Imitated Chinese art paper ceramic as well as preparation method and application thereof

Abstract

The invention relates to imitation rice paper ceramic as well as a preparation method and application thereof, and the imitation rice paper ceramic comprises a dry blank body which is prepared from dry mud powder, polyvinyl alcohol and water; the non-woven fabric layer is adhered to the surface of the dry blank body, one side of the non-woven fabric layer is provided with slurry, and the side, provided with the slurry, of the non-woven fabric layer is adhered to the dry blank body; the surface of the non-woven fabric layer is coated with the liquid binding agent layer; the painting and calligraphy layer is drawn on the surface of the liquid binding agent layer; the glaze layer covers the surface of the liquid binding agent layer on which the written surface is drawn. Compared with the prior art, the surface of the ceramic has the texture texture of Chinese art paper when the ceramic is used as a green body, and meanwhile, the shading effect like raw Chinese art paper can be achieved during painting and calligraphy creation. The calligraphy and painting creator can create calligraphy and painting on the ceramic as on Chinese art paper. And after creation, the user can see the creation effect immediately.

Description

Technical Field

[0001] The present invention relates to the technical field of ceramics, in particular to a rice paper imitation ceramic and a preparation method and application thereof. Background Art

[0002] Xuan paper's ability to create a smoky effect stems from its unique fiber network, which makes it porous and absorbent. Upon contact, ink penetrates and diffuses through the interfiber gaps. Ordinary household ceramics, in their green state, absorb a high amount of water, but their pores are extremely small and randomly distributed. The pigment particles are much larger than the pores. When pigment is applied to the surface of the green paper, it quickly absorbs water, removing the water from the pigment and preventing it from entering the pores and diffusing with the water. Consequently, the smoky effect of Xuan paper is impossible to achieve. After firing, some pores close, but their pore size remains essentially unchanged, making the smoky effect impossible. Furthermore, the texture imparted by the fibers of Chinese euphorbia bark and rice straw to Xuan paper is difficult to achieve with ordinary ceramics. Similarly, pottery also has a high water absorption rate, making it unable to achieve the smoky effect of Xuan paper, and lacks the warm, smooth texture and crisp sound of porcelain when struck.

[0003] There are currently three existing processes for achieving a sfumato effect on ceramics:

[0004] (1) The production of the blooming effect usually depends on the metal oxides (such as iron, copper, cobalt, manganese, etc.) or specific mineral components in the glaze or colorant. These substances will undergo oxidation or reduction reactions at high temperatures and diffuse through the molten glaze layer to form a gradient or mixed blooming effect of color. Existing public disclosures include CN104476976A, CN104108954A, CN105060858A, CN1648106A, and CN106365694A. The problem with this process is that the blooming effect of the colorant is diffused through the melting effect of the glaze layer. The blooming effect cannot be seen after the painting is completed, and the blooming effect can only be seen after the sintering is completed. The requirements for the glazing process and glaze composition are high, so the yield rate is also low, and the impromptu creation of calligraphers, painters and artists may be ruined.

[0005] The high temperature colored glaze ceramics mentioned in document 1 are composed of two parts: the body and the glaze layer (such as Figure 2 As shown). The body is made of kaolin, feldspar and quartz in a ratio of about 40:35:25; the glaze layer is a transparent or translucent glass phase of silicates, and the SiO2 content is usually above 60%; 0.1-5% of metal oxides (such as CoO, CuO, Fe2O3, MnO) are added as colorants, and a slight kiln-changed smudge effect is formed by melting and diffusion at high temperature. Due to the diffusion of colorants in high-temperature glaze liquid, the change of atmosphere driven by viscous flow and the difference in local structure of the glaze layer, the final ceramic products are as follows. Figure 1As shown. The composite glaze ceramics mentioned in Reference 2 typically utilize a three-layer composite glaze: a body, a base glaze, and a top glaze. The body is based on kaolin, quartz, and feldspar in a ratio of approximately 40:30:30. The base glaze is typically a transparent or translucent high-silica glaze with a thickness of 0.3-0.5 mm. Colorants such as Fe₂O₃, CuO, MnO₂, and CoO are added to the base glaze. The top glaze is typically a fluid glaze, fired at a temperature of 1260-1280°C. After the ceramic body is completely dry, the first layer of base glaze is applied by dipping. The base glaze has strong adhesion. The second layer of top glaze is applied using an air pump spray. The top glaze has strong fluidity and is applied thinner than the base glaze. The top glaze is highly fluid after melting, while the base glaze is less fluid after melting. During the high-temperature firing process, the base and top glazes blend together, creating a "blooming" effect. The copper oxide, iron oxide and other metallic colorants in the glaze melt at high temperature and diffuse into the surrounding glaze layer, creating a color diffusion effect. Usually the base glaze layer is thicker and the color is darker after melting; the top glaze is thinner and lighter in color, and after melting at high temperature, a diffused visual effect is formed. The final ceramic product is as follows Figure 2 The above two ceramics have the following two problems: after the painting is completed, the state of the smudging cannot be directly seen, and the effect of creating on rice paper cannot be achieved; the smudging effect is directional, and the smudging effect is caused by its gravity, mainly flowing downward.

[0006] (2) The clay particles on the surface of the ceramic body are piled up with a sponge-like clay layer, and there are vertical and horizontal gaps between the piled clay particles. The creation is done using the brush and ink and organic pigments used when painting on rice paper. For example, CN2611185Y discloses a ceramic rice paper, but ordinary brush and ink and organic pigments will be burned off at high temperatures. The ceramic surface of this process is clay and is not subjected to the final high-temperature sintering after the calligraphy and painting creation. It cannot have the warm texture of porcelain after sintering and the crisp sound when knocked. Another example is CN202806143U discloses a kind of ink painting ceramic handicraft, in which the ink painting is pasted on the outer surface of the middle part of the ceramic body and the paint layer is sprayed on the outside. The ink painting is not created by the artist himself on the ceramic body, and lacks artistic value.

