Copper engraving process for Chinese painting

Abstract

The application discloses a copper-made Chinese painting engraving process, which comprises the following steps: designing a pattern, selecting and fixing a copper plate, engraving an outline, engraving a concave-convex three-dimensional structure to show a level difference, adopting an engraving tool with a texture corresponding to a rubbing method to make a texture on the copper painting, and stripping copper to form a floating structure for further increasing the three-dimensional sense of the painting. According to the application, the concave-convex texture corresponding to the rubbing method pattern is arranged on the engraving tool, and a plurality of tools are used in cooperation during engraving, so that the rubbing method in the Chinese painting is three-dimensionally shown on the copper-made Chinese painting, the three-dimensional sense of the painting is shown, the texture details of the painting are shown, the engraving efficiency is greatly improved by using the engraving tool with the concave-convex texture corresponding to the rubbing method during engraving, the problems of slow copper painting processing and poor Chinese painting expression effect are solved, and the three-dimensional sense of the painting is further improved by stripping copper to form a floating structure during engraving.

Description

Technical Field

[0001] This invention relates to the field of bronze painting production, and more particularly to the engraving and chiseling technique for bronze traditional Chinese paintings. Background Technology

[0002] The "cunfa" (texturing strokes) is one of the expressive techniques in Chinese painting. It refers to the expressive formulas created by ancient painters in their artistic practice, based on the different geological structures of various rocks and the state of tree bark. The types of cunfa are named after their shapes, including hemp fiber cun, unlocking cun, folded ribbon cun, ox hair cun, rice dot cun, raindrop cun, bean cun, scraping iron cun, nail head cun, and axe-cut cun, among others.

[0003] Currently, the engraving technique is commonly used in the production of copper traditional Chinese paintings. This technique involves fixing the copper material and then using a chisel to engrave the desired pattern onto the copper. The chisels used for engraving include crescent-shaped, trapezoidal, square, rectangular, hollow, dotted, and so on. The pattern is formed by striking the chisel during the engraving process.

[0004] The aforementioned engraving technique can easily create large outlines and patterns with a certain three-dimensional effect. However, for small patterns, it requires switching between chisels and multiple engravings to achieve the desired effect. For example, when engraving dot patterns and bark textures, it is necessary to use a dot-shaped chisel to engrave little by little. Engraving the texture of a single tree takes a very long time. As a result, the efficiency of engraving is extremely low. Furthermore, when creating relief sculptures, the aforementioned engraving technique is insufficient in expressing the basic painting techniques of traditional Chinese painting and cannot convey the layout, artistic conception, style, and spirit of traditional Chinese painting. Summary of the Invention

[0005] In view of the shortcomings of existing technology, which requires multiple chiseling operations on copper to form a complete texture, resulting in low chiseling efficiency and poor expressive effect in traditional Chinese painting, this invention provides a copper traditional Chinese painting engraving process.

[0006] The technical solution adopted by this invention to solve the above-mentioned technical problems is: copper engraving process for traditional Chinese paintings, including the following steps:

[0007] S1, Design the Chinese painting to be displayed;

[0008] S2, Select copper plates of different hardness and thickness according to the height and layering of the painting and the complexity of the pattern.

[0009] S3, attach the reference image to the copper plate or print the reference image on the copper plate;

[0010] S4, Place the rosin mixture that has been melted at high temperature and hardened at room temperature into a container, and use a torch to melt the rosin mixture into a liquid state. Place a copper plate on top of the liquid rosin mixture and press it down with a weight to remove air bubbles between the two.

[0011] S5. After the rosin has cooled, proceed with engraving. First, use a line and curved chisel or a hammer to engrave the main outline along the edge of the pattern.

[0012] S6 uses small to medium-sized chisels or hammers to engrave a three-dimensional structure with a sense of depth and layering on a copper plate.

[0013] S7. Based on the concave-convex three-dimensional structure formed in step S6, the three-dimensional texture of the texture is engraved by combining the texture of traditional Chinese painting. Select an engraving tool with concave-convex texture, and then tap the pattern on the textured surface of the engraving tool to engrave it on a specific position of the copper plate to form a textured three-dimensional pattern.

[0014] S8, Remove the copper plate and pry it up with a flat and blunt metal rod;

[0015] S9, Heat the copper plate to perform annealing;

[0016] S10, repeat S4-S9 until the shape is formed.

[0017] