Research On The Regionality Of Traditional Mineral Colors In Western Inner Mongolia And Its Application In Traditional Fresco

Mural painting is a paintings are painted in vivid,natural shapes,warm and long-last a record of the true history and rich artistic landscape of the past.Muring colours.All of this depends on the stability of the mineral colours used,the beauty of the hue,and the properties of the better crystal sparkle effect.The stability of the mineral colours makes it possible for the murals to be passed down over a long period of time,and they are an important material in the painting process.At the same time,the complex production process of mineral colour as a traditional craft has become an important part of the ancient traditional mural painting.The Inner Mongolia region has numerous call temples,tombs and caves frescoes,a complete sequence of time arrangement,and its frescoes are painted in a unique content and artistic style.Different areas of mural painting in a special geographical location,topography and climate and other natural geographical environment,as well as different areas of mineral pigment mineral capacity and collection of different degrees of difficulty,so that it forms a unique body of colour tendencies and painting styles that distinguish it from other areas.The basis of colour expression in the mural paintings of all periods stems from the traditional five elements and the philosophical ideas of Confucianism,Buddhism and Taoism.The carrier form of each period of mural painting,colour is influenced by social function,the laws of art continue to inherit and change.At the same time,the colours of the murals in different periods are unique and reflect the style of the times.For example,the Han Dynasty and the Lingal tomb chamber frescoes in red and black,the colour blocks are rhythmic,the picture is simple and vivid,the tone is harmonious;Song and Yuan dynasties Arzai Grottoes frescoes in blue,green and white as the main tone,the style is calm and harmonious;Ming and Qing dynasties temple frescoes in colour has a distinctive religious style.The evolution of the colour technique reflects the laws of artistic development,as well as the balance between the painter’s understanding of the environment in which he was placed,his position in society and his own artistic pursuits.This study of traditional mineral colours in central and western Inner Mongolia takes the application of indigenous mineral colours in mural painting as its starting point,analysing the content,colour characteristics and craft techniques of three different mural painting forms: call temples,tombs and cave murals,and examining the use of mineral colours in ancient Inner Mongolian mural painting.The philosophical ideas behind the colour patterns in the murals are explored,and a comparative study with murals in Xinjiang and Gansu highlights their regional characteristics.The collection of specimens and the creation of a colour scale are also important aspects of the in-depth study of mineral-coloured raw materials and wall paintings in the central and western regions of Inner Mongolia from a practical level.The study of the mineral colours and colour systems in the murals of central and western Inner Mongolia is an inspiration for contemporary local art and mural restoration.Both its artistic style and painting techniques have become a deep soil for the creation of contemporary art.