Abstract:As an important category of fragile organic cultural heritage, bamboo, wood and lacquer artifacts require effective preventive conservation during exhibition, which represents a core aspect of cultural relic preservation and utilization. This study focuses on the preventive conservation system for exhibited bamboo, wood and lacquer artifacts, as the research objects, reviews relevant domestic and international research progress, and drawing on the practical experience of Hubei Provincial Museum, constructs a standardized and replicable conservation system centered on “environmental regulation, cultural relic conservation and exhibition technologies, and monitoring and evaluation”. The study further clarifies the system’s framework, implementation pathways and future development directions. By analyzing the relationship between the deterioration mechanism of bamboo, wood and lacquer artifacts and environmental factors, the study optimizes key technical parameters across different stages of conservation. This approach achieves comprehensive protection ranging from macro environmental regulation to micro artifact protection, and establishes a closed-loop conservation encompassing “monitoring and early warning→risk judgment→prevention, control and intervention”. Practical application demonstrates that this system can effectively reduce the deterioration rate and associated risks of exhibited bamboo, wood and lacquer artifacts, significantly improving the stability and sustainability of conservation outcomes. The study provides a broadly applicable technical framework and practical reference for the preventive conservation of similar organic cultural relics in various museums throughout China.

Abstract:This study presents a comprehensive assessment of the preservation state of three coffin wood planks excavated from the Northern Wei tomb at Zhijiabu, Datong, Shanxi, through the application of multidisciplinary analytical methods. After identification of the wood species, the ultrastructure of the samples was examined using focused ion beam-scanning electron microscopy (FIB-SEM). In addition, chemical compositional changes were investigated using Fourier transform infrared spectrometry (FTIR), X-ray diffraction (XRD), and solid-state carbon nuclear magnetic resonance (¹³C-NMR). To further characterize changes in wood porosity, micro-computed tomography (micro-CT) was employed to obtain detailed two-dimensional and three-dimensional structural data. The results identified the wood as cypress. Compared with modern intact cypress, all archaeological samples exhibited particulate surface deposits, cracks, holes, and significantly increased porosity. FIB-SEM observations revealed severe damage to the cell walls and intracellular residues, indicating the combined effects of brown rot, soft rot fungi, and erosive bacteria in the degradation process. Chemical analyses showed substantial degradation of hemicellulose, reduced cellulose crystallinity, and a relative increase in lignin content, with varying degrees of chemical alteration among the six samples. Samples F1 and F4 were in relatively good conditions, whereas F3 and F6 exhibited the most severe degradation. By integrating multiple analytical techniques, this study provides key insights into the preservation condition of the archaeological wood and offers critical guidance for future conservation and restoration efforts. In particular, it supports the implementation of targeted measures, including disinfection, antibacterial treatment, and structural reinforcement, according to the specific preservation conditions of different parts of the wood.

Abstract:This study focuses on the surface wood of the coffin cover board unearthed from Tomb No.1 of Wuwangdun, residual fragments of the coffin cover board recovered from robbery holes, and wooden tools unearthed from the fill soil. Wood species were identified using standard wood science analytical methods. In addition, attenuated total reflectance-Fourier transform infrared spectrometry (ATR-FTIR) and X-ray diffraction (XRD) were employed to investigate deterioration of the wooden cultural relics from multiple aspects, including maximum moisture content, basic density, relative cellulose and lignin content and crystallinity. Through comparative analysis, the preservation state of the coffin board was evaluated. The results indicate that the wooden tools were made of oak (Quercus, Fagaceae), while the coffin cover was made of zelkova (Zelkova, Ulmaceae). The degradation of the wooden tools from the backfill soil near the northern side of the cover was less severe than that of those from the eastern side. Similarly, the degrees of degradation of the coffin cover varied across different areas:the eastern side was better preserved, while fragments recovered from the robbery holes showed the most severe degradation. These findings highlight the influence of burial environment on wood deterioration, providing valuable insights into degradation mechanisms of unearthed wooden cultural relics, and offering reliable information for the scientific conservation and reinforcement strategies.

