Analysis Of Confucian Temple And Cining Ancient Painting Technology And Materials

Architectural color painting has a long history in China,its material and technology after a long period of development,in the Ming and Qing Dynasties reached its peak.In recent years,with the national greater emphasis on the protection of ancient colored paintings,the rehabilitation and restoration projects on them have been being carried out in succession,but due to geographical differences around the building materials and technology,it becomes particularly more important in judging the element of raw materials and process of original craftsmanship.Starting from the angle of cultural relics protection,and by adopting the metallographic microscope,laser Raman spectra,Fourier transform infrared spectroscopy,X-ray diffraction spectroscopy(XRD),scanning electron microscopy(SEM)and X ray energy spectrum(EDS)and other modern means of detection,this paper would like to carry on analysis and research on panting pigment layer and the base layer of colored pantings of ancient buildings in the Qufu Temple of Confucius,so as to accurately understand the raw materials and craftsmanship process that it had adopted,as well as the variation(changes)produced by later reconstruction or maintenance.Through comprehensive analysis and research,it found that the putty technique used for colored-painting in the Temple of Confucius and Hall of Consolation of Mothers at the Imperial Palace is that of one hemp three ash,one hemp four ash,and single layer ash.In the technique of oil-ornament,it adopted some raw materials,such as Chinese wood oil,while using animal glue as glue material,and in the later period of renovation,it adopted the way of repainting single layer ash on the surface of the colored painting.In addition,we also identified that the pigment used for ancient paintings of the Qing dynasty architectural buildings was mainly minerals,but also extensively used imported chemical raw materials.The main component of green pigments was malachite green(atacamite),Patina(malacite);the main component of blue pigment was mainly ultramarine(lapis lazuli),azurite(azurite),while in some part of the architectural colored-paintings it used indigo(pigments);in the sample of colored paintings,the red pigment was cinnabar(HgS),lead(Pb3O4),iron oxide red(Fe203);the main component of yellow pigments was white pigments,such as litharge(PbO),while the white pigment composition was Ceruse(Pb3(OH)4CO3),and the black pigment was carbon black.In the technique of "gelled patterning and gilding",it used the "pink gold",and under circumstances of decreased government financial resources of middle-period Qing dynasty,it also used imported copper as a substitute;the imported chemical pigment was mainly Paris green(copper aceto-arsenite),Cretaceous(CaCO3),and lithopone(BaSO4),etc.Make a comparison with the Yong Zheng period of the Confucian Temple painting pigment and the Imperial Palace cining in mid Qing Dynasty painted painting,no obvious difference between the pigments used in the Qing Dynasty,it can be seen that the pigments used in the early and middle period of Qing Dynasty architectural painting are still dominated by traditional mineral pigments.Analysis shows that detection of God Front Gate eaves at the end of twentieth Century this re drawing of the color samples,the green and white pigments Raman spectra and the traditional mineral,plant pigment patterns are not consistent,it should judge for modern chemical pigment,and maintenance of engineering,material selection is not rigorous enough to grasp.