Traces of paint have been observed and mentioned since the 19th century, but there has never been an examination.

When clay fragments of the Buddha statues were recovered from the rubble it became obvious that many of them showed remnants of paint layers. Although damaged and often hidden under clay-coloured layers, different colours could be distinguished.

Observed colours have been recorded in the fragment catalogue. In most cases, red, reddish ochre or greyish red are mentioned; in addition, brown, white, yellow ochre and blue are listed. However, there was no possibility for a thorough investigation on-site.

Though the material is abundant, there are grave deficiencies. The original position of almost all the fragments is unknown. A large number of pieces are missing as a result f the explosion. The surviving fragments were found scattered in the rubble at the feet of the Buddha statues. Most of them are too damaged or too small to be assigned to specific positions. They vary in shape and thickness, and the edges of the fragile clay are broken off, so they cannot be reassembled into larger areas. Conclusions can only be drawn on the basis of the surface shape or the structure of the clay support of larger fragments. Some fragments can be recognised as fold ridges in this way. The only distinction that can be made with some certainty is that between parts of the sculptures and fragments of the murals.

The identification of materials seemed to be appropriate as a base for all further considerations and interpretations. At the same time, literary sources and pictures were checked meticulously for hints on the colouration or on the remnants of paint layers. 276 tiny fragments of clay with paint layers were available for investigation, 173 coming from the Western Buddha, 103 from the Eastern Buddha. All fragments have been examined carefully. Microscopic examination, cross sections and pigment identification have been performed with support from Monica Reiserer, Nicole Wagner and Maximilian Knidlberger, students at the Technische Universität München, Chair of Restoration, under the supervision of Stephanie Pfeffer.