Abstract:In-depth conservation of the 11 shrines originally installed in the rear hall of the Hall for Ancestry Worship in the Forbidden City is currently being planned. Based on prior condition assessments and research on the materials and techniques used in the lacquer surfaces of the Shunzhi Shrine, the project team developed conservation strategies and conducted in-situ consolidation and cleaning experiments, focusing on structural deterioration and surface contamination. Throughout the experimental process—from design to implementation—the team probed into the properties and application methods of conservation materials and systematically evaluated treatment outcomes. As a result, a technical route and workflow were established:the use of the synthetic polymer Aquazol 500 applied via heat-activated consolidation (ironing method), combined with an aqueous emulsion gel cleaning system for cleaning of the lacquer surfaces. This approach provides a technical foundation for subsequent conservation work.

Abstract:The conservation and restoration of excavated waterlogged lacquered wooden artifacts remain major challenges in the field of cultural heritage preservation. Although the glyoxal composite dehydration technology has become a mainstream method for the stabilization and reinforcement of such artifacts, effectively addressing dimensional stabilization during dehydration, it also inevitably introduces risks of secondary deterioration. These include lacquer film cracking, warping and detachment caused by differential shrinkage between the wooden substrate and the lacquer layer, as well as persistent weakly acidic conditions (pH≈4-5) resulting from residual glyoxal. Such acidic environments significantly inhibit the activity of laccase involved in the oxidative polymerization of raw lacquer, thereby reducing the bonding strength and durability of traditional lacquer adhesives. To address these issues, this study developed a novel composite adhesive specifically designed for the restoration of glyoxal-dehydrated lacquerware. Natural raw lacquer from Enshi, Hubei Province, was used as the base material, while Tween-20, soy protein isolate (SPI) and nano-SiO₂ were introduced as functional modifiers. An orthogonal experimental design was employed to optimize the formulation. The performance evaluation demonstrated that the optimized adhesive achieved a shear bonding strength of 3.8 MPa, representing an increase of approximately 58% compared with pure raw lacquer. After immersion in a weakly acidic environment (pH≈4) for 30 days, the adhesive retained 91% of its original strength, significantly higher than the 65% retention observed for pure lacquer. Under accelerated aging conditions of 50℃ and 95% relative humidity (RH) for 30 days, the composite adhesive exhibited only a 1.0% weight increase without visible mold growth, whereas pure lacquer showed a 3.0% increase accomplished by slight mildew formation. The cured adhesive film also exhibited excellent chromatic stability, with a color difference (ΔE) of approximately 2.0, which was nearly imperceptible to the naked eye. The practical conservation treatment of excavated lacquerware further verified the feasibility of the adhesive for reattaching detached lacquer films. The restored lacquer layers exhibited strong adhesion, stable morphology, and good chromatic compatibility without secondary warping or delamination. This study provides a new material strategy for the conservation of glyoxal-dehydrated lacquerware and offers a useful reference for integrating traditional lacquer technique with modern functional materials in cultural heritage conservation.

Abstract:Fragments of a black lacquered wooden box inlaid with mother-of-pearl, excavated from a Yuan Dynasty shipwreck, are part of the collection of Heze Museum. The box, made of Nanmu wood, features mother-of-pearl inlays on the exterior and black lacquer on the interior, and is decorated with bronze door rings and inscriptions reading “Yishang”. These fragments are one of the earlier mother-of-pearl lacquer box relics of such scale ever discovered in China. To address deterioration issues such as wood decay, mother-of-pearl peeling, and metal corrosion, the restoration team developed a scientific conservation plan based on the results of multiple analytical techniques, including wood identification, X-ray fluorescence (XRF) spectrometry, microscopy, and pyrolysis gas chromatography/mass spectrometry (Py-GC/MS). Using a “rebirth” technique combined with wet tissue paper pressure correction, polyvinyl acetate reinforcement of the base layer, and white tile ash filling, the team successfully restored the original form of the artifact. The treatment also revealed its unique craftsmanship, including the use of bamboo and wood dowels instead of traditional mortise and tenon joints, providing important physical evidence for the study of Yuan Dynasty lacquerware. The restored artifact has been displayed, presenting excellent overall results.

