CN111674174A - Cultural relic chromatography rubbing method - Google Patents
Cultural relic chromatography rubbing method Download PDFInfo
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- CN111674174A CN111674174A CN202010549456.9A CN202010549456A CN111674174A CN 111674174 A CN111674174 A CN 111674174A CN 202010549456 A CN202010549456 A CN 202010549456A CN 111674174 A CN111674174 A CN 111674174A
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Images
Classifications
-
- B—PERFORMING OPERATIONS; TRANSPORTING
- B41—PRINTING; LINING MACHINES; TYPEWRITERS; STAMPS
- B41M—PRINTING, DUPLICATING, MARKING, OR COPYING PROCESSES; COLOUR PRINTING
- B41M5/00—Duplicating or marking methods; Sheet materials for use therein
- B41M5/124—Duplicating or marking methods; Sheet materials for use therein using pressure to make a masked colour visible, e.g. to make a coloured support visible, to create an opaque or transparent pattern, or to form colour by uniting colour-forming components
-
- B—PERFORMING OPERATIONS; TRANSPORTING
- B41—PRINTING; LINING MACHINES; TYPEWRITERS; STAMPS
- B41M—PRINTING, DUPLICATING, MARKING, OR COPYING PROCESSES; COLOUR PRINTING
- B41M7/00—After-treatment of prints, e.g. heating, irradiating, setting of the ink, protection of the printed stock
- B41M7/009—After-treatment of prints, e.g. heating, irradiating, setting of the ink, protection of the printed stock using thermal means, e.g. infrared radiation, heat
-
- C—CHEMISTRY; METALLURGY
- C09—DYES; PAINTS; POLISHES; NATURAL RESINS; ADHESIVES; COMPOSITIONS NOT OTHERWISE PROVIDED FOR; APPLICATIONS OF MATERIALS NOT OTHERWISE PROVIDED FOR
- C09D—COATING COMPOSITIONS, e.g. PAINTS, VARNISHES OR LACQUERS; FILLING PASTES; CHEMICAL PAINT OR INK REMOVERS; INKS; CORRECTING FLUIDS; WOODSTAINS; PASTES OR SOLIDS FOR COLOURING OR PRINTING; USE OF MATERIALS THEREFOR
- C09D11/00—Inks
- C09D11/02—Printing inks
- C09D11/03—Printing inks characterised by features other than the chemical nature of the binder
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- Chemical & Material Sciences (AREA)
- Chemical Kinetics & Catalysis (AREA)
- General Health & Medical Sciences (AREA)
- Thermal Sciences (AREA)
- Toxicology (AREA)
- Health & Medical Sciences (AREA)
- Physics & Mathematics (AREA)
- General Chemical & Material Sciences (AREA)
- Life Sciences & Earth Sciences (AREA)
- Engineering & Computer Science (AREA)
- Materials Engineering (AREA)
- Wood Science & Technology (AREA)
- Organic Chemistry (AREA)
- Printing Methods (AREA)
Abstract
The invention provides a cultural relic chromatography rubbing method, which comprises the following steps: researching and reading cultural relics, decomposing a graph group, drawing color matching, and preparing rubbing paper and tools; making an oil paint; preparing bletilla striata liquid; fixing cultural relics; gluing and feeding paper; chromatography rubbing; taking paper; the method not only creates a chromatography rubbing method in the field of cultural relic rubbing, enriches the hierarchy of the rubbing, enhances the artistic appreciation of the rubbing, enlarges the audience surface of the rubbing, but also solves the technical problems that ink can permeate paper, be attached to the cultural relic, cause the pollution of the cultural relic and even cause irreversible damage to the cultural relic when the traditional cultural relic rubbing method rubs.
Description
Technical Field
The invention belongs to the field of rubbing, and particularly relates to a cultural relic chromatography rubbing method.
Background
The rubbing art is another great invention which is earlier than the printing art except for four major inventions in China, the rubbing is a single-page paper sheet which is engraved from a stone inscription and a cultural relic and is used for rubbing characters or pictures, the rubbing is bound into a book to form the rubbing, and the rubbing is a Chinese culture encyclopedia which covers all the imagoes, bears knowledge of a plurality of subjects such as history, philosophy, art, astronomy, geography and the like, and is connected with and closely related to Chinese culture blood vessels.
