古建油饰彩画的制作技术分析研究  

Production techniques of paintings and colored drawings of ancient architecture

作　　者：周文晖[1] 王丽琴[1] 

机构地区：[1]西北大学文博学院,陕西西安710069

出　　处：《文物保护与考古科学》2010年第3期1-9,共9页Sciences of Conservation and Archaeology

基　　金：国家科技支撑计划资助(2006BAK31B01)

摘　　要：为了对中国特有的古建油饰彩画制作技术加深了解,促进古建油饰彩画传统工艺科学化,采用X射线衍射仪、X射线荧光光谱仪、扫描电镜、体视显微镜等仪器对采自蒙古博格达汗宫博物馆、北京颐和园、甘肃嘉峪关、山西太符观等古代建筑的油饰彩画样品的制作技术进行了分析研究。结果表明,测试的样品分别采用了一麻五灰、一布四灰、单披灰等多种工艺制作地仗;麻纤维广泛应用于样品纤维层中,仅样品YHY-22使用了棉布;颐和园和博格达汉宫博物馆的样品以砖灰作为地仗无机填料,嘉峪关样品使用了白土粉,而山西古建样品则可能使用当地的土壤。可以得出结论:几个地区古建油饰彩画的制作材料和技术是有所不同的。To get a better understanding of production techniques used for paintings and colored drawings of ancient Chinese architecture, traditional craftsmanship should be analyzed scientifically. X- ray diffraction, X ray fluorescence, scanning electron microscopy, stereomicroscope and other instrumental methods were used to analyze the production techniques used for paintings and colored drawings from the Bogda Khan Palace Museum in Mongolia, the Jiayu Pass in Gansu province, the Summer Palace in Beijing and the Taifu Taoist Temple in Shanxi province. The results showed that ＂five plaster layers with one fiber layer ＂ ,＂ four plaster layers with one fiber layer＂ ,＂ only plaster layer＂ were techniques applied to the painting background plaster. Flax fiber was extensively used in the fiber layer of the samples. Only sample YHY 22 had a fiber layer made of cotton. Plaster samples from the Summer Palace and the Bogda Khan Palace Museum used brick ash as the main inorganic filler, samples from the Jiayu Pass were chalk, and those from ancient architecture of Shanxi province probably used local soil. It was concluded that primary materials and techniques used in ancient painting and colored drawings of these districts were different.

关 键 词：古代建筑 油饰彩画 制作技术 

分 类 号：K928.71[历史地理—人文地理学]