Abstract:Waterlogged wooden slips excavated in Southern China are commonly recovered from tombs, wells, ash pits, and other contexts. Among these, ash pits constitute the most representative feature for the wooden slips unearthed at the Hebosuo site. The excavated wooden slips were fragmentary, scattered, and intermixed with numerous other artifacts. Therefore, it was necessary to establish and rigorously implement specialized technical procedures for the sorting and conservation of waterlogged wooden slips unearthed from ash pits. The wooden slips were extracted timely and intact using the block-lifting excavation method. During indoor cleaning, inscribed wooden slips were protected scientifically and efficiently through wet screening, sorting, preliminary washing, and fine washing. High-quality imaging was obtained through comprehensive underwater documentation, meeting both visual recording and conservation requirements. Based on microbial detection results, targeted antimicrobial treatments produced satisfactory conservation outcomes. The integrated approach combining physical conservation, digital preservation, and interpretive research of wooden slips from ash pits facilitates a productive interaction among artifact conservation, digital documentation, and in-depth archaeological interpretation.

Abstract:Waterlogged wooden slips unearthed from Tomb No.1 of the Western Han Dynasty at Guankou, Wulong, Chongqing, serve as important physical evidence for the study of burial practices during the early Han Dynasty. To develop a scientific conservation strategy, this study built upon onsite preservation efforts and employed an integrated analytical approach—comprising wood species identification, moisture content determination, optical microscopy, infrared spectrometry, ion chromatography, and inductively coupled plasma-optical emission spectrometry to evaluate the preservation condition, degradation characteristics, and environmental ion impact on the wooden slips. The results identified the wood species as Keteleeria, which exhibited moderate degradation accompanied by noticeable microstructural damage. Infrared spectrometry revealed a significant reduction in the characteristic peaks of cellulose and hemicellulose, indicating considerable chemical deterioration. Ion concentration analysis suggested that iron ions had a minor impact on the artifacts. To address degradation issues including decay, oxidative discoloration, and deformation, a combined treatment involving sodium dithionite decolorization and ethanol-hexadecanol dehydration was applied. The conservation efficacy was systematically evaluated through chromatic aberration monitoring and dimensional measurement. Following the treatment, the wooden slips exhibited a marked increase in lightness, dimensional shrinkage controlled within 2.5%, restoration of the substrate to a pale-yellow hue, and clear and intact inscriptions, thereby meeting the requirements for conservation, research and display. This study effectively demonstrates the integrated approach of combining archaeological excavation with cultural heritage conservation, and provides a scientific reference for the conservation of similar waterlogged wooden slip artifacts.

Abstract:The lacquerware excavated from the Tomb of Marquis Yi of Zeng represents the pinnacle of Chinese lacquering craftsmanship during the early Warring States Period. To achieve a comprehensive understanding of the manufacturing techniques employed in these lacquerwares, lacquer film samples were collected from seven lacquerware fragments excavated from the tomb. Scientific and systematic analyses were conducted using stereomicroscopy, scanning electron microscopy (SEM), energy dispersive X-ray spectrometry (EDS), Raman spectrometry (RS), Fourier transform infrared spectrometry (FTIR), and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) to investigate the morphological characteristics, microscopic properties and additive composition of the lacquer film samples. The results indicated that:the primary component responsible for the red color of the lacquer film was cinnabar; the black lacquer film resulted from the natural polymerization and oxidation of urushi, which tranformed it into black; all lacquer films were applied using a multi-layered coating process; the main component of the lacquer was urushiol, and dry oil additives were deteced in some of the lacquer films. Meanwhile, X-ray non-destructive testing methods were employed to analyze the condition of the lacquer coffin body and its internal structure in detail. The results revealed the presence of an embedded metal support structure within the coffin, which enhanced the overall stability and load-bearing capacity of the structure, providing a new perspective for the study of the multi-layered composite structures used in ancient Chinese funerary objects.

Abstract:The Ziku Street site in Qingyang District, Chengdu, has been identified as a waste deposit associated with “Shu Xigong” in the Qin Dynasty. A lacquer ash waste sample was recovered during the sorting of materials from this site. Through scientific analyses, investigations of modern craftsmanship, and simulation experiments, this study examined the lacquer ash waste to elucidate the lacquering techniques in Qin Dynasty “Shu Xigong”. The analytical results show that the lacquer ash waste consisted of two distinct layers:a light-brown lacquer film on the surface, and an inner layer containing a significant amount of clay particles. Its organic components mainly included Chinese lacquer and drying oil. The comparison with lacquering techniques of Chengdu Lacquerware Craft Factory indicated clear compositional differences, particularly in the presence of added oil. The simulation experiments further demonstrated that the addition of drying oil reduced the hardness and adhesion of lacquer ash, while improving its flexibility, thereby better accommodating deformation requirements during use, and enhancing overall performance. In addition, drying oil prolonged the curing time of lacquer paste, which might also relate to the timing of its application. As an official handicraft workshop of the Qin Dynasty, “Shu Xigong” likely represented the most advanced technical level of its time. This study reveals the craftsmanship and performance characteristics of lacquer ash, contributing to the reconstruction of lacquer ash production processes used in weapon production at “Shu Xigong”, and providing insights into the lacquering techniques of Qin Dynasty official artisans.

