Thangka dip-dyeing method, dot dyeing and color filling process

Abstract

This invention discloses a Thangka painting technique using a flat-dyeing method, belonging to the field of Thangka painting technology. The technique includes the following steps: S1, canvas pretreatment; S2, layered flat-dyeing base coat; S3, semi-dry state control; S4, gradient pigment dotting; S5, local touch-up and finishing; S6, polishing and brightening. This invention solves the problems of obvious dots, uneven color, and low dyeing efficiency in traditional flat-dyeing techniques. It also avoids the improper operation of diluting pigments with saliva in traditional processes. The targeted polishing process of this invention effectively improves the brightness and transparency of the colors. Furthermore, the special polishing parameters for red pigments prevent heat-induced color turbidity, improve the weather resistance of the colors, and significantly extend the preservation life of the Thangka.

Description

Technical Field

[0001] This invention relates to the field of Thangka painting technology, specifically the Thangka flat dyeing method of dotting and filling coloring. Background Technology

[0002] Thangka is a highly representative scroll painting art form in Tibetan Buddhist culture. Its painting process is complex, its colors vibrant and long-lasting, possessing extremely high artistic and cultural value. In the Thangka painting process, the dyeing technique is the core element determining the final effect, with flat dyeing and dot dyeing being the most commonly used techniques. Flat dyeing involves evenly applying pigment to the outline as a base coat, while dot dyeing, on the basis of the flat dye base, uses dotting techniques to repair color marks and create gradient effects to express the layers and three-dimensionality of the objects.

[0003] In existing technologies, the traditional flat-dyeing and dotting techniques have many shortcomings: On the one hand, the simple pretreatment of the canvas in the traditional process makes it difficult to control the water absorption of the canvas, which easily leads to color bleeding or color accumulation during flat dyeing, and the pigment either cannot penetrate or is overly blurred during dotting. On the other hand, the traditional dotting technique needs to be carried out after the flat-dyeing base color is completely dry. In order to dilute the pigment during dotting, the painter usually uses saliva to dilute the pigment, which is not only unhygienic, but also the dotting pigment cannot blend naturally with the base color, easily leaving obvious dots, resulting in uneven color and harsh transitions. At the same time, the traditional process requires repeated dotting to achieve a uniform effect, and the dyeing efficiency is extremely low. A medium-sized Thangka can take several weeks just for the dyeing process, which seriously restricts the inheritance and development of Thangka craftsmanship.

[0004] Furthermore, in the existing technology, the special pigment dyeing device and its coloring process for Thangka special dyes, which is announced in CN113524968A, achieves the dyeing transition between different colors through a special mechanized device. Although it improves efficiency to a certain extent, it is only suitable for dyeing between different colors and cannot achieve fine dotting and gradation on a flat dyeing base. Moreover, the mechanized operation cannot reflect the artistic texture of handmade Thangka and cannot meet the painting needs of high-end Thangka works. At the same time, this solution relies on special equipment, which is costly and not conducive to the daily use of traditional painters.

[0005] The device for repairing color marks using hollow patterns and its Thangka coloring technique, with announcement number CN113459718B, is mainly for repairing color marks after Thangka coloring. It achieves the repair of color marks after the process by using a special repair device. However, it is not for the flat dyeing and dotting processes in the dyeing process and cannot solve the problems of obvious dots and harsh color transitions in the dotting process. It also relies on special mechanized equipment and cannot be adapted to the scene of hand painting. Summary of the Invention

[0006] The purpose of this invention is to provide a Thangka flat dyeing method for dotting and filling colors, so as to solve the problems mentioned in the background art.