At present, the traditional ink is used for coloring the rubbing in the conventional cultural relic rubbing method, the rubbing color is single, the structure of a pattern level graph group is unclear, the artistic ornamental value is not strong, the popular surface is small, the commercial application is difficult to popularize, and in the rubbing process of the conventional cultural relic rubbing method, the ink can permeate through paper and adhere to the cultural relic to cause the cultural relic to be stained and damaged, even irreversible damage is caused to the cultural relic, and the rubbing after being well rubbed is easy to be reversely printed after mounting and mounting the album to cause the contamination and the damage of the rubbing.
Disclosure of Invention
In order to solve the technical problem, the invention provides a cultural relic chromatography rubbing method, which comprises the following steps:
a. researching and reading cultural relics, decomposing a graph group, drawing color matching, and preparing rubbing paper and tools;
b. making an oil paint;
c. preparing bletilla striata liquid;
d. fixing cultural relics;
e. gluing and feeding paper;
f. chromatography rubbing;
g. taking paper;
h. fixation of color
Preferably, the cultural relic used for rubbing is a cultural relic or a cultural relic copy which is allowed to be rubbed by national laws and regulations.
Preferably, the rubbing paper is rice paper or cotton-flax paper, and the raw rice paper is the best.
Preferably, the method comprises the steps of a, mainly distinguishing the overall outline of the cultural relic pattern and the outline of the individual pattern in the graph, decomposing a graph group according to the individual pattern, independently planning each pattern, planning the same pattern into a group, then drawing the colors of the patterns according to the meaning expressed by the non-group pattern, coordinating the color matching of the overall pattern, and preparing a rubbing tool and rubbing paper.
Preferably, step b produces a paint: 40-80 parts of dispersing agent, 8-15 parts of filler, 10-30 parts of color developing agent, 12-20 parts of adsorbent, 0.5-1 part of preservative and 0.5-1 part of flavoring agent are sequentially added into a stone mortar, the stone mortar is blended by a wood stick, then repeatedly pounded and ground into a mashed state, or a roller is adopted to repeatedly roll the mashed state, different color developing agent components and proportions are selected for manufacturing different color paintings, and the mixture is filled into a sealed container for standby.
Preferably, the optimal proportion of the oil paint is as follows: 60 parts of dispersing agent, 12 parts of filling agent, 26 parts of color developing agent, 16 parts of adsorbent, 1 part of preservative and 1 part of flavoring agent, uniformly mixing, grinding, rolling and loading into a sealed container for later use.
Preferably, the bletilla striata water is prepared in the step c, 2-5 parts of bletilla striata slices and 30-40 parts of water are added into a pot, the mixture is heated until the water is boiled and then kept for 10-20min, and the mixture is kept stand and cooled to the normal temperature and then is filled into a container for standby.
Preferably, the bletilla striata water is prepared by adding 3 parts of bletilla striata slices and 30 parts of water into a pot, heating until the water is boiled, keeping for 15min, standing, cooling to normal temperature, and filling into a container for later use.
Preferably, the cultural relics are fixed in the step d, namely small cultural relics are fixed by sand bags or rice bags; for large cultural relics which are not easy to move, the cultural relics can be fixed without other materials.
Preferably, sizing and paper feeding in the step e: the bletilla striata water is evenly sprayed on one surface of rubbing paper or the surface of the cultural relic by a brush or a spray can, then the rubbing paper is covered on the surface of the cultural relic, a soft brush is used for brushing the surface of the cultural relic from top to bottom and from the left to the right and from the inside to the outside, air is removed at the same time, the paper is tightly sealed with the surface of the cultural relic, a piece of clean white paper or felt is additionally arranged on the rubbing paper, and the rubbing paper at the line position of the cultural relic is concave but can not be too violent so as to avoid the breaking of the rubbing paper, and the like.
Preferably, step f inking: before rubbing, hot air at 45-70 ℃ is used for baking rubbing paper for 30-60min, the rubbing paper is dried to be whitened, rubbing oil paint is spread by rubbing bags, one rubbing bag is respectively held by the left hand and the right hand during rubbing, the left hand rubbing bag is stained with the oil paint, the right hand rubbing bag is uniform in the oil paint of the left hand rubbing bag, the two rubbing bags are beaten mutually, the left hand rubbing bag leads the oil paint to the right hand rubbing bag, so that the ink color is uniform, trial printing can be firstly carried out on prepared paper, and whether the color is uniform or not can be seen; when coloring the corresponding pattern, the rubbing bag is used for beating densely and gradually from top to bottom, the color depth is determined by the beating times and force, the color is dry and light during the first rubbing, the color is gradually thickened later, the rubbing bag can be replaced after the pattern rubbing of the corresponding color is finished, the next color is dipped, and the pattern rubbing of the next color is carried out until the pattern rubbing of all colors is finished.