Abstract:The Kuancai lacquer screen is one of the categories of lacquered furniture and is produced using Kuancai polychrome lacquering technique. This technique is primarily applied in the production of large-scale screens, and was especially prevalent during the Ming and Qing Dynasties. This study applied multiple scientific detection and analysis methods to the Six-Curved Marked Lacquer Sereen with Figures of Birthday Celebrations from the Kangxi Period in the collection of the Chinese University of Hong Kong (CUHK). The analyzed samples mainly included materials from the screen body and decorative layers. Pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) was used to identify and analyze organic materials in the samples. Additional methods, including microscopy, ultraviolet fluorescence and infrared imaging photography, scanning electron microscopy-energy dispersive spectrometry (SEM-EDS), infrared spectrometry and Raman spectrometry were employed for wood identification, and for cross-sectional and compositional analyses of the samples. The comprehensive results indicate that the main structure of the screen consists of a wooden body, fiber layer, ash ground layer, paint layer, pigment layer, and later repair layers. The wooden body was identified as cypress. The fiber layer was composed of paper and hemp fibers. The ground layer primarily consisted of sand, stone and pig blood. The pigment layer was mainly composed of mineral pigments and vegetable oil, with the identified pigments including cinnabar, azurite and malachite.

Abstract:As one of the first batch of national intangible cultural heritage items, the cinnabar and gold lacquer craftsmanship of Ningbo has primarily been transmitted through the living practice of inheritors and relies largely on experimental experience. However, little research has been conducted on the materials and techniques of this craft from the perspective of scientific testing and analysis. In conjunction with the restoration project of the Qing’an Guildhall in Ningbo, this study analyzed representative samples of cinnabar and gold lacquer from the ceiling panels of the main hall using micro-sampling techniques. Various analytical methods, including visible light/UV microscopy, electron microscopy-energy dispersive spectrometry (SEM-EDS), Raman spectrometry, and pyrolysis gas chromatography/mass spectrometry (Py-GC/MS), were employed. The results revealed that the traditional craft utilized diverse materials and involved a complex production process. Specifically, a mixture of tung oil and raw lacquer was applied at least three times to form the lacquer layers. The silver-mud technique was used, and different types and colors of gold or gold-silver leaf were selectively used for decoration in different areas. Comparative analysis with other intangible cultural heritage crafts further indicated that the wooden base of the ceiling panels was prepared without putty, and traditional mineral pigments and precious materials such as mother-of-pearl were not employed. Instead, Prussian blue, modern synthetic pigments, and gypsum sheets were used. This study not only supplements the documentation of related intangible cultural heritage techniques, but also provides scientific evidence for the treatment of lacquer deterioration and the restoration of cinnabar and gold lacquer craftsmanship of the Qing’an Guildhall.

Abstract:The Palace Museum houses a large number of exquisite artifacts with exotic styles. Among them, the black lacquer boxes inlaid with mother-of-pearl presented as tributes from Siam (Thailand) demonstrate the profound heritage of ancient cultural exchanges between China and foreign countries through their unique decorative techniques and production craftsmanship. This study employs scientific methods, including X-ray computed tomography (CT), pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS), and high-throughput DNA sequencing to analyze the composition and structure of the substrates and lacquer layers of three such boxes. The results indicate that the lacquering material is thitsi, a kind of raw lacquer derived from the Melanorrhoea usitate tree cultivated in regions such as Thailand and Myanmar, which shows notable differences in texture and gloss compared with Chinese raw lacquer (urushi). The substrate exhibits a composite structure of “a wooden core as the base and rattan bundles for shaping”, with the core made of wood and rattan, consistent with the characteristics of local products in Southeast Asia. The lacquering process differs slightly from traditional Chinese lacquer manufacturing processes. This distinctive craftsmanship reflects both regional technical characteristics and the emphasis on the functions and aesthetics of foreign tribute artifacts of the period. This study enriches understanding of the diversity of the Palace Museum collection, provides important evidence for exploring material and cultural exchanges between East Asia and Southeast Asia during the Qing Dynasty, and offers a scientific basis and technical support for future conservation and restoration work.

