青海省热贡地区是安多藏区藏式建筑彩画艺术的重要产地, 作为热贡艺术的重要组成部分影响甚广。 热贡地方建筑彩画不仅是附着建筑栋梁之上的艺术瑰宝, 更是一项延续至今的传统技艺, 至今仍有大批传统匠人画师从事相关行业。 热贡地方建筑彩画有独立的用色方法和颜料制作工艺, 对其所用传统颜料进行科学检测是系统研究该地区建筑彩画的基础性工作, 在进一步研究热贡地区建筑彩画的制作工艺和艺术特色, 传承地方建筑彩画技艺和完善保护政策等方面具有积极意义。 通过对同仁市隆务寺夏日仓行宫火供殿所用当地传统建筑彩画颜料的采样, 运用X射线荧光光谱、 X射线衍射分析、 激光显微拉曼光谱分析等多种实验分析方法, 对颜料样品进行分析, 测定其主要显色物质和成分占比。 结果表明, 热贡地方建筑彩画所用颜料多为无机颜料; 蓝色颜料主要是人造群青; 绿色颜料的主要矿物组成为绿土, 显色物质为蒙脱石, 存在将植物色染料加入当地所产的富镁蒙脱石中混合使用的可能性; 红色颜料的主要矿物组成为铁红(赭石类红土), 通过焙烧富铁矿土来人工合成, 材料来自于当地吾屯村所产红色赭石类粘土; 黄色颜料主要矿物组成为密陀僧、 硫磺及其他植物色染料制备而成; 黑色颜料为碳黑, 符合木炭黑的性状特征; 白色颜料主要为生石灰及氧化镁粉, 并在其他颜料中广泛使用石灰及氧化镁粉作为调色颜料; 推测部分样品中含有包金土及植物色素染料、 其他人工合成颜料的可能性。 整体来看, 热贡地区建筑彩画所用颜料成本价格较低, 制取难度不大, 来源大多是当地常见的矿土料和动植物染料, 传统的制料工艺较简单, 颜料多呈现为组分复杂的混合物状态; 密陀僧、 包金土和群青等颜料多来自于内地及国外, 颜料人工合成的历史较早, 反映出热贡地区建筑彩画在颜料使用上不仅使用本土材料制备, 也广泛使用外来颜料的历史传统, 为进一步研究热贡地区建筑彩画领域内汉、 藏等多民族文化交往、 交流、 交融历史提供了良好实证材料。

Regong area of Qinghai Province, an important origin of Tibetan architectural painting art in the Amdo Tibetan Area and a crucial part of Regong Art, has a wide influence. In addition to being the artistic treasure attached to architecture, Regong local architectural color painting is also a traditional skill in the current era. At present, there are a large number of traditional craftsmen engaged in related industries. Considering that the local architectural painting in Regong has developed its own independent methods of color usage and pigment-making technology, the scientific detection of traditional pigments is the basic work of the systematic study of architectural color paintings in this area. It is of great significance for many aspects, such as the study of the craft and artistic characteristics of architectural color painting in Regong area, inheritance of local architectural color painting craft and the perfection of the protection policy, etc. This work sampled the local traditional architectural color painting pigments of the Fire Temple of Xiaricang Palace, the Longwu Temple in Tongren city. Different experimental analysis methods such as XRF, XRD, RS and others were applied to analyze the pigment samples. Major chromogenic substances and components were successfully determined. The results show that inorganic pigments are mostly used in the local architectural painting in Regong. Blue pigments are mainly artificial ultramarine, while the green pigment is green clay. The chromogenic substance is montmorillonite. It has the possibility of mixing locally produced magnesium-rich montmorillonite with plant-coloured dyes. The main red pigment is iron red (red ochre red earth). It is artificially synthesized by roasting rich iron ore soil. The material comes from red ochre clay produced in the local village of Wutun. The yellow pigment is made from PbO, sulfur and other vegetable dyes. The black pigment is carbon black, which accords with the characters and characteristics of wood carbon black. White pigment is quicklime and magnesium oxide powder. Lime and magnesia powder are widely used in other pigments. It is speculated that some samples contain gold-coated clay, plant pigment dyes and other synthetic pigments. On the whole, the pigment used in the architectural color painting in the Regong area is cheap and not difficult to make. Most sources are local common mineral soil and animal and plant pigments. The traditional material-making technology is rough and simple. Most pigments such as PbO, gold-coated clay and artificial ultramarine come from the mainland and abroad. These artificial pigments have a long history, reflecting the historical tradition that architectural color paintings in the Regong area not only use local materials but also widely use foreign pigments, which provides good evidence for further study of the history of ethnic cultural exchange in the field of architectural color paintings in the Regong area.