Method for preparing three-dimensional embossment rubbing through back face filling

Abstract

The invention discloses a manufacturing method of a three-dimensional embossment rubbing for copying patterns and characters on the surfaces of cultural relics, inscriptions and other utensils, and aims to solve the problem that a traditional rubbing is lack of three-dimensional sense and embossment effect. The rubbing manufacturing process mainly comprises a plane rubbing method and a full-shape rubbing method. Rubbing works manufactured through a traditional rubbing method are all planes, although a full-shape rubbing method can convert a three-dimensional object into a two-dimensional plane image, the manufacturing process is complex, and the embossment effect cannot be achieved. The rubbing with the three-dimensional embossment effect is finally obtained by selecting the utensil with the positive carved image-text or the utensil with the positive carved image-text as the main part, cleaning, covering thick Chinese art paper, beating to show lines, coloring and rubbing and the like, and then innovatively adding the working procedures of uncovering, fixing with a sticky plate, curing, spraying paint to resist water, brushing and filling, softening the rubbing, supporting the bottom and mounting and the like. The method is characterized in that firstly, the method is innovated on the basis of a traditional process, if thick and solid paper is selected as a carrier, the thinner the traditional paper for rubbing is, the better the paper is, and the required paper is thick and solid; secondly, a plurality of procedures are added, for example, the rubbing is pasted and fixed to a wood board with the back facing upwards, then curing and paint spraying are conducted for water prevention, homemade sticky rice mortar is used for brushing and filling, cactus egg white liquid is adopted for softening treatment, and the rubbing can be folded, rolled and freely stretched, can be mounted into a reel and can be mounted into a lens; the rubbing is good in visual effect and strong in artistic appeal, and is incomparable with a traditional rubbing.

Description

Technical Field

[0001] The invention relates to the field of rubbing production, in particular to a rubbing used for replicating patterns and texts on the surfaces of cultural relics, stele inscriptions and other objects, and capable of producing a rubbing with a three-dimensional relief effect. Background Art

[0002] Rubbing is an ancient traditional art form in my country and a recognized intangible cultural heritage. It involves transferring text or designs from inscriptions on steles and artifacts onto rice paper using ink, cinnabar, or other pigments. It is a technique used in archaeology and epigraphy to preserve the original information on these inscriptions and artifacts.

[0003] Traditional rubbing methods primarily include flat rubbing and full-body rubbing. Flat rubbings typically target flat surfaces, such as stele inscriptions and bronze surface decorations; full-body rubbings typically target round sculptures or high-relief objects, such as stone statues. While full-body rubbing can convert three-dimensional objects into two-dimensional images, the production process is extremely complex and the inability to achieve a three-dimensional relief effect limits its practical application.

[0004] The invention relates to the field of plane rubbing.

[0005] Flat rubbings are the mainstream form of Chinese rubbings. The resulting images and texts are flat, lacking a sense of three-dimensionality or relief, making them difficult to meet the growing demand for artistic and aesthetically pleasing rubbings. Consequently, the existing technology lacks a method for efficiently and conveniently producing rubbings with a three-dimensional relief effect. This problem urgently needs to be addressed to promote advancements and innovations in rubbing production technology and meet market demand for high-quality rubbings.

[0006] We also noticed two colleagues working on the production and patent application of three-dimensional relief rubbings. One is Han Zhiqiang from the Dapuqiao Community Cultural Activity Center in Huangpu District, Shanghai. Their patent is titled "A Method for Preparing Three-Dimensional Relief Rubbings by Back Filling" (application number 201610437237.5). This method requires the use of an intaglio mold, with text and patterns engraved on the reverse side. Due to these limitations, this method is limited to mold-based production, is rarely seen, and the finished product is generally small. The method of filling the rubbing with silicone and covering it with paper after it is completed, suggests that the pigment is applied to the mold rather than directly onto the paper. This makes it difficult to control the depth and intensity of color, resulting in a low yield rate and a lack of refined detail, making it difficult to produce a high-quality piece. While the strength and toughness of cured silicone offer some advantages in workability, the finished product cannot be folded and has limited curling, making it suitable only for small pieces rather than large ones. The reliance on modern materials (silicone) to achieve the three-dimensional effect has a relatively low relevance to traditional craftsmanship.

[0007] The second is Feng Wanpeng and Feng Gaoming of No. 64, Fourth Street, Economic Development Zone, Zhengzhou City, Henan Province. The patent name is "A three-dimensional rubbing and its preparation method" (application number: 202311473972.8). This method mainly relies on the paper to be softened under hot and humid conditions for rubbing. Although it can also show concave and convex patterns, the relief effect is relatively not prominent, and it cannot well reflect the complex patterns or small text on the objects; when freeze-drying is used to make rubbings, the paper will become brittle, with poor flexibility and easy to break, which is not conducive to carrying and storage; only through freeze-drying and spraying varnish, although there is a certain protective effect, the shelf life may be relatively short. This method mainly emphasizes the presentation of three-dimensional effects, and does not mention subsequent artistic processing such as mounting, and the artistic appeal is relatively limited.

[0008] The present invention is an innovation based on the traditional rubbing process. The traditional process includes cleaning the vessel, covering with rice paper, beating to reveal the lines, rubbing and coloring, peeling off the rubbing, and mounting the rubbing. The innovation of the present invention lies in: selecting thick rice paper as the rubbing carrier, which is about twice as thick as the traditional method. After coloring, new steps are added, such as peeling and gluing the plate, curing and spraying, filling with slurry, and softening the rubbing. Through these steps, the rubbing obtained has the characteristics of being flat, three-dimensional, with obvious relief effect, foldable and rollable, and stretchable. It has good visual effects and strong artistic appeal. It overcomes the shortcomings of other three-dimensional rubbing methods, such as low yield, less refined details, brittle paper, poor flexibility, and only being able to produce small pieces. It solves many problems of other three-dimensional rubbing methods, such as easy deformation, non-foldability, limited curling, relatively short shelf life, and inconvenience in carrying and storage.

[0009] In addition, two application documents entitled "A Technique for Transmitting High-Relief Stone Carvings" (application number 201410219563.X) and "A Process for Making High-Relief Rubbings with Three-Dimensional Effect" (application number 201710497430.2) were found, which also involve the production of "relief" and "three-dimensional" rubbings, which are full-shape rubbings and are not within the same scope as the present invention. Summary of the Invention

[0010] The present invention aims to provide a method for producing three-dimensional relief rubbings, which can efficiently and conveniently produce rubbings with three-dimensional relief effects while retaining the details of the patterns and text on the surface of the object.

[0011] The method of the present invention comprises the following steps:

[0012] Choosing artifacts: Choose artifacts with relief carvings or artifacts that are mainly relief carvings;

[0013] Cleaning utensils: Use clean water to clean the surface of the utensils to ensure that they are clean and tidy;

[0014] Paper selection: 1. Pure bark rice paper, good toughness and strong tensile strength; 2. The paper should be delicate, clean, without particles and impurities; 3. The paper should be thick, generally around 75g to 80g. You can also mount two pieces of rice paper of about 30g together and use them.

[0015] Cover with rice paper: After cleaning the object, cover it with a thick piece of rice paper or two pieces of mounted rice paper. The rice paper must be wet-treated and slightly larger than the object. Then use a brown brush to smooth it out, making sure there are no wrinkles or bubbles on the paper.

[0016] Beating to reveal texture: Use a bristle brush to gently tap the surface of rice paper to make the text and patterns stand out and reveal the texture of the writing;

[0017] Color rubbing: When the paper is 70% dry, use a rubbing bag dipped in ink or other pigments to make clear rubbings of the image or text;

[0018] Peeling and gluing the board: After coloring is completed, but before the rubbing is completely dry, peel it off from the object, then lay it flat on the wooden board with the front side facing down and the back side facing up. Use glue to firmly stick the four sides to the board. This will prevent the rubbing from deforming due to uneven shrinkage during the natural drying process.

[0019] Curing and varnishing: Once the rubbing is completely dry and flat, spray an even layer of curing agent on the paper surface. After an hour, spray two coats of waterproof varnish. Leave about an hour between each spray.

[0020] Filling with slurry: After curing and painting, the rubbing should be filled with slurry. The slurry used for filling is homemade glutinous rice slurry. Glutinous rice slurry is made by mixing glutinous rice juice, lime, and white stone powder. The ratio is 1000g glutinous rice juice (made from 100g glutinous rice flour): 80-100g lime powder: 80-100g white stone powder. When filling with slurry, apply thicker and more slurry to areas with grooves on the paper surface. While applying the slurry, frequently and quickly tap the edge of the wooden board with a wooden hammer. The vibration ensures that the glutinous rice slurry is fully filled into the grooves on the paper surface, tightly bonding the glutinous rice slurry in the grooves and reducing air holes and sand holes. Repeat this process several times until the grooves are completely filled and level. For areas without grooves, just apply a thin, even layer of glutinous rice slurry.

[0021] Softening the rubbing: After the back of the rubbing is filled with glutinous rice ash, it will gradually harden during the natural drying process. Once dry, it will become like cardboard and cannot be folded or rolled, making it inconvenient to carry and difficult to store. Therefore, the rubbing must be softened when it is 70% dry. The method is to brush it with cactus egg white liquid. The method for making cactus egg white liquid is: after removing the spines of the cactus, crush it in a juicer, filter out the residue with gauze to obtain cactus juice, then add 53% alcohol white wine, bring to a boil over low heat, cool, add egg white and mix well. The ratio is: 250ml cactus juice: 500ml white wine: 2 egg whites.

[0022] After brushing with cactus egg white liquid, let it dry naturally. After being peeled off from the wooden board, the rubbing is soft and the solidified mortar in the grooves of the paper is not affected. The rubbing can be folded and rolled and stretched freely.

[0023] Mounting and foundation mounting: The peeled rubbings need to be mounted and foundation mounted. The method is the same as the technique of supporting and covering the back in traditional Chinese calligraphy and painting mounting.

[0024] By following the above steps, you can get a flat, three-dimensional rubbing with a relief effect. It can be mounted into a scroll or made into a lens. It has good visual effects and strong artistic appeal, which is incomparable to traditional rubbings! BRIEF DESCRIPTION OF THE DRAWINGS

[0025] Figure 1 , "Hundred Family Surnames (Wang)" made using traditional rubbing method

[0026] Figure 2 , a cinnabar three-dimensional relief rubbing of "Hundred Family Names (Wang)" made using the present invention

[0027] Figure 3 , "Auspiciousness and Good Fortune" made using traditional flat rubbing method

[0028] Figure 4 2. The cinnabar three-dimensional relief rubbing "Good Luck and Happiness" made by the present invention

[0029] Figure 5 , a tripod made using the traditional full-shape rubbing method DETAILED DESCRIPTION

[0030] The present invention is an innovative product based on traditional technology.

[0031] The traditional technology involved in the present invention mainly includes the following aspects:

[0032] S1: Clean the utensils. Wash the surface of the utensils with clean water to ensure that they are clean and tidy.

[0033] S2: Cover with rice paper: After cleaning the vessel, cover it with a piece of wet-treated rice paper that is slightly larger than the vessel, and then use a brown brush to smooth it out, ensuring that there are no wrinkles or bubbles on the paper;

[0034] S3: Tap to Reveal Grain: Use a bristle brush to gently tap the surface of the rice paper to make the pattern stand out and the texture of the writing appear. Use moderate force to avoid damaging the paper.

