My system is not decent

Ming Mei Dingzuo's "Jade Heji · Yixuan": "The Ruli couch, the jade building, hand-rolled pearls and jade hooks."

Obviously, colored glaze was made into various treasures in ancient times.

In ancient times, colored glaze was a valuable work of art for two reasons.

First, the material of ancient colored glaze is special, and its production process is quite complicated.

It takes dozens of processes to complete the process of coming in the fire and going in the water.

Some light production process will take ten to 20 days, and mainly rely on handwork.

It is very difficult to grasp each link, and it can be said that the difficulty of grasping the heat is half by skill and half by luck.

Only one item is released, and the yield rate is only 70%.

More importantly, ancient colored glaze cannot be recycled.

That is to say, once a little problem arises, the efforts of many people will be wasted immediately after ten days and dozens of procedures.

Second, colored glaze is not only a material, but also a cultural product. More importantly, no two colored glaze products are exactly the same.

The main reason is that the production process is lengthy. From conception, design, sculpture, firing, fine repair, and polishing to the completion of the work, it takes 47 delicate and tedious manual processes to complete.

Then it is handmade, and workers must master the technology to operate.

Each process has its own variable factors, and repeated experiments are required in the process of the process. The colors of the works are not the same, and the production is extremely difficult.

In the production of ancient colored glaze, one mold can only be fired for one work and cannot be used again.

Large and complex works even require multiple mold openings and firings to complete.

The low success rate makes the works more valuable.

In fact, there is another difficulty in ancient times, that is, high-temperature firing.

In ancient times, it was not easy to melt selected raw materials into various colored crystal glasses at a high temperature above 1400c.

What's more, after multiple selection and cleaning, it is placed in the mold according to the proportion of materials used in the work, and strict heating and cooling curves are set.

During this process, the furnace temperature must be controlled within 1000c±5c.

The firing process lasts for more than 15 days, making crystal raw materials accurate to every detail.

Only in this way can we ensure that the works are fine and ingenious, three-dimensional, real, streamlined and clear.

However, the cost is too high, so the current colored glaze production process has appeared.

Today's thermoforming glaze, which is the production process of traditional glaze firing techniques, is not too complicated.

The first is chemical materials. All kinds of pigments needed are put into the big furnace to be smelted, and the molten glass is rotated on the iron rod.

Then there is the selection of materials. From the traditional stove with a high temperature of more than 1400 degrees, the colored glass body is taken out from the colored glass with a 1.5-meter-long blowing tube.

After that, it is blowing, which is continuously rotated and shaped after being taken out of the stove. The temperature of the colored glaze taken out of the stove is high, and the melting softness of the colored glaze must be mastered, and it will be formed in a few seconds.

The next step is molding. During the molding process, the masters need to blow with a blower in their hands to ensure the shape of the colored glaze. Because the scale is difficult to grasp, the yield of finished products is extremely low.

The last is annealing. After the glaze is formed, the masters will put the fired glaze into the heat preservation kiln.

The temperature of the kiln mouth is more than 500 degrees, and the temperature is kept for 4 days.

If the body of the glass bottle does not burst, it means that the glass has cooled and formed.

Chen Wenzhe saw this kind of craft in a small colored glaze factory in his hometown when he was a child, and he felt that it was very simple.

Of course, this does not count the ingredients of various colored glasses, because apart from the craftsmanship, it is the most difficult part of the formula.

Today's glass production technology has developed to a very high level.

If he doesn't accumulate technology well, Chen Wenzhe really doesn't have the confidence to compete with the top domestic glaze manufacturers.

Therefore, he intends to learn all kinds of crafts.

For example, the ancient method of making dewaxed glass is actually not too difficult to think about.

It's just that this kind of craft is more troublesome and expensive to make colored glaze.

The main cost is making the mold, and only one product can be produced at a time.

To make dewaxed glass, the first is creative design, that is, expressing creativity through graphic design artwork.

Then there is prototyping, sculpting a three-dimensional model based on the artwork.

The next step is to make a silica gel mold. Apply silica gel evenly on the surface of the model. After the silica gel solidifies into a silica gel mold, plaster is still needed to fix it.

After that, it's easy, just take it step by step.

With a suitable mold, it is to cast a wax model.

Prepare the wax slurry, pour hot melted wax into the silicone female mold, and remove the wax mold after it is naturally cooled and cut.

Release the cold-cut wax mold from the silicone plaster mold.

Weekly trimming of the wax model, cold cutting is easy to shrink and deform the wax model, and the traces of the mold line left when the mold is removed can be carefully trimmed with tools.

After this step, the plaster mold will be made again.

Prepare the correct proportion of refractory gypsum, and pour and embed it outside the modified wax model to form a waxy gypsum model.

Then there's still dewaxing, but this time it's steam dewaxing.

Put the whole waxy gypsum into the dewaxing machine and heat it with steam. After dewaxing, it becomes the refractory gypsum negative mold.

The mold is done well, that is, the selected raw materials.

In order to precisely control the proportion of various colors and the aesthetic feeling of flow, it is necessary to select specific color and size glass raw materials according to the shape and design, and arrange the distribution position of the color blocks.

After that, it is sintered in the furnace. After the mold is cleaned and dust removed, the entire plaster mold and the prepared glass material are put into the furnace and heated slowly.

This will cause the melted and softened crystal glass, such as maltose, to slowly flow into the plaster mold for molding.

After this step is completed, the plaster mold should be removed, and the cold-cut rough glass blank should be taken out.

The rough blank also needs to be cut and repaired, mainly to cut and repair the excess glass on the rough glass blank and the grouting port.

The next step is trimming, such as smoothing the sprue of the crystal glass with coarse and fine abrasive sand.

There is also cold work and fine repair, which is carefully carved with diamond nibs and other tools to make the surface of the work more uniform and detailed.

The material of glass is man-made crystal glass.

Its characteristic is that it has a high refractive index to light, so it can show a crystal clear effect.

With the cooperation of light, its artistic characteristics can be fully expressed.

As colored glaze, it is not only a work of art but also a religious object.

However, the works produced by the casting process are highly expressive, rich in layers, delicate and delicate, especially the flow of colors is unpredictable, whether passionate or subtle, and each piece is different.

Appreciate the effect of light and shadow, especially the refraction of light of different angles, thickness and color, which can present a three-dimensional visual effect.

And in the process of appreciation, you will find that colored glaze cannot be made too transparent.

In other words, the transparency of colored glaze should not be too pure or too bright.

Good colored glaze must have a certain level and smoothness, otherwise it will lose its beauty of dynamic vitality.

Grasping all these special processes, the colored glaze produced will not be too bad.

Besides, the ancient technique determines that there are no two pieces of colored glaze that are exactly the same in the world.

The so-called "natural craftsmanship" refers to the singleness of colored glaze products.