[0007] To achieve the above objectives, the present invention provides the following technical solution: The Thangka flat-dyeing technique, including the dotting and filling of colors, includes the following steps: S1. Canvas pretreatment: The stretched canvas is then coated with bone glue, primed with white stone powder, and adjusted with alum water to obtain a canvas with moderate water absorption. S2. Layered flat wash base coat: Apply the prepared base color in layers using a flat wash brush, following the order from light to dark. Each layer should be 0.008-0.012mm thick, and apply 2-3 layers in total, with an interval of 15-20 minutes between each layer. S3. Semi-dry state control: After the final wash is completed, place the painting in an environment with a temperature of 22-25℃ and a humidity of 55-60% and let it stand until the surface humidity of the canvas reaches 25-30%. S4. Gradient Pigment Dotting: Use a short sheep hair liner brush, dip it in dotting pigment of gradient concentration, and lightly dot from the dark end of the area to be dyed to the light end, with a dotting distance of 0.4-0.6mm. The dotting intensity gradually decreases from the dark end to the light end. S5. Local touch-up: After the dotting is completed, let the canvas dry naturally, check the dyed area, and dot the uneven areas with fine touch-up. S6. Polishing and brightening: Use natural dzi beads to lightly press and polish the dyed areas to make the colors brighter and more transparent.

[0008] Preferably, the canvas preprocessing in step S1 specifically includes: First, apply a 2.5-3.5% bone glue solution evenly to the canvas and let it dry. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio to form a primer, apply it evenly to the canvas surface, and let it dry. Finally, lightly sand the canvas with fine sandpaper until the surface is smooth. Finally, apply a 0.8-1.2% alum solution and let it dry to obtain the pre-treated canvas.

[0009] Preferably, in step S2, the raw materials for the base color of the flat dyeing are in the following mass ratio: mineral pigment powder: bone glue: water = 2:1:6. After color mixing, the mixture is left to stand for 10 minutes to remove air bubbles.

[0010] Preferably, in step S4, the gradient concentration of the spotting pigment includes three concentrations, with mineral pigment powder: bone glue: water mass ratios of 1.5:1:7, 1:1:8, and 0.5:1:9, respectively, corresponding to the spotting pigments at the dark end, transition end, and light end.

[0011] Preferably, in step S4, the contact pressure between the brush tip and the canvas during dotting gradually decreases from 5-8g at the dark end to 1-2g at the light end, ensuring that the amount of pigment applied gradually decreases.

[0012] Preferably, in step S6, the pressure of the dzi bead during polishing is controlled at 10-15g, the polishing speed is 2-3cm / s, and the polishing interval of the red pigment area is not less than 30s to avoid excessive heat causing the color to become cloudy.

[0013] Compared with the prior art, the beneficial effects of the present invention are: This invention, through precise canvas pretreatment, controls the water absorption of the canvas, avoiding problems such as color seepage or color accumulation during flat dyeing, and provides a foundation for subsequent dot dyeing and blending. This invention innovatively proposes a semi-dry state dotting method, which involves dotting the base color when it is in a semi-dry state with a humidity of 25-30%, allowing the dotting pigment to naturally diffuse and blend with the base color, avoiding the obvious dots left by traditional dotting after drying, and achieving a natural gradient transition. This invention uses pigments of varying concentrations in combination with a dotting operation of varying intensity, eliminating the need to dilute the pigments with saliva, thus solving the unhygienic problem of traditional processes. At the same time, it precisely controls the amount of pigment at each location, ensuring a uniform color transition. The process of this invention does not rely on any special mechanized equipment and can be achieved simply by optimizing the parameters of the manual process. It preserves the artistic texture of handmade Thangkas, while improving the dyeing efficiency by more than 40% compared with the traditional process and greatly reducing the time consumption of the dyeing process. The targeted polishing process of this invention effectively improves the brightness and transparency of the color. At the same time, the special polishing parameters for red pigment avoid the color turbidity caused by heat, improve the weather resistance of the color, and greatly extend the preservation life of Thangka. Attached Figure Description

[0014] Figure 1 This is a flowchart of the Thangka flat dyeing method for dotting and filling coloring according to the present invention. Detailed Implementation

[0015] The technical solutions of the embodiments of the present invention will be clearly and completely described below with reference to the accompanying drawings. Obviously, the described embodiments are only some embodiments of the present invention, and not all embodiments. Based on the embodiments of the present invention, all other embodiments obtained by those skilled in the art without creative effort are within the scope of protection of the present invention.