Preferably, step g takes paper: the paper is evenly lifted and pulled away from the surface of the cultural relic from top to bottom, the paper is prepared and placed on the paper, if the cultural relic is not well pulled away due to the adhesion of the paper, a spraying pot is used for spraying a little clear water to wet the adhesion part and carefully take off.
Preferably, the step h fixation: spreading the taken rubbing paper, filling white paper or cotton cloth at the bottom of the rubbing paper, spraying clear water to wet the rubbing paper by a spray can, standing for 60-120min, waiting for mineral pigments to be precipitated and seeped into the rubbing paper along with water, drying the rubbing paper by hot air at 45-70 ℃ for 30-60min to fix the color on the rubbing paper, stretching the rubbing paper, standing for 24-48h indoors to enable the rubbing paper to absorb moisture naturally and keep balance with indoor humidity.
Preferably, the best fixing example in the step h is as follows: spreading the taken rubbing paper, filling white paper or cotton cloth at the bottom of the rubbing paper, spraying clear water to wet the rubbing paper by a spray can to accelerate water permeation, standing for 120min, waiting for mineral pigments to fully precipitate along with water to permeate the rubbing paper, drying the rubbing paper by hot air at 70 ℃ for 60min to fix the color on the rubbing paper, stretching the rubbing paper, standing for 48h indoors to enable the rubbing paper to absorb moisture naturally and keep balance with indoor humidity.
Preferably, step h is followed by step i: writing, drawing, re-creating and mounting on rubbing paper.
Preferably, the dispersant comprises at least one of the following: castor oil, rapeseed oil, linseed oil, soybean oil and cottonseed oil, wherein the filling agent is fine powder and passes through a 200-mesh and 400-mesh sieve, and the filling agent at least comprises one of the following components: borax, kaolin, talcum powder and mica powder, wherein the developer is mineral pigment fine powder which is sieved by a 200-mesh sieve and a 400-mesh sieve, and the developer at least comprises one of the following components: chalcocite, chrysotile, turquoise, fancite, vivianite, glauconite, amphibole, malachite, pinochite, green marlite, agate, jasper, psilomelane, cinnabar, red coral, agate, hematite, red marlite, realgar, cockscomb stone, stibnite, lepidocrocite, limonite, cobalt bloom, xenotime, perillacite, coleoptite, schoenite, obsidian, wolframite, graphite, pyrolusite.
Preferably, the adsorbent comprises at least one of the following components: moxa, mouse Ju grass wool, grass wool and cotton wool.
Preferably, the preservative comprises at least one of the following: sodium benzoate and sorbate.
Preferably, the odorant comprises at least one of the following ingredients: musk, borneol, essence and essential oil.
Preferably, the mineral pigment is mineral pigment fine powder sieved by a 400-mesh sieve, and the filler is filler fine powder sieved by the 400-mesh sieve.
Preferably, the preservative and flavoring agent are in the form of fine powder or liquid.
Preferably, the moxa wool is cotton-like fiber prepared by repeatedly drying moxa in the sun, hammering, crushing and removing impurities, the pyroxseed wool is cotton-like fiber prepared by repeatedly drying pyroxseed in the sun, hammering, crushing and removing impurities, the mouse Ju grass wool is cotton-like fiber prepared by repeatedly drying mouse Ju grass in the sun, hammering, crushing and removing impurities, and the cotton wool is cotton-like fiber prepared by repeatedly drying cotton in the sun, hammering, removing seeds, crushing and removing impurities.
Preferably, the corresponding mineral pigment is selected according to the color requirement of the manufactured oil paint, and the mineral pigment has the corresponding color according to the following color system:
first, a blue mineral pigment: chalcocite, chrysotile, agapultite, fanalite, vivax, and glauconite;
② green series mineral pigment: malachite, peacock stone, green marl, green curtain stone, jade, and manganite;
③ red mineral pigments: cinnabar, red coral, agate, hematite and red marl;
yellow mineral pigment: realgar, cockscomb stone, stibnite, lepidocrocite and limonite;
the purple mineral pigment: cobalt bloom, xenotime, perillacite, cadotite;
sixthly, black mineral pigment: schorlite, obsidian, wolframite, graphite, pyrolusite;
and (c) white mineral pigment: wollastonite, quartz stone, calcite, alunite and mica stone.