[0007] (3) Achieve a shading effect through brushstroke techniques. The blue and white water separation technique mentioned in Document 3, blue and white porcelain consists of a three-layer structure: body, glaze layer and blue and white colorant. The body is made of kaolin, feldspar and quartz in a ratio of about 40:30:30; the glaze layer mostly uses high-silicon transparent glaze, the thickness is controlled at 0.2-0.4 mm, and the glaze is evenly and smoothly applied. The blue and white colorant is mainly composed of cobalt oxide (CoO) powder, and the content is generally controlled at 1-3%. First, the porcelain body is fired at 800-1100℃, then the transparent glaze is evenly applied, and then the blue and white patterns are drawn on the glaze with a brush, and finally a transparent top glaze is applied again, and a second high-temperature firing (about 1250-1280℃) is carried out. The shading effect is achieved by controlling the concentration of cobalt oxide (CoO) pigment. CoO powder is added to the aqueous slurry at a mass ratio of 1%-3%, and ground to D 50 The fineness is about 2 to 5 μm to ensure uniform dispersion of the pigment. When drawing, use a soft brush to dot and smudge on the surface of the glaze layer (the thickness of the glaze layer is about 0.2 to 0.4 mm) with different concentrations. The concentration gradient ranges from about 5 g / L to 1 g / L, forming a gradient effect from dark to light. The glaze surface is kept moderately moist to promote the microscopic diffusion of the pigment. By drawing with multiple layers, the smudge level can be further enhanced. Finally, a thin layer of transparent glaze may or may not be covered on the surface of the blue and white pattern. The final ceramic product is as follows Figure 3 However, because this process requires the base to absorb water, if the base is too thin, it is very easy for the base or part of it to soften and deform due to excessive water absorption. In addition, the water-dividing painting method requires high skills and requires a long time of practice to master its essentials.

[0008] References:

[0009] Reference 1: Xie Kangxun. Research on the performance of high temperature colored glaze fluidity in porcelain painting creation[J]. Ceramics, 2024, (08): 50-53.

[0010] Reference 2: Xiong Hejing, Zhong Xingfuzi. Research on the decorative characteristics of composite glaze and its influence in teaching[J]. Jingdezhen Ceramics, 2024, 52(04):86-88.

[0011] Reference 3: Huang Peng. Application of blue and white water separation technique in contemporary ceramic art creation[J]. Ceramics Research, 2024, 39(06):137-139. Summary of the Invention

[0012] The present invention aims to overcome the aforementioned shortcomings of the prior art by providing a rice paper-like ceramic, its preparation method, and its application. This ceramic, when in its green state, has the texture of rice paper on its surface, while also achieving a smudged effect similar to that of raw rice paper when used for calligraphy and painting. This allows calligraphers and painters to create calligraphy and paintings on ceramics just as they would on rice paper, and to instantly view the results of their work after creation.

[0013] The purpose of the present invention can be achieved by the following technical solutions:

[0014] One of the technical solutions of the present invention is to provide a rice paper imitation ceramic, comprising:

[0015] A dry embryo body is prepared from dry mud powder and polyvinyl alcohol solution;

[0016] A non-woven fabric layer with mud on one side is attached to the surface of the dry embryo, wherein the side of the non-woven fabric layer with mud is attached to the dry embryo;

[0017] a liquid binder layer coated on the surface of the non-woven fabric layer;

[0018] a calligraphy and painting layer drawn on the surface of the liquid binder layer;

[0019] and a glaze layer covering the surface of the liquid binder layer on which the writing is drawn.

[0020] Furthermore, the mass ratio of the dry mud powder to the polyvinyl alcohol solution is 100:20-45, preferably 100:25-35; the concentration of the polyvinyl alcohol solution is 5wt%-10wt%;

[0021] The mud is prepared from dry mud powder and water, wherein the mass ratio of the dry mud powder to water is 100:40-70, preferably 100:50-60;

[0022] The coating rate of the mud on the non-woven fabric layer is 50% to 100%, preferably 80% to 100%. The coating area is the area to be created. The coating area is on the back of the non-woven fabric and is not easy to observe after covering. Therefore, a high coating rate can prevent the creative area from exceeding the coating area. The coating amount is 0.65 to 0.90 g / cm 2 ; The coating thickness is 0.1 to 1 mm, preferably 0.4 to 0.6 mm.

[0023] Furthermore, the mud is prepared by fully stirring dry mud powder and water to form a paste to obtain mud.

[0024] Furthermore, the dry mud powder comprises, by mass, 36-60 parts of kaolin, 16-26 parts of quartz, 15-24 parts of clay, and 5-10 parts of talc; preferably 45-55 parts of kaolin, 18-24 parts of quartz, 18-22 parts of clay, and 6-8 parts of talc.

[0025] Furthermore, the non-woven fabric used in the non-woven fabric layer includes polypropylene non-woven fabric, polyester non-woven fabric, viscose fiber non-woven fabric, polyethylene non-woven fabric, and the specification of the non-woven fabric is 60-80g / m 2If the creative area is larger than a single piece of non-woven fabric, you can use multiple fully coated non-woven fabrics to splice;

[0026] The liquid binder layer adopts a liquid binder including silica sol, aluminum sol, liquid phosphate binder, and water glass. The coating amount of the liquid binder is 0.6-1.5 g / cm 2 ;

[0027] The glaze used in the glaze layer includes shadow blue glaze, transparent glaze or matte glaze, and the coverage of the glaze is 0.7-2g / cm 2 .

[0028] The second technical solution of the present invention is to provide a method for preparing rice paper-like ceramics, comprising the following steps:

[0029] S1, mixing the dry mud powder and the polyvinyl alcohol solution, forming a wet embryo body, and drying the mixture to obtain the dry embryo body;

[0030] S2. attaching a non-woven fabric with mud on one side to the dry embryo, wherein the side of the non-woven fabric with mud is in contact with the dry embryo, pressing the non-woven fabric to adhere to the dry embryo, and drying to obtain a non-woven fabric layer;

[0031] S3, applying a liquid binder on the surface of the non-woven fabric layer, and drying to obtain the liquid binder layer;

[0032] S4, writing or drawing on the surface of the liquid binder layer, and obtaining the calligraphy and painting layer after drying;

[0033] S5. Apply glaze on the surface of the liquid binder layer with the text drawn on it, and then fire it after drying to obtain the glaze layer. At this time, the rice paper-like ceramics are obtained and completed.

