmological associations. By combining site-based analysis with a cautious reading of Daozang and neidan texts, the study contributes to scholarship on Daoist visual culture and offers a framework for comparing Zhenwu images across regions and media. Full article

To overcome the limitations of low texture accuracy in traditional sculpture color restoration methods, this study proposes an improved Deep Convolutional Generative Adversarial Network (DCGAN) model incorporating a dual attention mechanism (spatial and channel attention) and a channel converter to enhance restoration quality. First, the theoretical foundations of the DCGAN algorithm and its key components (generator, discriminator, etc.) are systematically introduced. Subsequently, a DCGAN-based application model for sculpture color restoration is developed. The generator employs a U-Net architecture integrated with a dual attention module and a channel converter, enhancing both local feature representation and global information capture. Meanwhile, the discriminator utilizes an image region segmentation approach to optimize the assessment of consistency between restored and original regions. The loss function follows a joint optimization strategy, combining perceptual loss, adversarial loss, and structural similarity index (SSIM) loss, ensuring superior restoration performance. In the experiments, mean square error (MSE), peak signal-to-noise ratio (PSNR), and SSIM were used as evaluation metrics, and sculpture color restoration tests were conducted on an Intel Xeon workstation. The performance of the proposed model was compared against the traditional DCGAN and other restoration models. The experimental results demonstrate that the improved DCGAN outperforms traditional methods across all evaluation metrics, and compared to traditional DCGAN, the proposed model achieves significantly higher SSIM and PSNR, while reducing MSE. Compared to other restoration models, PSNR and SSIM are further enhanced, MSE is reduced, and the visual consistency between the restored and undamaged areas is significantly improved, with richer texture details. Full article

The restoration of gold leaf on sandstone sculptures requires structural stability, aesthetic considerations, and compliance with the principles of cultural heritage preservation. A primary issue is achieving visual and material compatibility between newly restored and original areas. Based on the “Diagnosis–Analysis–Selection–Restoration” methodology, the research team developed a targeted restoration approach for gilded stone sculptures, using the Shakyamuni sculpture at Erfo Temple in Chongqing as a case study. Assessment of the current situation revealed that over 70% of the sculpture’s surface exhibited gold leaf delamination. The composition and structure of the gold-sizing lacquer, lacquer plaster filler, ground layers, and pigments were investigated using SEM-EDS, XRD, Raman spectroscopy, and THM-Py-GC/MS techniques. The results confirmed that the sculpture featured a typical multilayer gilding structure with clear evidence of historical restorations. Considering both material performance and interfacial compatibility, an NHL2/SiO₂/SF016 composite emulsion and traditional lacquer plaster were selected as the optimal materials for reattachment and infill, respectively. A scientific restoration protocol was developed, encompassing gentle cleaning, targeted reattachment and reinforcement, and region-specific repair methods. Principal Component Analysis (PCA) was used to evaluate the influence of temperature and humidity on the curing behavior of lacquer layers. Additionally, a non-invasive gold leaf color-matching technique was developed by controlling the surface roughness of the gold-sizing lacquer, effectively avoiding the damage caused by traditional color-matching methods. Full article

In the first half of the seventh century CE, clusters of Buddhist cliff sculptures were carved into cliffs and boulders in Guangyuan, Mianyang, Bazhong, and other locations nestled in the northern Sichuan Basin. They mark the start of large-scale Buddhist grotto construction in Sichuan, significantly impacting the establishment of regional grotto traditions in southwestern China. Through analysis of site forms, statue types, and devotional inscriptions, this article argues that these Buddhist cliff sculptures represent a reintegration of divergent Buddhist practices and artistic conventions that emerged during the Southern and Northern Dynasties in northern and southern China. While their niche-based site structure and collective sponsorship through the yiyi association can be traced back to northern China in the prior two centuries, the sculptural style primarily reflects a regional tradition exemplified by the free-standing statues unearthed in Chengdu, central Sichuan in the Southern Dynasties. The construction of these sites, catalyzed by the influx of northern officials and monks into Sichuan toward the end of the Sui and the early Tang, provides valuable material for exploring the social integration of northern and southern China, as well as the religious dynamics between Buddhism and Daoism in northern Sichuan. Full article