[0016] Example 1: like Figure 1 As shown in the figure, this embodiment demonstrates the dyeing of the sky area in a Thangka using the process of the present invention. The specific steps are as follows: Step S1, Canvas Preprocessing: First, apply a 3% bone glue solution evenly to the stretched cotton-linen canvas and let it air dry at room temperature. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio, stir well to make a priming liquid, apply it evenly to the canvas surface, and let it dry. After drying, lightly sand the canvas with 1000-grit sandpaper until the surface is smooth and free of particles. Finally, apply a 1% alum solution and let it dry to obtain a pre-treated canvas with a water absorption rate of 0.1 g / (cm²・s). This moderate water absorption ensures adequate penetration of the paint.

[0017] Step S2, layering and applying a base coat: Select mineral azurite pigment and mix it with mineral pigment powder, bone glue and water in a ratio of 2:1:6 to prepare a base color for flat dyeing. Let it stand for 10 minutes to remove air bubbles. Use a large sheep hair flat dyeing brush to apply the base color in layers. After the first coat is applied, wait 18 minutes for it to dry completely before applying the second coat. Each coat should be 0.01 mm thick. Apply two coats in total to obtain a uniform light azurite base color.

[0018] Step S3, Semi-dry state control: Place the canvas after the flat dyeing is completed in an environment with a temperature of 23℃ and a humidity of 58% and let it stand. Monitor the humidity of the canvas surface until the humidity reaches 28%. At this time, the base color is in a semi-dry state, which will not be completely dry and cause the dots to not blend, nor too wet and cause the dyeing to become uncontrollable.

[0019] Step S4, Gradient Pigment Dotting: Prepare three different concentrations of stippling pigment: Dark-colored pigment: azurite pigment powder: bone glue: water = 1.5:1:7 Transitional pigment: azurite pigment powder: bone glue: water = 1:1:8 Light-colored pigment: azurite pigment powder: bone glue: water = 0.5:1:9 Using a short sheep hair brush, apply dots from the lower edge (dark end) to the upper edge (light end) of the sky area, with a dot spacing of 0.5mm. Use dark pigment at the dark end with a dotting pressure of 6g, gradually transitioning upwards. Change to a transition pigment and reduce the pressure to 4g. Use light pigment at the light end with a pressure of 2g. The entire dotting process is completed quickly, and the dotted pigments naturally diffuse and blend on the semi-dry base color without leaving any dots.

[0020] Step S5, Local touch-up and retouching: After the initial touch-up was completed, the canvas was allowed to air dry. The entire sky area was then inspected, and two areas were found to be slightly lighter in color. Using an extremely fine liner brush, a small amount of transition paint was applied to these areas to touch up the color and complete the corrections.

[0021] Step S6, Polishing and Brightening: Using natural dzi beads, the entire sky area is lightly polished with a pressure of 12g and a polishing speed of 2.5cm / s. Because it is blue pigment, no special interval is required. After polishing, the color is brighter and more transparent, with a natural gradient.

[0022] Example 2: This embodiment demonstrates the process of applying the dyeing technique of the present invention to color the skin tone areas of figures in a Thangka painting. The specific steps are as follows: Step S1, Canvas Preprocessing: First, apply a 2.8% bone glue solution evenly to the stretched cotton-linen canvas and let it air dry at room temperature. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio, stir well to make a priming liquid, apply it evenly to the canvas surface, and let it dry. After drying, lightly sand the canvas with 1200-grit sandpaper until the surface is smooth and free of particles. Finally, apply a 0.9% alum solution and let it dry to obtain a pre-treated canvas with a water absorption of 0.09 g / (cm²・s), which is suitable for the delicate penetration of skin tone pigments.

[0023] Step S2, layering and applying a base coat: Select mineral ochre pigment and mix it with mineral pigment powder, bone glue and water in a ratio of 2:1:6 to prepare a flat base color. Let it stand for 10 minutes to remove air bubbles. Use a medium-sized sheep hair flat brush to apply the color in thin layers. After the first layer is applied, wait 16 minutes for it to dry completely before applying the second layer. Each layer is 0.009 mm thick. Apply a total of 3 layers to obtain a uniform light ochre base color.

[0024] Step S3, Semi-dry state control: After the canvas has been painted, place it in an environment with a temperature of 24℃ and a humidity of 57% and let it stand. Monitor the humidity of the canvas surface until the humidity reaches 27%. At this point, the base color is in a semi-dry state, which is suitable for the delicate blending of skin color pigments.