[0034] Furthermore, in step S1, the preparation process of the dry mud powder is: weighing 36-60 parts of kaolin, 16-26 parts of quartz, 15-24 parts of clay, and 5-10 parts of talc, mixing the above raw materials in proportion, drying, crushing, and grinding to obtain dry mud powder.

[0035] Furthermore, in step S1, the forming method includes throwing, rolling, coating or extrusion forming to form the wet embryo into the desired shape of artwork or daily necessities.

[0036] Furthermore, in step S1, the drying method is to dry in the shade under ventilation conditions for more than 24 hours until the wet green body is dry and has sufficient strength to obtain a dry green body;

[0037] In step S2, the drying method is natural drying or air drying for more than 12 hours;

[0038] In step S3, the drying method is natural drying or air drying for more than 3 hours until no water marks are left;

[0039] In step S4, the drying method is natural drying for more than 12 hours;

[0040] In step S5, the drying method is to dry naturally for more than 3 hours until the glaze layer is dry, and then glaze is applied again 1 to 3 times to make the glaze layer evenly distributed on the surface of the liquid binder layer of the dry body. After the glazing is completed, the body is dried naturally for more than 24 hours. The thicker the body, the longer the drying time should be. After drying, the firing process can be entered.

[0041] Furthermore, in step S1, the thickness of the dry embryo body is 1 to 5 mm;

[0042] In step S5, the firing temperature is 1200-1400°C, the heating rate is 2-5°C / min, and the holding time is 5-12 hours. The holding time is generally determined by the size and thickness of the product. Small and thin products require a high heating rate and a short holding time, while large and thick products require a slow heating rate and a long holding time.

[0043] Furthermore, in step S3, the liquid binder is applied by spraying or brushing. After the coating is naturally dried or air-dried until there is no water mark, the surface of the non-woven fabric is required to harden and the surface of the non-woven fabric cannot be completely covered by the adhesive layer. After complete coverage, there is no rice paper texture, and the blurring effect will also be affected. Repeat the coating and drying 1 to 5 times. In the coating process, the liquid binder is liquid and solid after drying. With each layer of coating, the liquid binder will be more on the original basis. The non-woven fabric surface cannot be completely covered by the adhesive layer means that after the liquid binder dries, the fibers of the non-woven fabric can still be seen from the outer surface. If the liquid binder covers too much, the non-woven fabric will be completely covered.

[0044] Furthermore, in step S2, a layer of water film is sprayed on the surface of the dry body to moisten the surface of the body. The water film is required not to gather into water droplets and cannot flow. Then, a non-woven fabric with mud on one side is attached to the dry body. The attachment process is as smooth as possible, or appropriate wrinkles are left according to the desired artistic effect. After the attachment is completed, the surface of the non-woven fabric is gently pressed with hands or a brush to make it fit better with the dry body.

[0045] In step S4, when writing or drawing is performed on the surface of the liquid binder layer, it is performed when the liquid binder is applied for the last time and the water has not dried, or after drying, it is performed by spraying a layer of water.

[0046] Furthermore, in step S4, the moisture content is 0.1-0.5 g / cm when the liquid binder is applied for the last time and the moisture is not dried. 2 After drying, spray a layer of water at a rate of 0.4 to 1 g / cm 2, determined according to the blending effect required in subsequent painting.

[0047] Furthermore, in step S4, when the local blurring effect of writing or drawing is insufficient, a small amount of water can be lightly sprayed at that location to increase the blurring effect.

[0048] Furthermore, in step S4, the ink and pigment used for writing or painting are common colorants in the ceramic industry. Ceramic colorants are coloring materials used for ceramic products (such as glazes, green bodies, and decorative patterns). They form stable colors on the surface or inside of ceramics after high-temperature firing. Their components are usually metal oxides, composite oxides, or silicate compounds, which can withstand high temperatures (usually 800°C to 1400°C) and maintain color stability. The pigments used in daily calligraphy and painting are mostly organic and usually burn out after high temperatures.

[0049] The third technical solution of the present invention is to provide an application of rice paper-like ceramics in processing decorative items.

[0050] Furthermore, the decorations include home decorations.

[0051] Compared with the prior art, the present invention has the following advantages:

[0052] (1) The rice paper-like ceramics of the present invention make the ceramic surface have the texture of rice paper when it is green, and at the same time, can achieve the same blurring effect as raw rice paper when creating calligraphy and painting. It allows calligraphers and painters to create calligraphy and painting on ceramics just like on rice paper. And after the creation, the artist can immediately see the effect of his own creation. After simple glazing operation and sintering using ordinary transparent glaze or other glazes with artistic effects, the work can be stably retained on the ceramic. The glazing process is simple, the requirements for the composition of the glaze are not high, the yield rate is high, the artist's impromptu creation can be effectively preserved, and it has high artistic application value.

[0053] (2) The present invention adopts dry clay powder and polyvinyl alcohol solution to mix and prepare a dry embryo. The polyvinyl alcohol solution not only provides strength at room temperature during the ceramic forming process, but also ensures the plasticity of the dry embryo, so that it can be formed into a dry embryo as thin as 0.5 to 5 mm. The polyvinyl alcohol solution can be used as an organic solvent to effectively block the pores on the surface of the dry embryo, and when the non-woven fabric is subsequently attached to the surface of the dry embryo, the bonding success rate can be effectively improved. Ordinary ceramic embryos have a high water absorption rate in a dry state. When the non-woven fabric is subsequently attached, a large amount of water needs to be sprayed on the surface, and the water will be absorbed into the dry embryo, causing the dry embryo to soften, deform, or even crack. The polyvinyl alcohol solution can also effectively adjust the porosity of the dry embryo to maintain the porosity at ≤12%, thereby achieving the rice paper-like effect of rice paper-like ceramics.