Preferably, the hot air is provided by a constant temperature hair dryer, a constant temperature air box or an oven.
Preferably, the prepared colorful oil paint can be blended and matched with each other in proportion.
Preferably, the rubbing tools include, but are not limited to: palm brush, cleaning brush, soft hair row brush, rubbing bag, sprinkling can, toilet paper, rag, sand bag, rice bag, bamboo knife, basin.
The invention has the beneficial effects that:
1. the chromatography rubbing of chromatography rubbing method chromatography is clearer and more three-dimensional than traditional monochromatic rubbing pattern level, and the colour is more clear and plump, changes the individual pattern of distinguishing in the whole pattern, and the audience understands the information of historical relic pattern transmission more easily, and chromatography rubbing art sight is stronger.
2. The effect of chromatography rubbing is just like traditional chinese painting "four strips of screens", and chromatography rubbing is whole together to be vice picture, carries out every colour picture group alone and is a picture again, relative with the single pattern color of traditional rubbing, and it can be clear distinguish each detail pattern, all stand out each pattern.
3. The color process rubbing patterns of the color process rubbing method have more artistic ornamental value, rich color levels are convenient to apply to various products, and compared with the traditional single-color rubbing, the color process rubbing method is more easily accepted by the public and has more commercial popularization value.
4. The traditional rubbing adopts traditional ink for coloring, and under the condition that the rubbing paper is not dried, the ink can permeate the rubbing paper along with water and be adhered to the surface of the cultural relic to pollute the cultural relic.
5. The color developing agent of the oil color is mineral pigment which is insoluble in water and can permeate into the paper along with the water precipitation, after the paper is dried, the mineral pigment is fixed in the paper, the color is durable and can keep the rubbing unchanged and fadeless for a long time, and the mineral pigment permeates into the paper, so that the color of the rubbing can not be printed to other places when the paper is mounted.
6. The chromatography rubbing not only inherits the traditional culture, but also carries out re-creation, and creates a new traditional culture embodiment form.
Drawings
Fig. 1 is a traditional rubbing of a cultural relic 1.
Fig. 2 is a cultural relic 1 color rubbing.
Fig. 3 is a traditional rubbing of a cultural relic 2.
Fig. 4 is a cultural relic 2 color process rubbing.
Fig. 5 is a traditional rubbing of a cultural relic 3.
Fig. 6 is a cultural relic 3 color developing rubbing.
Fig. 7 is a traditional rubbing of the cultural relic 4.
Fig. 8 is a cultural relic 4 color sleeve rubbing.
Detailed Description
The embodiments of the present invention will be described in further detail with reference to the drawings and examples. The following examples are intended to illustrate the invention but are not intended to limit the scope of the invention.
Example 1:
the method comprises the steps of firstly carefully studying and reading cultural relics, mainly distinguishing the overall outline of patterns of the cultural relics from the outline of individual patterns in the images, decomposing a graph group according to the individual patterns, independently planning each pattern, planning the same pattern into a group, then drawing pattern colors according to the meaning expressed by the non-group patterns, coordinating overall pattern color matching, and preparing tools and rubbing paper for rubbing.
Then, the mineral pigment fine powder and the filler fine powder which are prepared according to the colors are respectively sieved by a 200-mesh sieve, the sieved fine powder is reserved for standby, the larger the mesh number of the sieve is, the smaller the particle size of the fine powder is, and the better the mineral pigment permeation effect in the color fixing step is.
Secondly, making a red oil paint, wherein the red oil paint is prepared by uniformly mixing 40 parts of castor oil, 8 parts of kaolin, 8 parts of cinnabar fine powder, 2 parts of hematite fine powder, 12 parts of leontopodium, 0.5 part of sodium sorbate and 0.5 part of musk, grinding and rolling; the green paint is prepared by uniformly mixing 80 parts of castor oil, 12 parts of kaolin, 3 parts of borax, 30 parts of fine malachite powder, 20 parts of moxa, 1 part of sodium sorbate and 1 part of musk, grinding and rolling; the black oil paint is prepared by uniformly mixing 60 parts of rapeseed oil, 6 parts of kaolin, 6 parts of borax, 26 parts of fine graphite powder, 16 parts of moxa, 1 part of sodium sorbate and 1 part of musk, grinding and rolling; the orange color is prepared by uniformly mixing 43 parts of cottonseed oil, 7 parts of kaolin, 3 parts of borax, 12 parts of cinnabar fine powder, 4 parts of realgar fine powder, 10 parts of sludgeon, 0.7 part of sodium sorbate and 0.8 part of musk, grinding and rolling, and can be used for toning as common pigments and uniformly mixing a plurality of colors according to required proportions.