[0025] Step S4, Gradient Pigment Dotting: Prepare three different concentrations of stippling pigment: Dark-colored pigment: Ochre pigment powder: Bone glue: Water = 1.5:1:7 Transitional pigment: Ochre pigment powder: Bone glue: Water = 1:1:8 Light-colored pigment: Ochre pigment powder: Bone glue: Water = 0.5:1:9 Using a short sheep hair liner brush, apply dots from the shadow end of the skin tone area (below the cheek, at the joint) towards the light end, with a dot spacing of 0.45mm. Use dark pigment at the dark end with a dotting pressure of 7g, gradually transitioning towards the light end. Change to a transition pigment and reduce the pressure to 3g. Use light pigment at the light end with a pressure of 1.5g. The entire dotting process is completed quickly, and the dotted pigments naturally diffuse and blend on the semi-dry base color, forming a natural transition of light and dark skin tone without obvious dots.

[0026] Step S5, Local touch-up and retouching: After applying the paint, let the canvas air dry. Check the entire skin tone area and find a spot where the color is too dark. Use an extremely fine liner brush to apply a small amount of light-colored paint and touch up the color with tiny dots to complete the touch-up.

[0027] Step S6, Polishing and Brightening: Using natural dzi beads, the entire skin-toned area is lightly polished with pressure controlled at 11g and a polishing speed of 2.2cm / s. After polishing, the skin tone is more delicate and translucent, with a natural transition.

[0028] Example 3: This embodiment describes the dyeing process used in this invention to paint the red robe area in a Thangka. The specific steps are as follows: Step S1, Canvas Preprocessing: First, apply a 3.2% bone glue solution evenly to the stretched cotton-linen canvas and let it air dry at room temperature. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio, stir well to make a base coat, apply it evenly to the canvas surface, and let it dry. After drying, lightly sand the canvas with 1000-grit sandpaper until the surface is smooth and free of particles. Finally, apply a 1.1% alum solution and let it dry to obtain a pre-treated canvas with a water absorption of 0.11 g / (cm²・s), which is suitable for the penetration requirements of vermilion pigment.

[0029] Step S2, layering and applying a base coat: Select mineral cinnabar pigment and mix it with mineral pigment powder, bone glue and water in a ratio of 2:1:6 to make a base color for flat dyeing. Let it stand for 10 minutes to remove air bubbles. Use a large sheep hair flat dyeing brush to apply the color in layers. After the first coat is applied, wait 19 minutes for it to dry completely before applying the second coat. Each coat is 0.011 mm thick. Apply a total of 2 coats to obtain a uniform light cinnabar base color.

[0030] Step S3, Semi-dry state control: After the canvas has been painted, place it in an environment with a temperature of 22℃ and a humidity of 60% and let it stand. Monitor the humidity of the canvas surface until the humidity reaches 29%. At this point, the base color is in a semi-dry state, which prevents the vermilion pigment from spreading too much.

[0031] Step S4, Gradient Pigment Dotting: Prepare three different concentrations of stippling pigment: Dark-colored pigment: Cinnabar pigment powder: Bone glue: Water = 1.5:1:7 Transitional pigment: Cinnabar pigment powder: Bone glue: Water = 1:1:8 Light-colored pigment: Cinnabar pigment powder: Bone glue: Water = 0.5:1:9 Using a short sheep hair brush, apply dots from the shadowed end of the folds of the robe towards the lit end, with a dot spacing of 0.55mm. Use dark pigment on the dark end with a dotting pressure of 8g, gradually transitioning towards the lit end, changing to a transition pigment and reducing the pressure to 5g. Use light pigment on the light end with a pressure of 2g. The entire dotting process is completed quickly, and the dotted pigment naturally diffuses and blends on the semi-dry base color, forming the folds and layers of the robe without obvious dots.

[0032] Step S5, Local touch-up and retouching: After the initial application of the paint, let the canvas air dry. Inspect the entire robe area and find three areas with uneven color. Use an extremely fine liner brush, dip it in the corresponding concentration of paint, and apply small dots to touch up the color, thus completing the correction.