[0054] (3) After the invention is completed but before sintering, the colorant has produced a blending effect; after sintering, the blending effect of the colorant is the same as when the invention is completed. Non-woven fabrics are porous materials composed of medium-length fine fibers with a certain thickness. The pores inside the non-woven fabric are randomly distributed, with a high porosity and interconnected pores. During calligraphy and painting creation, the colorant can penetrate along the interconnected pores inside the non-woven fabric. The binder can fix the fibers of the non-woven fabric. If no binder is added, during the sintering process, the fibers of the organic material will first melt and then burn. During the melting process, the fibers will shrink and deform, causing the colorant and glaze in the fiber pores to also deform. BRIEF DESCRIPTION OF THE DRAWINGS

[0055] Figure 1 This is a photograph of the ceramic shown in Document 1;

[0056] Figure 2 This is a photograph of the ceramic shown in Document 2;

[0057] Figure 3 This is a photograph of the ceramic shown in Document 3;

[0058] Figure 4 This is a schematic structural diagram of the rice paper-like ceramic shown in Example 1;

[0059] Figure 5 This is a photo of the rice paper-like ceramic shown in Example 1;

[0060] Figure 6 This is a picture of the rice paper texture of the imitation rice paper ceramic shown in Example 1 before writing;

[0061] Figure 7 This is a photograph of the imitation rice paper ceramic painting and calligraphy layer shown in Example 1;

[0062] Figure 8 This is a photo of the rice paper-like ceramic shown in Example 2;

[0063] Figure 9 is a photograph of the ceramic shown in Comparative Example 1;

[0064] Figure 10 is a photograph of the ceramic shown in Comparative Example 2;

[0065] Figure 11 This is a partial photograph of the ceramic shown in Comparative Example 2;

[0066] Figure 12 A photograph of the ceramic shown in Comparative Example 3.

[0067] Description of the marks in the figure:

[0068] 1-Dry embryo;

[0069] 2-non-woven fabric layer, 21-mud;

[0070] 3-liquid binder layer;

[0071] 4- calligraphy and painting layer;

[0072] 5- Glaze layer. DETAILED DESCRIPTION

[0073] The present invention is described in detail below with reference to the accompanying drawings and specific embodiments. This embodiment is implemented based on the technical solution of the present invention, and provides a detailed implementation method and specific operation process, but the scope of protection of the present invention is not limited to the following embodiments. Based on the given embodiments, all other embodiments obtained by ordinary technicians in this field without making creative work are within the scope of protection of this application.

[0074] Unless otherwise specified, the reagents, methods, instruments and equipment used in the present invention are conventional reagents, methods, instruments and equipment in the art.

[0075] In the following examples, the raw materials used in the present invention are from the following sources:

[0076] Kaolin: Shijiazhuang Aokai Mineral Products Co., Ltd., 325 mesh calcined kaolin;

[0077] Quartz: Lingshou County Jinghong Mineral Products Co., Ltd., 325 mesh natural quartz powder;

[0078] Clay: Lingshou County Anda Mineral Powder Factory, yellow clay;

[0079] Talc: Lingshou County Tuolin Mineral Products Processing Plant, calcined talc powder 1250 mesh;

[0080] Polyvinyl alcohol: China Petrochemical Group Chongqing Chuanwei Chemical Co., Ltd., 088-20 (120 type);

[0081] Non-woven fabric: Dongguan Youyu Industrial Investment Co., Ltd., PP spunlace non-woven fabric;

[0082] Silica sol: Shandong Better New Materials Co., Ltd., LA3010B;

[0083] Shadow green glaze: Liangheng Ceramics, medium temperature shadow green glaze;

[0084] Transparent glaze: Liangheng Ceramics, medium and high temperature transparent glaze;

[0085] Red pigment: medium red, bright red-dry powder;

[0086] Blue pigment: medium, sea blue-dry powder.

[0087] A rice paper imitation ceramic comprising:

[0088] A dry embryo 1 is prepared from dry mud powder and polyvinyl alcohol solution;

[0089] A non-woven fabric layer 2 with a slurry 21 on one side is attached to the surface of the dry embryo 1, wherein the side of the non-woven fabric layer 2 with the slurry 21 is attached to the dry embryo 1;

[0090] a liquid binder layer 3 coated on the surface of the non-woven fabric layer 2;

[0091] A calligraphy and painting layer 4 drawn on the surface of the liquid binder layer 3;

[0092] and a glaze layer 5 covering the surface of the liquid binder layer 3 on which the text is drawn.

[0093] In some specific embodiments, the mass ratio of the dry mud powder to the polyvinyl alcohol solution is 100:20-45, preferably 100:25-35; the concentration of the polyvinyl alcohol solution is 5wt%-10wt%;

[0094] The mud 21 is prepared from dry mud powder and water, wherein the mass ratio of the dry mud powder to water is 100:40-70, preferably 100:50-60;

[0095] The coating rate of the mud 21 on the non-woven fabric layer 2 is 50% to 100%, preferably 80% to 100%. The coating area is the area to be created. The coating area is on the back of the non-woven fabric and is not easy to observe after covering. Therefore, a high coating rate can prevent the creative area from exceeding the coating area. The coating amount is 0.65 to 0.90 g / cm 2 ; The coating thickness is 0.1 to 1 mm, preferably 0.4 to 0.6 mm.

[0096] In some specific embodiments, the preparation process of the mud 21 is as follows: dry mud powder and water are fully stirred to form a paste, thereby obtaining the mud 21 .

[0097] In some specific embodiments, the dry mud powder comprises, by mass, 36-60 parts of kaolin, 16-26 parts of quartz, 15-24 parts of clay, and 5-10 parts of talc; preferably, 45-55 parts of kaolin, 18-24 parts of quartz, 18-22 parts of clay, and 6-8 parts of talc.

[0098] In some specific embodiments, the non-woven fabric layer 2 includes polypropylene non-woven fabric, polyester non-woven fabric, viscose fiber non-woven fabric, polyethylene non-woven fabric, and the specification of the non-woven fabric is 60-80g / m 2 If the creative area is larger than a single piece of non-woven fabric, you can use multiple fully coated non-woven fabrics to splice;

[0099] The liquid binder layer 3 uses a liquid binder including silica sol, aluminum sol, liquid phosphate binder, and water glass. The coating amount of the liquid binder is 0.6-1.5 g / cm 2 ;

[0100] The glaze used in the glaze layer 5 includes shadow blue glaze, transparent glaze or matte glaze, and the coverage of the glaze is 0.7-2 g / cm 2 .