Further, 100g of bletilla striata tablets and 2 liters of water are added into a pot, the mixture is heated until the water is boiled for 20min, the mixture is kept stand and cooled to the normal temperature, and the mixture is put into a container for standby application, and the bletilla striata water is easy to lose viscosity after being stored for a long time, so that the bletilla striata is best used at present or is ready for standby application every other day.
Further, uniformly spraying bletilla striata water on one surface of the rubbing paper by using a spray can, covering the surface of the rubbing paper on the surface of the cultural relic, brushing the rubbing paper by using a soft brush from top to bottom from middle to left and right from inside to outside, and simultaneously removing air to enable the paper to be tightly adhered to the surface of the cultural relic; adding a piece of clean white paper or felt on the rubbing paper, beating the white paper or the felt by a palm brush to make the rubbing paper at the line of the cultural relic concave, but not violent enough to avoid the breaking of the rubbing paper, and finishing the process when the rubbing paper at the line of the cultural relic is completely and uniformly concave;
further, the rubbing paper is blown by a constant temperature hot air blower at the set temperature of 45 ℃ for 60min, and then the rubbing paper is whitened and dried.
Furthermore, when rubbing is carried out, the left hand and the right hand respectively carry one rubbing bag, the left hand rubbing bag is stained with the oil paint, the right hand rubbing bag is used for homogenizing the oil paint of the left hand rubbing bag, the two rubbing bags are beaten mutually, and the left hand rubbing bag guides the oil paint to the right hand rubbing bag, so that the ink color is uniform, the rubbing can be tried on the prepared paper firstly, and whether the color is uniform or not can be seen; when coloring the corresponding pattern, using a rubbing bag to carry out up-down and repeated intensive hammering gradually, wherein the color depth is determined by the hammering times and force, the color is dried and light when inking for the first time, then the color is gradually thickened, the rubbing bag can be replaced after the rubbing of the pattern of the corresponding color is finished, the next color of the color is dipped, and the rubbing of the pattern of the next color is carried out until the rubbing of the patterns of all colors is finished;
furthermore, when the paper is taken, the rubbing paper is perpendicular to the surface of the cultural relic from top to bottom, the rubbing paper is lifted and pulled evenly, the backing paper is prepared in advance, the rubbing paper is placed on the backing paper in a plane, if the rubbing paper is not pulled well after the cultural relic is adhered, a spraying kettle is used for spraying a little clear water to wet and take off the cultural relic carefully, and a bamboo knife can be used for assisting in taking off the cultural relic carefully when the cultural relic is not taken off well.
Further, paving the taken rubbing paper, filling white paper or cotton cloth at the bottom of the rubbing paper, spraying clear water to wet the rubbing paper by using a spraying pot, standing for 60min, waiting for the mineral pigment to be deposited on the rubbing paper along with water, blowing the rubbing paper by using a constant-temperature hot air blower at a set temperature of 70 ℃ for 60min, drying the rubbing paper to be stretched flat, standing for 48h indoors, and making the rubbing paper to be naturally wet and keep balance with indoor temperature and humidity to finish all steps.
Example 2:
the method comprises the steps of firstly carefully studying and reading cultural relics, mainly distinguishing the overall outline of patterns of the cultural relics from the outline of individual patterns in the images, decomposing a graph group according to the individual patterns, independently planning each pattern, planning the same pattern into a group, then drawing pattern colors according to the meaning expressed by the non-group patterns, coordinating overall pattern color matching, and preparing tools and rubbing paper for rubbing.
Then, the mineral pigment fine powder and the filler fine powder which are prepared according to the colors are respectively sieved by a 400-mesh sieve, and the sieved fine powder is reserved for standby application, wherein the larger the mesh number of the sieve is, the smaller the particle size of the fine powder is, and the better the mineral pigment permeation effect in the color fixing step is.