[0035] S4: When the paper is 70% dry, use a rubbing bag dipped in ink or other pigments to repeatedly rub the paper until the pattern and text on the object are clearly printed out.

[0036] S5: Peel off the rubbing before it is completely dry.

[0037] The unprecedented innovations of this invention are as follows:

[0038] S6: Choose a thick, sturdy Xuan paper as the carrier for the rubbing. Traditionally, the thinner the Xuan paper used, the better, given its toughness and fineness. Typically, Xuan paper as thin as a cicada's feather is used. However, this method requires thicker Xuan paper, approximately 75 to 80 grams, roughly twice as thick as traditional paper. If Xuan paper of this thickness is unavailable, two sheets of approximately 30 grams of Xuan paper can be mounted together.

[0039] S7: In traditional rubbing, after coloring, the rubbing is completed by peeling it off. However, the present invention has the following steps:

[0040] 1. Peeling and gluing the board: Peel off the rubbing before it is completely dry, then lay it flat on a wooden board with the front side facing down and the back side facing up. Glue the four sides firmly with glue to prevent deformation due to uneven shrinkage during the natural drying process.

[0041] 2. Curing and varnishing: Once the rubbing is completely dry, stretch it out naturally and then spray an even layer of curing agent on the paper. After an hour, spray two coats of waterproof varnish. Leave about half an hour between each spray.

[0042] 3. Filling with slurry: After curing and painting, the rubbing should be filled with slurry. The slurry used for filling is homemade glutinous rice slurry. Glutinous rice slurry is made from glutinous rice juice, lime, and white stone powder. The ratio is: 1000g glutinous rice juice (made from 100g glutinous rice flour): 80-100g lime powder: 80-100g white stone powder. When slurrying, apply a thicker and more generous amount of slurry to areas with grooves on the paper surface. While slurrying, frequently and quickly tap the edge of the board with a wooden hammer. This vibration ensures that the glutinous rice slurry fully fills the grooves, ensuring a tight bond and reducing air holes and pinholes. Repeat this process several times until the grooves are completely filled and level. For areas without grooves, simply apply an even, thin layer of glutinous rice slurry.

[0043] 4. Softening the rubbing: After the back of the rubbing is filled with glutinous rice ash, it will gradually harden during the natural drying process. Once dry, it will become like a cardboard shell and cannot be folded or rolled, making it inconvenient to carry and difficult to store. Therefore, the rubbing must be softened when it is 70% dry. The method is to brush it with cactus egg white liquid. The method of making cactus egg white liquid is: after removing the thorns of the cactus, crush it in a juicer, filter out the residue with gauze to obtain cactus juice, then add 53% white wine, bring to a boil over low heat, cool, add egg white and mix well. The ratio is: 250ml cactus juice: 500ml white wine: 2 egg whites.

[0044] After brushing with cactus egg white liquid, let it dry naturally and peel it off from the wooden board. The rubbing is soft and the solidified mortar in the grooves of the paper is not affected. The rubbing can be folded and rolled and stretched freely.

[0045] Mounting and foundation mounting: The peeled rubbings need to be mounted and foundation mounted. The method is the same as the technique of supporting and covering the back in traditional Chinese calligraphy and painting mounting.

[0046] By following the above steps, you can get a flat, three-dimensional rubbing with a relief effect. It can be mounted into a scroll or made into a lens. It has good visual effects and strong artistic appeal, which is incomparable to traditional rubbings!