[0101] A method for preparing rice paper-like ceramics comprises the following steps:

[0102] S1, mixing the dry mud powder and the polyvinyl alcohol solution, forming a wet embryo, and drying to obtain the dry embryo 1;

[0103] S2, attaching a non-woven fabric with a slurry 21 on one side to the dry embryo 1, wherein the side of the non-woven fabric with the slurry 21 is in contact with the dry embryo 1, pressing the non-woven fabric to adhere to the dry embryo 1, and drying to obtain a non-woven fabric layer 2;

[0104] S3, applying a liquid binder on the surface of the non-woven fabric layer 2, and drying to obtain the liquid binder layer 3;

[0105] S4, writing or drawing on the surface of the liquid binder layer 3, and obtaining the calligraphy and painting layer 4 after drying;

[0106] S5. Apply glaze on the surface of the liquid binder layer 3 with the text drawn on it, dry it, and then fire it to obtain the glaze layer 5. At this time, the rice paper-like ceramic is obtained and completed.

[0107] In some specific embodiments, in step S1, the preparation process of the dry mud powder is: weigh 36-60 parts of kaolin, 16-26 parts of quartz, 15-24 parts of clay, and 5-10 parts of talc, mix the above raw materials in proportion, dry, crush, and grind to obtain dry mud powder.

[0108] In some specific embodiments, in step S1, the forming method includes drawing, rolling, coating or extrusion forming to form the wet embryo into the desired shape of artwork or daily necessities.

[0109] In some specific embodiments, in step S1, the drying method is to dry in the shade under ventilation conditions for more than 24 hours until the wet green body is dry and has sufficient strength to obtain a dry green body;

[0110] In step S2, the drying method is natural drying or air drying for more than 12 hours;

[0111] In step S3, the drying method is natural drying or air drying for more than 3 hours until no water marks are left;

[0112] In step S4, the drying method is natural drying for more than 12 hours;

[0113] In step S5, the drying method is to naturally dry for more than 3 hours until the glaze layer 5 is dry, and then glaze is applied again 1 to 3 times to make the glaze layer 5 evenly distributed on the surface of the liquid binder layer 3 of the dry body 1. After the glazing is completed, the body is naturally dried for more than 24 hours. The thicker the body, the longer the drying time should be. After drying, the firing process can be entered.

[0114] In some specific embodiments, in step S1, the thickness of the dry embryo body 1 is 1 to 5 mm;

[0115] In step S5, the firing temperature is 1200-1400°C, the heating rate is 2-5°C / min, and the holding time is 5-12 hours. The holding time is generally determined by the size and thickness of the product. Small and thin products require a high heating rate and a short holding time, while large and thick products require a slow heating rate and a long holding time.

[0116] Furthermore, in step S3, the liquid binder is applied by spraying or brushing. After the coating is naturally dried or air-dried until there is no water mark, the surface of the non-woven fabric is required to harden and the surface of the non-woven fabric cannot be completely covered by the adhesive layer. After complete coverage, there is no rice paper texture, and the blurring effect will also be affected. Repeat the coating and drying 1 to 5 times. In the coating process, the liquid binder is liquid and solid after drying. With each layer of coating, the liquid binder will be more on the original basis. The non-woven fabric surface cannot be completely covered by the adhesive layer means that after the liquid binder dries, the fibers of the non-woven fabric can still be seen from the outer surface. If the liquid binder covers too much, the non-woven fabric will be completely covered.

[0117] In some specific embodiments, in step S2, a layer of water film is sprayed on the surface of the dry body 1 to moisten the surface of the body. The water film is required not to gather into water droplets and cannot flow. Then, a non-woven fabric with mud 21 on one side is attached to the dry body 1. The attachment process is as smooth as possible, or appropriate wrinkles are left according to the desired artistic effect. After the attachment is completed, the surface of the non-woven fabric is gently pressed by hand or a brush to make it fit better with the dry body.

[0118] In step S4, when writing or drawing is performed on the surface of the liquid binder layer 3, it is performed when the liquid binder is applied for the last time and the water has not dried, or after drying, it is performed by spraying a layer of water.

[0119] In some specific embodiments, in step S4, the moisture content of the liquid binder is 0.1-0.5 g / cm2 when the liquid binder is applied for the last time and the moisture is not dried. 2 After drying, spray a layer of water at a rate of 0.4 to 1 g / cm 2 , determined according to the blending effect required in subsequent painting.

[0120] In some specific embodiments, in step S4, when the local blurring effect of writing or drawing is insufficient, a small amount of water may be lightly sprayed at that location to increase the blurring effect.

[0121] In some specific embodiments, in step S4, the ink and pigment used for writing or painting are commonly used pigments in the ceramic industry. Ceramic pigments are coloring materials used for ceramic products (such as glazes, green bodies, and decorative patterns). They form stable colors on the surface or inside of the ceramic after high-temperature firing. Their components are usually metal oxides, composite oxides, or silicate compounds, which can withstand high temperatures (usually 800°C to 1400°C) and maintain color stability. The pigments used in daily calligraphy and painting are mostly organic and usually burn out after high temperatures.

[0122] The invention discloses an application of rice paper imitation ceramics in processing decorative items.

[0123] The above embodiments may be implemented individually or in any combination of two or more.

[0124] The following describes the details with reference to specific embodiments.

[0125] Example 1

[0126] A rice paper-like ceramic, such as Figure 4 and 5 As shown, including:

[0127] A dry embryo 1 is prepared from dry mud powder and polyvinyl alcohol solution;

[0128] A non-woven fabric layer 2 with a slurry 21 on one side is attached to the surface of the dry embryo 1, wherein the side of the non-woven fabric layer 2 with the slurry 21 is attached to the dry embryo 1;

[0129] a liquid binder layer 3 coated on the surface of the non-woven fabric layer 2;

[0130] A calligraphy and painting layer 4 drawn on the surface of the liquid binder layer 3;

[0131] and a glaze layer 5 covering the surface of the liquid binder layer 3 on which the writing 4 is drawn.