[0033] Step S6, Polishing and Brightening: Using natural dzi beads, the entire robe area is lightly polished with pressure controlled at 14g and a polishing speed of 2.8cm / s. For the red pigment, there is a 30-second interval after every 2 seconds of polishing before continuing to polish, in order to avoid excessive heat causing the cinnabar color to become cloudy. After polishing, the red color is brighter and more saturated, without any cloudiness.

[0034] Example 4: This embodiment demonstrates the dyeing process used in this invention to create the coloring of plant and leaf areas in a Thangka painting. The specific steps are as follows: Step S1, Canvas Preprocessing: First, apply a 3% bone glue solution evenly to the stretched cotton-linen canvas and let it air dry at room temperature. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio, stir well to make a primer, apply it evenly to the canvas surface, let it dry, and then lightly sand the canvas with 1000-grit sandpaper until the surface is smooth and free of particles. Finally, apply a 1% alum solution and let it dry to obtain a pre-treated canvas with a water absorption rate of 0.1 g / (cm²・s).

[0035] Step S2, layering and applying a base coat: Select mineral malachite green pigment and mix it with mineral pigment powder: bone glue: water in a ratio of 2:1:6 to prepare a base color for flat dyeing. Let it stand for 10 minutes to remove air bubbles. Use a medium-sized sheep hair flat dyeing brush to apply thin layers. After the first layer is applied, wait 17 minutes for it to dry completely before applying the second layer. Each layer should be 0.01 mm thick. Apply two layers in total to obtain a uniform light green base color.

[0036] Step S3, Semi-dry state control: After the canvas has been finished with the flat dyeing, place it in an environment with a temperature of 24℃ and a humidity of 56% and let it stand. Monitor the humidity of the canvas surface until the humidity reaches 26%. At this point, the base color is in a semi-dry state, which is suitable for the delicate gradation of the leaves.

[0037] Step S4, Gradient Pigment Dotting: Prepare three different concentrations of stippling pigment: Dark end pigment: malachite green pigment powder: bone glue: water = 1.5:1:7 Transitional pigment: malachite pigment powder: bone glue: water = 1:1:8 Light-colored pigment: malachite pigment powder: bone glue: water = 0.5:1:9 Using a short sheep hair brush, apply dots from the petiole end (dark end) to the leaf tip (light end), with a dot spacing of 0.5mm. Use dark pigment at the dark end with a dotting pressure of 6g, gradually transitioning towards the leaf tip. Change to a transition pigment and reduce the pressure to 4g. Use light pigment at the light end with a pressure of 1.8g. The entire dotting process is completed quickly, and the dotted pigments naturally diffuse and blend on the semi-dry base color, forming a natural gradient of the leaves without obvious dots.

[0038] Step S5, Local touch-up and retouching: After the initial touch-up was completed, the canvas was allowed to air dry. The entire leaf area was then inspected, and two areas were found to be slightly lighter in color. Using an extremely fine liner brush, a small amount of transition paint was applied to these areas to touch up the color and complete the corrections.

[0039] Step S6, Polishing and Brightening: Using natural dzi beads, the entire leaf area is lightly pressed and polished at a pressure of 12g and a polishing speed of 2.5cm / s. After polishing, the green color becomes brighter and more transparent, with distinct layers.

[0040] Example 5: This embodiment describes the dyeing process used in the present invention to paint the gold decorative area in a Thangka. The specific steps are as follows: Step S1, Canvas Preprocessing: First, apply a 3.3% bone glue solution evenly to the stretched cotton-linen canvas and let it air dry at room temperature. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio, stir well to make a base coat, apply it evenly to the canvas surface, and let it dry. After drying, lightly sand the canvas with 1200-grit sandpaper until the surface is smooth and free of particles. Finally, apply a 1.2% alum solution and let it dry to obtain a pre-treated canvas with a water absorption of 0.08 g / (cm²・s), which is suitable for the delicate adhesion of gold powder pigments.

