Researches for Restoration and Technique of Muddy picture Coloring in Modern Small Votive Picture, Otsu Picture and Doll

考察了佛像、泥人、大津画所使用的色彩和着色料的数量，并对一个时代的特点、一个共同点进行分析。我们在一款富士美娃娃中选择了一个每一个地方的本地娃娃，这并没有提到生产年龄，而是打算在誓言图片中大规模生产。至于祈愿画的着色基础，人们已经发现它随着时代的推移而倾向于从黄土转向粉笔。有泥土的底色和洋娃娃的底色。因此，很难把它作为一幅虔诚的图画来考虑。我们在某种程度上认识到了誓言图片和玩偶之间的相同之处，它们按照浅色系统将基色分类，而根据着色颜料将白色系统分类。例如，在黄土地基的情况下，谭恩美和印度红在红色系统的着色方面是忙碌的，而大津画像和誓言画像、玩偶之间的调查标记的稀缺性则没有进行比较。但在配色方面，大津图片被发现是与宗教图片和玩偶有关的社区。从保存的角度分析，很多作品都出现了颜料剥落的现象。这些不同之处在于它们在生产后的保存条件不同。由于佛像经常挂在一个相对露天的地方，即一个连队寺庙和一个祈福画厅，造成了许多颜料剥落。

We investigated the number of color and coloring material, which is used on votive picture, clay figure and Otsu picture and went along an analysis about a characteristic of an era, a point of sameness. We selected a local doll of an every place in a type of Fusimi doll, which was not a mention of production age, and intended for a mass production in votive pictures. As for a coloring basis of votive pictures, it was already found to tend to shift from loess to chalk by an era. There were the ground color of soil and a basis pigment of a doll. So, it was difficult which consider in the same point of view as a votive picture. We recognized to a point of sameness between votive pictures and dolls, which classify a basis color by a pale system and a white system as for the coloring pigment. For example Tan and Indian red are busyness as for coloring of a red system in the case of a loess basis.There were not compared from fewness of an investigative mark between Otsu picture and votive pictures, dolls. But Otsu picture was discovered community with votive pictures and dolls with regard to coloring. As the result that those were analyzed in respect of preservation, peeling of pigment was occurred on lots of works. These differ by the keeping condition after the time when it is produced. Since votive pictures frequently were hung on the place, which is relatively to take open air of a company temple and a votive picture hall, they were caused many peeling of pigment.