[0132] In this embodiment, the mass ratio of the dry mud powder to the polyvinyl alcohol solution is 100:32, and the concentration of the polyvinyl alcohol solution is 7 wt %;

[0133] The mud 21 is prepared from dry mud powder and water, and the mass ratio of the dry mud powder to water is 100:50;

[0134] The coating rate of the slurry 21 on the non-woven fabric layer 2 is 100%, and the coating amount is 0.7 g / cm 2, the coating thickness is 0.2mm.

[0135] In this embodiment, the preparation process of the mud 21 is as follows: dry mud powder and water are fully stirred to form a paste, thereby obtaining the mud 21 .

[0136] In this embodiment, the dry mud powder includes, by mass, 50 parts of kaolin, 23 parts of quartz, 20 parts of clay, and 7 parts of talc.

[0137] In this embodiment, the non-woven fabric layer 2 is made of PP spunlace non-woven fabric, and the specification of the non-woven fabric is 60g / m 2 ;

[0138] The liquid binder used in the liquid binder layer 3 is silica sol, and the coating amount of the liquid binder is 0.9 g / cm 2 ;

[0139] The glaze used in the glaze layer 5 is shadow blue glaze, and the coverage of the glaze is 1.3g / cm 2 .

[0140] A method for preparing rice paper-like ceramics comprises the following steps:

[0141] S1. Weigh 50 parts of kaolin, 23 parts of quartz, 20 parts of clay, and 7 parts of talc. Mix the above raw materials in proportion, send them into a crusher for crushing and grinding after drying to obtain dry mud powder. Add 100 parts of dry mud powder to a blender, followed by 32 parts of polyvinyl alcohol solution, and mix them using a blender. Use a roller pressing process to make the mud into a wet embryo of about 2 mm (in this embodiment, a mud sheet), and dry it in the shade for 26 hours under ventilation conditions to obtain a dry embryo 1 (in this embodiment, a dry mud sheet).

[0142] S2, take another 100 parts of dry mud powder, add 50 parts of water, stir thoroughly to make it into a paste, and obtain mud 21. Cut non-woven fabric that matches the size of the dry mud piece for use. The specification of the non-woven fabric is 60g / m 2 . Lightly spray a layer of water film on the surface of the dry mud sheet to moisten the surface of the blank. The water film is required not to gather into water droplets and cannot flow. Use a brush to evenly brush the prepared mud 21 on one side of the non-woven fabric with a thickness of 0.2mm. Stick the non-woven fabric on the dry mud sheet. The non-woven fabric with the mud 21 on one side is in contact with the dry mud sheet. The pasting process is as smooth as possible. After pasting, gently press the surface of the non-woven fabric with your hands or a brush to make it fit better with the dry mud sheet. Let the dry mud sheet dry naturally or air-dry for 14 hours to obtain the non-woven fabric layer 2.

[0143] S3. Use a brushing method to brush the silica sol on the surface of the non-woven fabric layer 2. After coating, dry it naturally for 4 hours until there is no water mark. Repeat the coating and drying steps 3 times. The surface of the non-woven fabric is required to be hardened and the surface of the non-woven fabric cannot be completely covered by the adhesive layer. If it is completely covered, there will be no rice paper texture and the blurring effect will also be affected. The liquid binder layer 3 is obtained.

[0144] S4: Spray a layer of water on the surface of the liquid binder layer 3 at a spraying rate of 0.6 g / cm 2 The texture of the rice paper before writing is as follows: Figure 6 As shown, use a brush, dip an appropriate amount of red pigment, and draw a little on the blank. After the blank is naturally dried for 14 hours, the calligraphy and painting layer 4 is obtained. Figure 7 shown.

[0145] S5. Apply the shadow blue glaze evenly on the surface of the liquid binder layer 3 with the writing 4 drawn on it. Dry it naturally for 4 hours until the glaze layer 5 is dry. Then apply the glaze twice more to make the glaze layer 5 evenly distributed on the surface of the liquid binder layer 3 of the dry body 1. After the glazing is completed, the body is dried naturally for 28 hours. After drying, the dry mud sheet is placed in a kiln and fired at a heating rate of 5°C / min, a firing temperature of 1300°C, and a holding time of 8 hours. After firing, the glaze layer 5 is obtained, and the final imitation rice paper ceramic product can be obtained. Figure 4 and 5 shown.

[0146] Example 2

[0147] A rice paper-like ceramic, such as Figure 8 Shown, including:

[0148] A dry embryo 1 is prepared from dry mud powder and polyvinyl alcohol solution;

[0149] A non-woven fabric layer 2 with a slurry 21 on one side is attached to the surface of the dry embryo 1, wherein the side of the non-woven fabric layer 2 with the slurry 21 is attached to the dry embryo 1;

[0150] a liquid binder layer 3 coated on the surface of the non-woven fabric layer 2;

[0151] A calligraphy and painting layer 4 drawn on the surface of the liquid binder layer 3;

[0152] and a glaze layer 5 covering the surface of the liquid binder layer 3 on which the writing 4 is drawn.

[0153] In this embodiment, the mass ratio of the dry mud powder, polyvinyl alcohol, and water is 100:30, and the concentration of the polyvinyl alcohol solution is 7wt%;

[0154] The mud 21 is prepared from dry mud powder and water, and the mass ratio of the dry mud powder to water is 100:55;

[0155] The coating rate of the slurry 21 on the non-woven fabric layer 2 is 100%, and the coating amount is 0.9 g / cm 2 , the coating thickness is 0.3mm.

[0156] In this embodiment, the preparation process of the mud 21 is as follows: dry mud powder and water are fully stirred to form a paste, thereby obtaining the mud 21 .

[0157] In this embodiment, the dry mud powder includes, by mass, 55 parts of kaolin, 20 parts of quartz, 19 parts of clay, and 6 parts of talc.

[0158] In this embodiment, the non-woven fabric layer 2 is made of PP spunlace non-woven fabric, and the specification of the non-woven fabric is 70g / m 2 ;

[0159] The liquid binder used in the liquid binder layer 3 is silica sol, and the coating amount of the liquid binder is 1.5 g / cm 2 ;

[0160] The glaze used in the glaze layer 5 is shadow blue glaze, and the coverage of the glaze is 2g / cm 2 .