Secondly, making oil paint, wherein the blue oil paint is prepared by uniformly mixing 40 parts of linseed oil, 8 parts of kaolin, 10 parts of turquoise fine powder, 12 parts of moxa, 0.5 part of sodium sorbate and 0.5 part of borneol, and grinding and rolling; the purple color is prepared by uniformly mixing 70 parts of rapeseed oil, 10 parts of kaolin, 4 parts of mica powder, 26 parts of perillaceous ash fine powder, 17 parts of moxa, 0.8 part of sodium sorbate and 0.7 part of rose essential oil, and grinding and rolling; the yellow oil color is prepared by uniformly mixing 60 parts of soybean oil, 6 parts of kaolin, 6 parts of borax, 3 parts of talcum powder, 25 parts of realgar fine powder, 5 parts of limonite fine powder, 14 parts of moxa, 6 parts of cotton wool, 1 part of sodium benzoate and 1 part of magnolia essence, grinding and rolling;
further, 100g of bletilla striata tablets and 1 liter of water are added into a pot, the mixture is heated until the water is boiled for 10min, the mixture is kept stand and cooled to the normal temperature, the mixture is placed into a container for standby, and the bletilla striata water is easy to lose viscosity after being stored for a long time, so that the bletilla striata liquid is best used at present or is ready for standby every other day.
Further, gluing and paper feeding, namely uniformly spraying bletilla striata water on one surface of rubbing paper or the surface of the cultural relic by using a brush or a spray can, covering the rubbing paper on the surface of the cultural relic, brushing the surface of the cultural relic from top to bottom from middle to left and right from inside to outside by using a soft brush, and driving off air to enable the paper to be tightly adhered to the surface of the cultural relic; adding a piece of clean white paper or felt on the rubbing paper, beating the white paper or the felt by a palm brush to make the rubbing paper at the line of the cultural relic concave, but not violent enough to avoid the breaking of the rubbing paper, and finishing the process when the rubbing paper at the line of the cultural relic is completely and uniformly concave;
further, the rubbing paper is blown by a constant temperature hot air blower at the set temperature of 70 ℃ for 30min, and then the rubbing paper is whitened and dried.
Furthermore, when rubbing is carried out, the left hand and the right hand respectively carry one rubbing bag, the left hand rubbing bag is stained with the oil paint, the right hand rubbing bag is used for homogenizing the oil paint of the left hand rubbing bag, the two rubbing bags are beaten mutually, and the left hand rubbing bag guides the oil paint to the right hand rubbing bag, so that the ink color is uniform, the rubbing can be tried on the prepared paper firstly, and whether the color is uniform or not can be seen; when coloring the corresponding pattern, using a rubbing bag to carry out up-down and repeated intensive hammering gradually, wherein the color depth is determined by the hammering times and force, the color is dried and light when inking for the first time, the color is gradually thickened later, the rubbing bag can be replaced after the rubbing of the pattern of the corresponding color is finished, the next color ink is dipped, and the rubbing of the pattern of the next color is carried out until the rubbing of the patterns of all colors is finished;
furthermore, when the paper is taken, the rubbing paper is perpendicular to the surface of the cultural relic from top to bottom, the rubbing paper is lifted and pulled evenly, the backing paper is prepared in advance, the rubbing paper is placed on the backing paper in a plane, if the rubbing paper is not pulled well after the cultural relic is adhered, a spraying kettle is used for spraying a little clear water to wet and take off the cultural relic carefully, and a bamboo knife can be used for assisting in taking off the cultural relic carefully when the cultural relic is not taken off well.
Further, paving the taken rubbing paper, filling white paper or cotton cloth on the bottom of the rubbing paper, spraying clear water to wet the rubbing paper by using a spraying pot, standing for 120min, waiting for mineral pigments to be precipitated and seeped into the rubbing paper along with water, blowing the rubbing paper by using constant-temperature electric hair drier hot air, setting the temperature of the electric hair drier at 100 ℃, blowing for 30min, drying and stretching the rubbing paper to be flat, standing for 24h indoors, and keeping the rubbing paper to naturally absorb moisture and balance with the indoor temperature and humidity.
Furthermore, calligraphy or painting creation is carried out on the rubbing paper which is rubbed well, and finally, book loading is carried out, namely all steps are completed.
The embodiments of the present invention have been presented for purposes of illustration and description, and are not intended to be exhaustive or limited to the invention in the form disclosed. Many modifications and variations will be apparent to those of ordinary skill in the art. The embodiment was chosen and described in order to best explain the principles of the invention and the practical application, and to enable others of ordinary skill in the art to understand the invention for various embodiments with various modifications as are suited to the particular use contemplated.
