Regong area of Qinghai Province, an important origin of Tibetan architectural painting art in the Amdo Tibetan Area and a crucial part of Regong Art, has a wide influence. In addition to being the artistic treasure attached to architecture, Regong local architectural color painting is also a traditional skill in the current era. At present, there are a large number of traditional craftsmen engaged in related industries. Considering that the local architectural painting in Regong has developed its own independent methods of color usage and pigment-making technology, the scientific detection of traditional pigments is the basic work of the systematic study of architectural color paintings in this area. It is of great significance for many aspects, such as the study of the craft and artistic characteristics of architectural color painting in Regong area, inheritance of local architectural color painting craft and the perfection of the protection policy, etc. This work sampled the local traditional architectural color painting pigments of the Fire Temple of Xiaricang Palace, the Longwu Temple in Tongren city. Different experimental analysis methods such as XRF, XRD, RS and others were applied to analyze the pigment samples. Major chromogenic substances and components were successfully determined. The results show that inorganic pigments are mostly used in the local architectural painting in Regong. Blue pigments are mainly artificial ultramarine, while the green pigment is green clay. The chromogenic substance is montmorillonite. It has the possibility of mixing locally produced magnesium-rich montmorillonite with plant-coloured dyes. The main red pigment is iron red (red ochre red earth). It is artificially synthesized by roasting rich iron ore soil. The material comes from red ochre clay produced in the local village of Wutun. The yellow pigment is made from PbO, sulfur and other vegetable dyes. The black pigment is carbon black, which accords with the characters and characteristics of wood carbon black. White pigment is quicklime and magnesium oxide powder. Lime and magnesia powder are widely used in other pigments. It is speculated that some samples contain gold-coated clay, plant pigment dyes and other synthetic pigments. On the whole, the pigment used in the architectural color painting in the Regong area is cheap and not difficult to make. Most sources are local common mineral soil and animal and plant pigments. The traditional material-making technology is rough and simple. Most pigments such as PbO, gold-coated clay and artificial ultramarine come from the mainland and abroad. These artificial pigments have a long history, reflecting the historical tradition that architectural color paintings in the Regong area not only use local materials but also widely use foreign pigments, which provides good evidence for further study of the history of ethnic cultural exchange in the field of architectural color paintings in the Regong area.