[0161] A method for preparing rice paper-like ceramics comprises the following steps:

[0162] S1. Weigh 55 parts of kaolin, 20 parts of quartz, 19 parts of clay, and 6 parts of talc. Mix the above raw materials in proportion, send them into a crusher for crushing and grinding after drying to obtain dry mud powder. Add 100 parts of dry mud powder to a blender, followed by 30 parts of polyvinyl alcohol solution, and mix them using a blender. Use a roller pressing process to make the mud into a wet embryo of about 3 mm (in this embodiment, a mud sheet), and dry it in the shade for 27 hours under ventilation conditions to obtain a dry embryo 1 (in this embodiment, a dry mud sheet).

[0163] S2, take another 100 parts of dry mud powder, add 55 parts of water, stir thoroughly to make it into a paste, and obtain mud 21. Cut non-woven fabric that matches the size of the dry mud piece for use. The specification of the non-woven fabric is 70g / m 2 . Lightly spray a layer of water film on the surface of the dry mud sheet to moisten the surface of the blank. The water film is required not to gather into water droplets and cannot flow. Use a brush to evenly brush the prepared mud 21 on one side of the non-woven fabric with a thickness of 0.3mm. Stick the non-woven fabric on the dry mud sheet. The non-woven fabric with the mud 21 on one side is in contact with the dry mud sheet. The pasting process is as smooth as possible. After pasting, gently press the surface of the non-woven fabric with your hands or a brush to make it fit better with the dry mud sheet. Let the dry mud sheet dry naturally or air-dry for 14 hours to obtain the non-woven fabric layer 2.

[0164] S3. Use a brushing method to brush the silica sol on the surface of the non-woven fabric layer 2. After coating, dry it naturally for 4 hours until there is no water mark. Repeat the coating and drying steps 3 times. The surface of the non-woven fabric is required to be hardened and the surface of the non-woven fabric cannot be completely covered by the adhesive layer. If it is completely covered, there will be no rice paper texture and the blurring effect will also be affected. The liquid binder layer 3 is obtained.

[0165] S4: Spray a layer of water on the surface of the liquid binder layer 3 at a spraying rate of 0.6 g / cm 2 Use a brush, dip it in an appropriate amount of blue pigment, and draw a little on the blank. After the blank is naturally dried for 14 hours, the calligraphy and painting layer 4 is obtained.

[0166] S5. Apply transparent glaze evenly on the surface of the liquid binder layer 3 with the writing 4 drawn on it. Let it dry naturally for 4 hours until the glaze layer 5 is dry. Then apply glaze twice more to make the glaze layer 5 evenly distributed on the surface of the liquid binder layer 3 of the dry body 1. After the glazing is completed, let the body dry naturally for 30 hours. After drying, place the dry mud sheet in a kiln and fire it. The heating rate is 4℃ / min, the firing temperature is 1290℃, and the holding time is 6 hours. After firing, the glaze layer 5 is obtained, and the final imitation rice paper ceramic product can be obtained. Figure 8 shown.

[0167] The smudging effect of Examples 1 and 2 of the present invention is produced during the calligraphy and painting creation process. The sintered state is substantially the same as the finished state. The smudging effect is not limited by the shape of the work and can also produce an excellent smudging effect on a flat plate. The smudging effect of the present invention is achieved by the unique properties of the material prepared by a special process. It does not require high skills or long-term practice, and has a wider applicability.

[0168] Comparative Example 1

[0169] A ceramic is the same as Example 1 except that the non-woven fabric layer 2 is not provided.

[0170] In this embodiment, the ceramic comprises:

[0171] A dry embryo 1 is prepared from dry mud powder and polyvinyl alcohol solution;

[0172] The slurry 21 is adhered to the surface of the dry embryo 1;

[0173] a liquid binder layer 3 coated on the surface of the slurry 21;

[0174] A calligraphy and painting layer 4 drawn on the surface of the liquid binder layer 3;

[0175] and a glaze layer 5 covering the surface of the liquid binder layer 3 on which the writing 4 is drawn.

[0176] A method for preparing ceramics, which is the same as Example 1 except that the non-woven fabric layer 2 is not provided, comprises the following steps:

[0177] S1. Weigh 50 parts of kaolin, 23 parts of quartz, 20 parts of clay, and 7 parts of talc. Mix the above raw materials in proportion, send them into a crusher for crushing and grinding after drying to obtain dry mud powder. Add 100 parts of dry mud powder to a blender, followed by 32 parts of polyvinyl alcohol solution, and mix them using a blender. Use a roller pressing process to make the mud into a wet embryo of about 2 mm (in this embodiment, a mud sheet), and dry it in the shade for 26 hours under ventilation conditions to obtain a dry embryo 1 (in this embodiment, a dry mud sheet).

[0178] S2. Take another 100 parts of dry clay powder, add 50 parts of water, and stir thoroughly to form a paste to obtain slurry 21. Lightly spray a thin film of water on the surface of the dry clay sheet to moisten the surface of the green body. The water film should not form droplets or run. Apply the prepared slurry 21 to the dry clay sheet with a brush to a thickness of 0.2 mm. Allow the dry clay sheet to dry naturally or air-dry for 14 hours.

[0179] S3. Use a brushing method to apply silica sol on the surface of the mud 21. After coating, dry it naturally for 4 hours until there is no water mark. Repeat the coating and drying steps 3 times to obtain the liquid binder layer 3.

[0180] S4: Spray a layer of water on the surface of the liquid binder layer 3 at a spraying rate of 0.5 g / cm 2 Use a brush, dip it in an appropriate amount of red pigment, and draw a little on the blank. After the blank is naturally dried for 14 hours, the calligraphy and painting layer 4 is obtained.