Claims (7)
1. A cultural relic chromatography rubbing method comprises the following steps:
a. researching and reading cultural relics, decomposing a graph group, drawing color matching, and preparing rubbing paper and tools;
b. making an oil paint;
c. preparing bletilla striata liquid;
d. fixing cultural relics;
e. gluing and feeding paper;
f. chromatography rubbing;
g. taking paper;
h. fixation of color
The method is characterized in that:
b, manufacturing oil paint: uniformly mixing 40-80 parts of dispersing agent, 8-15 parts of filling agent, 10-30 parts of color developing agent, 12-20 parts of adsorbent, 0.5-1 part of preservative and 0.5-1 part of flavoring agent, grinding and rolling to obtain the product, and filling the product into a sealed container for later use;
c, preparing bletilla striata water, namely adding 2-5 parts of bletilla striata slices and 30-40 parts of water into a pot, heating until the water is boiled, keeping for 10-20min, standing, cooling to normal temperature, and filling into a container for later use;
the step f of chromatography rubbing: before rubbing, hot air at 45-70 ℃ is used for baking rubbing paper for 30-60min, and then rubbing bags are used for rubbing the oil color process color rubbing;
the step h is color fixing: spreading the taken rubbing paper, padding white paper or cotton cloth on the bottom of the rubbing paper, spraying clear water to wet the rubbing paper by a spray can, standing for 60-120min, drying the rubbing paper by hot air at 45-70 ℃ for 30-60min, and standing for 24-48h in a spreading room.
2. The method for chromatography of cultural relics, which comprises the following steps: the step b of making the oil paint comprises the following steps: 60 parts of dispersing agent, 12 parts of filling agent, 26 parts of color developing agent, 16 parts of adsorbent, 1 part of preservative and 1 part of flavoring agent are uniformly mixed, ground and rolled to obtain the material, and the material is loaded into a sealed container for standby.
3. The method for chromatography printing of cultural relics according to any one of claims 1 and 2, wherein: the dispersant comprises at least one of the following components: the filling agent is fine powder and passes through a 200-fold 400-mesh sieve, and at least comprises one of the following components: borax, kaolin, talcum powder and mica powder, wherein the developer is mineral pigment fine powder sieved by a 200-mesh and 400-mesh sieve, and at least comprises one of the following components: chalcocite, chrysotile, turquoise, fancite, vivianite, glauconite, amphibole, malachite, pinocembrite, green marlite, agate, jasper, manganite, cinnabar, red coral, agate, hematite, red marlite, realgar, cockscomb stone, stibnite, lepidocrocite, limonite, cobalt bloom, xenotime, perillacite, coleoptite, schwannite, obsidian, wolframite, graphite, pyrolusite, the adsorbent contains at least one of the following components: moxa, mouse Ju grass wool, grass wool and cotton wool, wherein the preservative at least comprises one of the following components: sodium benzoate and sorbate, wherein the flavoring agent at least comprises one of the following components: musk, borneol and essence.
4. The method for chromatography of cultural relics, which comprises the following steps: the developer is mineral pigment fine powder which is sieved by a 400-mesh sieve, and the filler is filler fine powder which is sieved by the 400-mesh sieve.
5. The method for chromatography of cultural relics, which comprises the following steps: and c, preparing the bletilla striata water, namely adding 3 parts of bletilla striata slices and 30 parts of water into a pot, heating until the water is boiled, keeping for 15min, standing, cooling to normal temperature, and filling into a container for later use.
6. The method for chromatography of cultural relics, which comprises the following steps: the color fixing in the step h is as follows: spreading the removed rubbing paper, spraying clear water with a spray can to wet the rubbing paper, padding white paper or cotton cloth at the bottom of the rubbing paper, standing for 120min, drying the rubbing paper with 70 deg.C hot air for 60min, stretching the rubbing paper, and standing indoors for 48 h.
7. The method for chromatography of cultural relics, which comprises the following steps: step h is followed by step i: writing, drawing, re-creating and mounting on the rubbing sheet.
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Cited By (1)
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| CN115255694A (en) * | 2022-08-13 | 2022-11-01 | 苏州欧纳菲文化发展有限公司 | Welding process of gold small beads |
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Application publication date: 20200918 |