目前建筑彩画研究者对清代彩画工艺的认知大都基于当代匠师的经验传承，但若考察对清代营造业进行详细记载的文献——匠作则例，则不难发现其中的多数彩画作工艺名称并未沿用至今。在清代的匠作知识体系中，这些彩画工艺名称有何含义？其操作方法如何？需要使用哪些材料？如何通过实物遗存对其进行识别？本文试图对此进行探讨和解答。本文以清代官修匠作则例中记载的彩画作工艺为研究对象，年代跨度自清雍正九年至宣统朝，地域上聚焦于北京及周边地区，采用二重证据法展开研究。文献层面以官修匠作则例为主要材料，通过对存世匠作则例的充分考察和整理，筛选出彩画作工艺相关匠作则例48种，完成清代匠作则例中的彩画作词条汇编，并从中提取清代彩画作常用工艺共计43种。随后通过文献学角度的研究，对多数工艺的含义、操作方法和工料消耗情况做出了尽可能详实的考证，并对彩画预备层的做法进行了探讨。实物层面以清代官式彩画遗存为主要考察对象，通过对存世清代官式彩画遗迹的科学检测分析与分类比较，发现匠作则例中记载的半数以上工艺在实物中均有迹可循，并各自体现出鲜明的微观特征，为工艺的科学识别提供了客观证据。基于以上两方面的研究，本文系统总结了23种则例所载彩画作工艺的操作方法和构造层次特征，以图像形式进行直观呈现，并对各工艺的用料和传承情况进行说明。随后结合典型彩画样式，探讨彩画作工艺在工程实践中的应用情况，并对清代彩画工艺与明官式和当代清官式彩画工艺间的异同做初步对比。本文在以下方面具有实用价值和创新性：其一，对多种清代匠作则例的衍生源流进行考辨，完成清代匠作则例彩画作词条汇编，为后续研究中对此类文献的利用提供了便利；其二，广泛采用了以剖面显微分析为主导，偏光显微分析、扫描电镜分析等多种手段为辅助的彩画作工艺科学分析方法，实现了彩画作工艺的科学化识别和对工艺做法的可视化表达，为工艺的解读提供了匠师经验以外的补充视角；其三，通过对数百彩画样本的分析检测，初步尝试以量化方式识别彩画作工艺，公开大量检测数据，为未来的彩画样本识别鉴定数据库的建立提供资源储备。
Nowadays the researchers' cognition of the architectural polychrome painting (Caihua,彩画) techiniques in the Qing Dynasty is mostly based on the empirical knowledge of contemporary craftsmen. However, when we investigate the Handicraft Regulations (Jiangzuo Zeli,匠作则例) which recorded the construction business in detail in the Qing Dynasty, it is easy to find that most of the techiniques of polychrome painting have not been used to this day. In the craftsmanship knowledge system of the Qing Dynasty, what do the names of these techniques mean? How to operate them? What materials need to be used? How to identify them through polychrome paintings remained? These are the questions the study tries to answer.The study is focused on the techniques used in the decorative polychrome painting recorded in Handicraft Regulations of the Qing Dynasty. This study covers the period from the ninth year of Yongzheng to Xuantong Period (1731-1911), focuses on the official style architecture of the Qing Dynasty in Beijing and its surrounding areas. Both literary and physical evidence were used in this study.The Handicraft Regulations was chosen as the primary literature material. Through the investigation and collation of the existing Handicraft Regulations, 48 kinds of Handicraft Regulations related to polychrome painting were selected, the entries of different polychrome painting styles are compiled, and a total of 43 kinds of techniques commonly used in official style polychrome painting of the Qing Dynasty were extracted from these entries. Then, by carring out the basic research work in philology, a detailed textual research on the meaning, operation methods and labor and material consumption of most of these techniques and some techniques for preparation layers was carried out.The polychrome paintings of remaining of official style architecture of the Qing Dynasty are taken as the main physical evidence. With scientific analysis, classification and comparison of the samples from the polychrome paintings, it is found that more than half of the techniques recorded in the Handicraft Regulations have been actually applied in different projects. The microscopic characteristics of these techniques are obviously different, providing objective evidence for their scientific identification.Based on the literary and scientific research, the paper systematically summarizes the operation methods and stratigraphic structure of 23 kinds of polychrome painting techniques recorded in the Handicraft Regulations, presents them in the form of images, and discusses the materials used and inheritance of each technique. Then, taking several typical official style architecture polychrome painting styles as examples, the study discusses the processes of the polychrome painting projects and how the techniques were applied. In addition, a preliminary comparison between the polychrome painting techninques in the Qing Dynasty and the ones in Ming official style and the contemporary Qing official style were made.The practical value and innovation of this paper are as follows: Firstly, the study clarifies the derived source stream of many kinds of Handicraft Regulations of the Qing Dynasty, and completes the compilation of the entries of architecture polychrome painting, which provides convenience for the use of these literature in the future studies. Secondly, in the study, a scientific analysis method dominated by cross-section microscopy analysis and assisted by polarized light microscopy analysis, scanning electron microscope analysis and other methods is used in the study of polychrome painting techiniques, realizing the scientific identification of polychrome painting techiniques and the visual expression of drawing process, providing a supplementary perspective beyond the craftsman's experience for the interpretation of techniques. Thirdly, with the analysis of hundreds of polychrome painting samples, the study tentatively attempts to identify the polychrome painting techniques in a quantitative way, and disclose a large number of analysis data, so as to provide resources for the polychrome painting sample database that may be established in the future.