Claims

1. A method for producing a rubbing with a three-dimensional relief effect, comprising the following steps: (1) Cleaning the utensils: Use clean water to clean the surface of the utensils and ensure that they are clean and tidy; (2) Paper selection: Pure bark rice paper, good toughness and strong tensile strength; the paper is fine, clean, without particles and impurities; the paper should be thick, generally around 75g to 80g, or two pieces of 30g rice paper can be mounted together for use. (3) Cover with rice paper: After cleaning the vessel, cover it with a thick piece of rice paper or two pieces of mounted rice paper. The rice paper must be wet-treated and slightly larger than the vessel. Then use a brown brush to smooth it out and ensure that there are no wrinkles or bubbles on the paper. (4) Tap to reveal texture: Use a bristle brush to gently tap the surface of the rice paper to make the pattern stand out and the texture of the writing appear; (5) Color rubbing: When the paper is 70% dry, use a rubbing bag dipped in ink or other pigments to make a clear rubbing of the image or text; (6) Peeling and gluing: When the rubbing is not completely dry, peel it off from the object, and then lay it flat on the wooden board with the front side facing down and the back side facing up. Use glue to firmly stick the four sides to the wooden board. This will prevent the rubbing from deforming due to uneven shrinkage during the natural drying process. (7) Curing and painting: After the rubbing is completely dry and flat, spray a layer of curing agent evenly on the paper surface. After one hour, spray two coats of waterproof varnish. The interval between the two sprayings is about one hour. (8) Filling with slurry: After the rubbing has been cured and painted, it needs to be filled with slurry. The slurry used for filling is homemade glutinous rice slurry. Glutinous rice slurry is made by mixing glutinous rice juice, lime and white stone powder. The ratio is 1000g glutinous rice juice (made by boiling 100g glutinous rice powder): 80-100g lime powder: 80-100g white stone powder. When filling with slurry, the paper surface with concave grooves should be filled with thicker and more slurry. While filling with slurry, use a wooden hammer to frequently and quickly hit the edge of the wooden board. Through the beating and vibration, the glutinous rice slurry is fully filled into the concave grooves of the paper surface, so that the glutinous rice slurry in the concave grooves is tightly combined to reduce pores and sand holes. Repeat several coats of glutinous rice slurry until the concave grooves are filled and leveled. For the paper surface without concave grooves, just brush a thin layer of glutinous rice slurry evenly. (9) Softening the rubbing: After the back of the rubbing is filled with glutinous rice ash, it will gradually harden during the natural drying process. After it is completely dry, it will become like a paper shell, which cannot be folded or rolled, making it inconvenient to carry and difficult to store. Therefore, the rubbing must be softened when it is 70% dry. The method is to brush it with cactus egg white liquid. The method of making cactus egg white liquid is: after removing the thorns of the cactus, crush it in a juicer, filter out the residue with gauze to obtain cactus juice, then add 53% white wine, boil it over low heat, cool it, add egg white and mix well. The ratio is: 250ml cactus juice: 500ml white wine: 2 egg whites. (10). After brushing with cactus egg white liquid, let it dry naturally. After peeling it off from the wooden board, the rubbing is soft and flat, and the solidified mortar in the concave grooves of the paper is not affected. The rubbing can be folded and rolled and stretched freely. (11) Mounting with a base: The peeled rubbings need to be mounted with a base, and the method is the same as the base-mounting and back-mounting technique in traditional Chinese calligraphy and painting mounting.

2. The method for making rubbings according to claim 1, wherein: The thickness of the rice paper in step (2) is about 75 grams to 80 grams, or two pieces of rice paper of about 30 grams are mounted together for use.

3. The method for making rubbings according to claim 1, wherein: Steps (6) and (7) of peeling and gluing the board: when the rubbing is not completely dry, peel it off from the object, then lay it flat on the wooden board with the front side facing down and the back side facing up, firmly stick the four sides to the wooden board with glue, and then cure and spray paint.

4. The method for making rubbings according to claim 1, wherein: The slurry filling process in step (8) is as follows. The glutinous rice mortar is made by mixing 1000g glutinous rice juice, 80-100g lime powder and 80-100g white stone powder.

5. The method for making rubbings according to claim 1, wherein: The softening rubbing treatment in step (9) is as follows: The cactus egg white liquid is prepared from 250 ml of cactus juice, 500 ml of white wine, and 2 egg whites.

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