[0181] S5. Apply shadow blue glaze evenly on the surface of the liquid binder layer 3 with the writing 4 drawn on it. Dry it naturally for 4 hours until the glaze layer 5 is dry. Then apply glaze twice more to make the glaze layer 5 evenly distributed on the surface of the liquid binder layer 3 of the dry body 1. After the glazing is completed, the body is dried naturally for 28 hours. After drying, the dry mud sheet is placed in a kiln and fired at a heating rate of 5°C / min, a firing temperature of 1300°C, and a holding time of 8 hours. After firing, the glaze layer 5 is obtained, and the final ceramic product can be obtained. Figure 9 As shown, compared with Example 1, when the non-woven fabric is not used, the ceramic surface can not achieve the blooming effect.

[0182] Comparative Example 2

[0183] A ceramic is the same as Example 2 except that the polyvinyl alcohol solution in the dry body 1 is changed to water.

[0184] A method for preparing ceramics, compared with Example 2, except that in step S1: no polyvinyl alcohol solution is added to the dry body 1, but water is added; in step S4: a layer of water is sprayed on the surface of the liquid binder layer 3, and the water spraying amount is 0.6g / cm 2 Use a brush, dip it in an appropriate amount of blue pigment, draw a little on the blank, and spray water to achieve a gradient effect. After the blank is naturally dried for 14 hours, the calligraphy and painting layer 4 is obtained.

[0185] The final ceramic product is Figure 10 and 11 As shown, compared with Example 2, when no polyvinyl alcohol was added, the dry body 1 had excessively high water absorption, resulting in localized non-adhesion between the non-woven fabric layer 2 and the dry body 1. Furthermore, when no polyvinyl alcohol was added, the dry body 1 had excessively high porosity. When spraying water to achieve the shading effect, the dry body 1 absorbed too much water, resulting in a decrease in strength and breakage.

[0186] Comparative Example 3

[0187] A ceramic is the same as Example 1 except that the liquid binder layer 3 is not provided.

[0188] A method for preparing ceramics is the same as that of Example 2 except that step S3 is not provided.

[0189] The final ceramic product is Figure 12 As shown, compared with Example 2, when the surface is not coated with liquid binder, the ceramic surface has the problem of no glaze.

[0190] Although the present invention has been described in detail above using general explanations, specific embodiments, and experiments, it will be apparent to those skilled in the art that modifications and improvements may be made based on the present invention. Therefore, such modifications and improvements, which do not depart from the spirit of the present invention, are intended to be within the scope of protection claimed herein.

Claims

1. A rice paper imitation ceramic, characterized in that: include: A dry embryo (1), which is prepared from dry mud powder and polyvinyl alcohol solution; A non-woven fabric layer (2) with mud (21) on one side is adhered to the surface of the dry embryo (1), wherein the side of the non-woven fabric layer (2) with the mud (21) is in contact with the dry embryo (1); a liquid binder layer (3) coated on the surface of the non-woven fabric layer (2); a calligraphy and painting layer (4) drawn on the surface of the liquid binder layer (3); and a glaze layer (5) covering the surface of the liquid binder layer (3) on which the writing (4) is drawn.

2. The rice paper-like ceramic according to claim 1, characterized in that: The mass ratio of the dry mud powder to the polyvinyl alcohol solution is 100:20-45, and the concentration of the polyvinyl alcohol solution is 5wt%-10wt%; The mud (21) is prepared from dry mud powder and water, wherein the mass ratio of the dry mud powder to water is 100:40-70; The coating rate of the slurry (21) on the non-woven fabric layer (2) is 50% to 100%, and the coating amount is 0.65 to 0.90 g / cm 2 .

3. The rice paper-like ceramic according to claim 2, characterized in that: The dry mud powder comprises, by mass, 36 to 60 parts of kaolin, 16 to 26 parts of quartz, 15 to 24 parts of clay, and 5 to 10 parts of talc.

4. The rice paper-like ceramic according to claim 1, characterized in that: The non-woven fabric layer (2) includes polypropylene non-woven fabric, polyester non-woven fabric, viscose fiber non-woven fabric, polyethylene non-woven fabric, and the specification of the non-woven fabric is 60-80g / m 2 ; The liquid binder layer (3) uses a liquid binder including silica sol, aluminum sol, liquid phosphate binder, and water glass. The coating amount of the liquid binder is 0.6-1.5 g / cm 2 ; The glaze used in the glaze layer (5) includes shadow blue glaze, transparent glaze or matte glaze, and the coverage of the glaze is 0.7-2 g / cm 2 .

5. The method for preparing a rice paper-like ceramic according to any one of claims 1 to 4, characterized in that: The following steps are involved: S1, mixing the dry mud powder and the polyvinyl alcohol solution, forming a wet embryo, and drying to obtain the dry embryo (1); S2, attaching a non-woven fabric with mud (21) on one side to the dry embryo (1), wherein the side of the non-woven fabric with mud (21) is attached to the dry embryo (1), pressing to attach the non-woven fabric to the dry embryo (1), and drying to obtain a non-woven fabric layer (2); S3, coating the liquid binder on the surface of the non-woven fabric layer (2), and drying to obtain the liquid binder layer (3); S4, writing or drawing on the surface of the liquid binder layer (3), and obtaining the calligraphy and painting layer (4) after drying; S5. Apply glaze on the surface of the liquid binder layer (3) with the written words (4), dry and then fire to obtain the glaze layer (5). At this time, the rice paper-like ceramics are obtained and completed.

6. The method for preparing the rice paper-like ceramic according to claim 5, wherein: In step S1, the thickness of the dry embryo body (1) is 0.5-5 mm.

7. The method for preparing the rice paper-like ceramic according to claim 5, wherein: In step S5, the firing temperature is 1200-1400°C.

8. The method for preparing the rice paper-like ceramic according to claim 5, wherein: In step S3, the liquid binder is applied by spraying or brushing, and after being dried naturally or air-dried until no water marks are left, the application and drying are repeated 1 to 5 times.

9. The method for preparing the rice paper-like ceramic according to claim 5, wherein: In step S2, a water film is sprayed on the surface of the dry embryo (1), and then a non-woven fabric with mud (21) on one side is attached to the dry embryo (1); In step S4, when writing or drawing is performed on the surface of the liquid binder layer (3), it is performed when the liquid binder is applied for the last time and the water has not dried, or after drying, it is performed by spraying a layer of water.

10. Use of the rice paper-like ceramic according to any one of claims 1 to 4 in processing decorative items.

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