Abstract:The Liao tomb at Botaigou is located in Daban Town, Beipiao City, Liaoning Province. As the tomb has not been disturbed by robbery, more than twenty funerary objects, including pottery, porcelain and wooden artifacts were unearthed, providing important material evidence for the study of burial practices among common people during the Liao Dynasty. This study presents a preliminary identification and analysis of nine wooden samples, including tables, chairs and pillows, as well as two mat samples unearthed from the tomb. The results show that all nine wooden samples belong to the sub-genus Diploxylon (hardwood pine) of the genus Pinus in the family Pinaceae, and are tentatively identified as Chinese pine (Pinus tabuliformis); the two mat samples are all made of reed stalks. Chinese pine is an inexpensive and readily available native tree species that remains widely distributed in the Liaoning region today, indicating that the local forest structure and tree species composition in this area have remained relatively stable over time. The findings also indicate that this kind of wood was likely a primary material used for fuel and daily utensils more than a thousand years ago. Reeds are also widely distributed, and their stalks can be used as raw materials for papermaking, mat and curtain-weaving and shed construction. The uses of hard pine and reeds reflected the burial customs and material culture of the Khitan ancestors in this area.

Abstract:The Changyi Aoli shipwreck is located to the north of the Xuanhe Tidal Barrier Dam, northeast of Aoli Village, Xiaying Town, Changyi City, Shandong Province. It was first discovered in 2008 and has been preserved in a water-saturated state since its excavation in 2017. To support the effective conservation of the shipwreck, modern scientific methods, including wood species identification and analyses of saturated moisture content, basic density, cellulose relative crystallinity, chemical composition and ion content, were employed to comprehensively evaluate the preservation status of the ship timber samples. The results identified the ship timbers as Schima superba and Quercus fabri, both of which are native in subtropical regions. Previous studies have not recorded the use of Quercus fabri in shipbuilding, highlighting the uniqueness of the timber selection. The saturated moisture content of the ship timbers ranged from 125.75% to 235.94%, indicating an overall preservation condition from mildly to moderately degraded, with Schima superba showing relatively more severe degradation. Compared with modern wood, the ship timbers exhibited substantial changes in chemical composition and structure, including severe degradation of hemicellulose, varying degrees of dissociation in the crystalline structure of cellulose, significant lignin loss, increased ash content, and marked deterioration in mechanical properties. The contents of S, Fe, Mg and Ca were relatively high, and abundant sulfide-iron compounds and calcium salts were found enriched in the cellular pores of the ship timbers. Following the desalination treatment, the ion contents of the ship timbers soaking solution decreased significantly, indicating effective desalination. However, further targeted removal of sulfates and sulfide-iron compounds remains necessary. This study provides an objective assessment of the preservation status of the Changyi Aoli shipwreck timbers, and offers accurate data to support the scientific conservation of the ancient ship.As an important witness to the maritime transportation network linking Northern and Southern China during the Sui and Tang Dynasties, the Changyi Aoli shipwreck also provides tangible clues for research on the history of science and technology, the Maritime Silk Road, and coastal defense systems. While scientifically and reasonably addressing the issues in the conservation of the shipwreck, it is equally important to interpret its potential value through a historical context.