[0041] Step S2, layering and applying a base coat: Select 2000 mesh gold powder pigment and mix it with a ratio of gold powder: bone glue: water = 2:1:6 to create a flat base color. Let it stand for 10 minutes to remove air bubbles. Use a medium-sized sheep hair flat brush to apply the pigment in thin layers. After the first layer is applied, wait 20 minutes for it to dry completely before applying the second layer. Each layer should be 0.008 mm thick. Apply a total of 3 layers to obtain a uniform light gold base color.

[0042] Step S3, Semi-dry state control: After the canvas has been finished with the flat dyeing, place it in an environment with a temperature of 25℃ and a humidity of 55% and let it stand. Monitor the humidity of the canvas surface until the humidity reaches 25%. At this point, the base color is in a semi-dry state, which prevents the gold powder from accumulating.

[0043] Step S4, Gradient Pigment Dotting: Prepare three different concentrations of stippling pigment: Dark end pigment: gold powder: bone glue: water = 1.5:1:7 Transition end pigment: gold powder: bone glue: water = 1:1:8 Light-colored pigment: gold powder: bone glue: water = 0.5:1:9 Using a short sheep hair liner brush, apply dots from the shaded end of the decorative area to the lit end, with a dot spacing of 0.4mm. Use dark pigment at the dark end with a dotting pressure of 5g, gradually transitioning towards the lit end. Change to a transition pigment and reduce the pressure to 3g. Use light pigment at the light end and reduce the pressure to 1g. The entire dotting process is completed quickly. The dotted pigments naturally diffuse and blend on the semi-dry base color, forming a sense of light and shadow in the gold decoration, without obvious dots.

[0044] Step S5, Local touch-up and retouching: After the initial application of the paint, let the canvas air dry. Inspect the entire decorative area and find a spot where the color is too dark. Use an extremely fine liner brush, dip it in a small amount of light-colored paint, and apply tiny dots to touch up the color, thus completing the correction.

[0045] Step S6, Polishing and Brightening: Using natural dzi beads, the entire decorative area is lightly polished with a pressure of 10g and a polishing speed of 2cm / s. After polishing, the gold color becomes brighter and more transparent, with a strong metallic texture.

[0046] Example 6: This embodiment demonstrates the dyeing of the black hair area in a Thangka painting using the process of the present invention. The specific steps are as follows: Step S1, Canvas Preprocessing: First, apply a 2.7% bone glue solution evenly to the stretched cotton-linen canvas and let it air dry at room temperature. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio, stir well to make a base coat, apply it evenly to the canvas surface, and let it dry. After drying, lightly sand the canvas with 1000-grit sandpaper until the surface is smooth and free of particles. Finally, apply a 0.8% alum solution and let it dry to obtain a pre-treated canvas with a water absorption of 0.12 g / (cm²・s), which is suitable for the penetration requirements of black ink.

[0047] Step S2, layering and applying a base coat: Select mineral black pigment and mix it with mineral pigment powder, bone glue and water in a ratio of 2:1:6 to make a flat base color. Let it stand for 10 minutes to remove air bubbles. Use a large sheep hair flat brush to apply the color in layers. After the first coat is applied, wait 15 minutes for it to dry completely before applying the second coat. Each coat should be 0.012 mm thick. Apply two coats in total to get a uniform light black base color.

[0048] Step S3, Semi-dry state control: After the canvas has been painted, place it in an environment with a temperature of 23℃ and a humidity of 59% and let it stand. Monitor the humidity of the canvas surface until the humidity reaches 30%. At this point, the base color is in a semi-dry state, which is suitable for the blending of black pigment.

[0049] Step S4, Gradient Pigment Dotting: Prepare three different concentrations of stippling pigment: Dark-colored pigment: Ink black pigment powder: Bone glue: Water = 1.5:1:7 Transitional pigment: Ink black pigment powder: Bone glue: Water = 1:1:8 Light-colored pigment: Ink-black pigment powder: Bone glue: Water = 0.5:1:9 Using a short sheep hair liner brush, apply dots from the roots (dark end) to the tips (light end) of the hair, with a dot spacing of 0.6mm. Use dark pigment on the dark end with a dotting pressure of 7g, gradually transitioning towards the tips. Change to a transition pigment and reduce the pressure to 4g. Use light pigment on the light end with a pressure of 2g. The entire dotting process is completed quickly, and the dotted pigment naturally diffuses and blends on the semi-dry base color, creating a natural gradient and layering effect in the hair without obvious dots.