Cultural heritage consolidates regional cultural identity, expands social capital, and stimulates local communities. These functions make it an important component of sustainable socioeconomic development. The objective of the article is to identify vanishing components of cultural heritage in Małopolskie Voivodeship and propose ways to use them to enhance regional development and promote rural cultural heritage. Moreover, the article aims at identifying such components of cultural heritage that could be included and presented more extensively in future strategic documents despite being disregarded or only superficially acknowledged to date. The research involved a representative sample of the adult residents of rural areas in Małopolskie Voivodeship, Poland (n = 400) using the computer-aided telephone interviewing method (CATI). The research shows that the awareness of the people in Małopolskie Voivodeship is dominated by the ‘classical’ perception of cultural heritage components. The respondents confirmed that traditional professions were still practiced in the voivodeship, and that artisan products were available. The most common of these were beekeeping, sculpture, carpentry, lacemaking and embroidery, smithery, pottery, plaiting, weaving, and musical instrument production. According to the respondents, the most frequent components of vanishing cultural heritage were shrines on trees, old barns (69%), wells (55%) and old root cellars (40%). The respondents most often mentioned farmers’ wives’ associations as independent social and professional organizations in rural areas that promote food traditions. A survey, literature review, and study of strategic documents demonstrated that digital cultural heritage was absent in the responses and strategic documents, even though it is found in rural Małopolskie Voivodeship as rustic cyberfolklore, for example. It is a research gap worth investigating. Full article

Gandharan art developed in the Himalayan area in the early centuries CE. It has been investigated mostly from an iconographic point of view, missing, until very recently, a systematic technical investigation of materials and techniques. Recently our team began performing chemical analyses of the traces of the polychromy originally covering statues, reliefs and architectural decorations, to discover the ancient painting techniques and artistic technologies. This paper presents the results of the analytical investigation (optical microscopy, Raman spectroscopy and gas chromatography coupled with mass spectrometry) of pigments, ground layers and binders of a new group of samples taken from stucco architectural decorations (2nd–3rd/4th centuries CE). The samples were collected directly at an archaeological site in the Swat Valley, ensuring the exact knowledge of their stratigraphic provenance, as well as the absence of any restoration treatment applied prior sampling. The results are discussed in the wider context of Gandharan polychromy investigated so far by our team, as found in sculptures and architectural decorations preserved in museums (in Italy and France) and in archaeological excavations in Pakistan. The aim of this research is to shed light on the materials and techniques of this Buddhist ancient art from this region and on the influences exerted on it from Eastern and Western artistic traditions. Full article

Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the Americas, as the examples found in European countries have shown. Therefore, a detailed technological investigation is required to correctly classify them. This work presents the interdisciplinary and multianalytical investigation of a 16th-century sculpture made with a maize stem preserved in Guadalajara city, Mexico. We used a set of techniques, such as CT, SEM-EDX, μ-FTIR, and μ-Raman, to study, from a macro to a micro level, the structure, the polychromy, and the modification of the sculpture. The results showed the use of maize stems, paper, and wood in the construction of the sculpture and the use of the traditional polychromy, as well as the numerous modifications that changed its appearance considerably resulting in its misclassification. We were able to associate the statue with the Cortés workshop (Mexico City region), probably produced in the decade of 1580, and track its liturgical use and historical development through the centuries. Full article

In the Iron Age II (ca. 1000–500 BCE), the region around Amman, Jordan, was home to a sociopolitical group known as the Ammonites (literally, “the sons of Ammon”). This paper investigates the religious traditions of the Ammonites through an analysis of the extant archaeological and textual sources. The analysis leads to the conclusion that the religious tradition of the Ammonites is a specimen of the broader religious tradition of the Iron Age II Levant. One distinguishing feature of Ammonite religion is the state god Milkom, whose name is probably an epithet for the god ʾEl, and who appears to be represented in a tradition of stone sculptures that have been found in the vicinity of Amman. The rest of the non-physical realm was understood to be inhabited by gods, goddesses, a variety of other non-human beings, and dead ancestors. Also visible in the extant evidence is a blending of local and foreign elements, especially those from Mesopotamia. Unique in this respect is the probable temple to the moon-god at Rujm al-Kursi, which most likely reflects a local tradition of lunar worship influenced by the iconography of the Mesopotamian moon-god Sîn. Full article