Abstract:During the 2014-2015 restoration of the Hall of Mental Cultivation (Yangxin Dian) in the Forbidden City, multiple areas of flaking and loss were discovered on the decorative carvings of the Vairocana Hat (Pilu Mao) Floral Gateway at the junction of the rear hall of the Hall of Mental Cultivation and the “I”-shaped corridor. Concurrently, damage assessment revealed numerous traces of historical repairs on this set of interior eaves. By integrating evidence from the artifact’s current condition with these historical repair traces, it was determined that the interior eaves were originally constructed using a variety of wood species and assembled through different inlay techniques. With reference to comparable artifacts preserved in the Forbidden City, the original appearance of the artifact was visually reconstructed. The restored original appearance revealed a striking contrast between the original decorative appearance and the current uniformly black surface. Pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) analysis of the surface coating on the interior eaves indicated that animal glue was used as a primer layer, followed by an application of shellac (also known as “insect resin lacquer”) or a shellac-based mixture. Based on these findings, it is thus inferred that the artifact underwent a later alteration involving an overall black coating and that deviated from its original design intent. This study provides valuable reference material for research on Qing Dynasty interior eave craftsmanship, as well as the ritual systems and court culture of the late Qing period.

Abstract:Menthol is a newly developed material for temporary consolidation and can be applied during the extraction of fragile artifacts at archaeological excavation sites. However, as an organic reagent, residual menthol incorporated into samples may affect radiocarbon dating results. In radiocarbon dating experiments conducted on bamboo mat excavated from Wuwangdun Tomb in Huainan, Anhui Province, both qualitative and quantitative analyses demonstrated that menthol residues still remained in the samples even after the routine Acid-Base-Acid treatment used for radiocarbon dating. The residual menthol was identified by ¹H NMR analysis and was found to produce artificially younger radiocarbon ages. The study further showed that this influence could be eliminated either by allowing a longer interval before dating or by applying cellulose extraction treatment, thereby yielding radiocarbon ages consistent with untreated bamboo samples. Nevertheless, to avoid unnecessary complication, it is recommended that samples intended for radiocarbon dating be taken prior to the application of organic conservation reagents.

Abstract:With the extensive application of digital technology in the field of cultural heritage, the construction of high-fidelity digital assets has become a core approach for the conservation and inheritance of valuable cultural relics. However, the digitalization of “immovable” relics characterized by large dimensions, fragile materials, and long-term display within climate-controlled showcases—such as the outer coffin of Marquis Yi of Zeng in Hubei Provincial Museum—faces multiple severe challenges, including severely restricted operating space, complex optical conditions, and insufficient material texture. To address these issues, this paper proposes an in-situ non-destructive high-fidelity 3D reconstruction scheme for large and complex relics. First, adhering strictly to the principle of in-situ conservation and targeting the narrow operational conditions in which the showcase glass can only be opened on one side, a dedicated gantry-style expansion acquisition device was independently developed. This modular gantry structure enables standardized image data acquisition with full spatial coverage. Second, at the algorithmic level, a 3D Gaussian Splatting (3DGS) reconstruction framework integrated with multi-view geometric guidance and explicit constraints is proposed. The framework employs Multi-View Stereo (MVS) technology to construct a micro-structural skeleton for scene initialization and introduces single-view smoothness constraints and multi-view geometric consistency verification. This approach effectively overcomes issues such as geometric collapse and artifact accumulation caused by the “high reflectivity and weak texture” of black lacquer surfaces. Experimental results demonstrate that the proposed method not only achieves sub-millimeter geometric reconstruction accuracy, but also faithfully reproduces the unique visual texture of lacquered wooden artifacts. The study provides a new technical paradigm and engineering reference for the in-situ, high-quality digital modeling of large and complex cultural relics.

Abstract:This study identifies the architectural timbers from Guangyunmian Temple in Cangyuan Va Autonomous County, Lincang City, Yunnan Province, China, and discusses patterns of material usage and the wood culture associated with the temple through the integration of historical literature and restoration documents. The research revealed that during the historical restoration, at least three wood species—Pinus kesiya var. langbianensis, Michelia baillonii, and Litsea monopetala—were used for the main hall of Guangyunmian Temple. Among them, Pinus kesiya var. langbianensis served as the primary material for the temple’s wooden structure. The use of Michelia baillonii not only reflects the important status of the temple within the local community but also demonstrates the scientific and rational characteristics of local wood-use traditions. The selection of Litsea monopetala further demonstrates the profound understanding of materials and the exceptional craftsmanship of traditional carpenters in the Cangyuan region. Furthermore, the study emphasizes the importance of avoiding the substitution of incorrect wood species during restoration in order to preserve the historical information embodied in ancient wooden architecture. It is therefore recommended to establish an accurate database for species identification of timbers used in historic wooden structures, which would provide a scientific basis for future restoration and conservation work.