[0050] Step S5, Local touch-up and retouching: After applying the paint, let the canvas air dry. Check the entire hair area and find two areas with uneven color. Use an extremely fine liner brush, dip it in the corresponding concentration of paint, and apply tiny dots to touch up the color, thus completing the correction.

[0051] Step S6, Polishing and Brightening: Using natural dzi beads, the entire hair area is lightly pressed and polished at a pressure of 15g and a polishing speed of 3cm / s. After polishing, the black color becomes more intense, glossy, and layered.

[0052] To verify the inventiveness and technical advantages of this invention, its performance is compared with that of prior art document 1 (CN113524968A Dyeing device for special pigments and its coloring process for special dyes in Thangka), prior art document 2 (CN113459718B Device for repairing color marks using hollow patterns and its coloring technique for Thangka) and traditional processes, as detailed below: Table 1. Performance Comparison Table

[0053] Although embodiments of the invention have been shown and described, it will be understood by those skilled in the art that various changes, modifications, substitutions and alterations can be made to these embodiments without departing from the principles and spirit of the invention, the scope of which is defined by the appended claims and their equivalents.

Claims

1. Thangka method of point dyeing and filling process, characterized in that, Includes the following steps: S1. Canvas pretreatment: The stretched canvas is then coated with bone glue, primed with white stone powder, and adjusted with alum water to obtain a canvas with moderate water absorption. S2. Layered flat wash base coat: Apply the prepared base color in layers using a flat wash brush, following the order from light to dark. Each layer should be 0.008-0.012mm thick, and apply 2-3 layers in total, with an interval of 15-20 minutes between each layer. S3. Semi-dry state control: After the final wash is completed, place the painting in an environment with a temperature of 22-25℃ and a humidity of 55-60% and let it stand until the surface humidity of the canvas reaches 25-30%. S4. Gradient Pigment Dotting: Use a short sheep hair liner brush, dip it in dotting pigment of gradient concentration, and lightly dot from the dark end of the area to be dyed to the light end, with a dotting distance of 0.4-0.6mm. The dotting intensity gradually decreases from the dark end to the light end. S5. Local touch-up: After the dotting is completed, let the canvas dry naturally, check the dyed area, and dot the uneven areas with fine touch-up. S6. Polishing and brightening: Use natural dzi beads to lightly press and polish the dyed areas to make the colors brighter and more transparent.

2. The Tanjore flat dying process of claim 1, wherein, The canvas preprocessing in step S1 specifically includes: First, apply a 2.5-3.5% bone glue solution evenly to the canvas and let it dry. Then, mix white stone powder, bone glue, and water in a 3:1:10 mass ratio to form a primer, apply it evenly to the canvas surface, and let it dry. Finally, lightly sand the canvas with fine sandpaper until the surface is smooth. Finally, apply a 0.8-1.2% alum solution and let it dry to obtain the pre-treated canvas.

3. The Thangka flat dyeing and color filling process according to claim 1, characterized in that, In step S2, the raw materials for the base color of the flat dyeing are in the following mass ratio: mineral pigment powder: bone glue: water = 2:1:

6. After color mixing, the mixture is left to stand for 10 minutes to remove air bubbles.

4. The Thangka flat dyeing and color filling process according to claim 1, characterized in that, In step S4, the gradient concentration of the spotting pigment includes three concentrations, with mineral pigment powder: bone glue: water mass ratios of 1.5:1:7, 1:1:8, and 0.5:1:9, respectively, corresponding to the spotting pigments at the dark end, transition end, and light end.

5. The Thangka flat dyeing and color filling process according to claim 1, characterized in that, In step S4, the contact pressure between the brush tip and the canvas during dotting gradually decreases from 5-8g at the dark end to 1-2g at the light end, ensuring that the amount of paint applied gradually decreases.

6. The Thangka flat dyeing and color filling process according to claim 1, characterized in that, In step S6, the pressure of the dzi bead during polishing is controlled at 10-15g, the polishing speed is 2-3cm / s, and the polishing interval of the red pigment area is not less than 30s to avoid excessive heat causing the color to become cloudy.

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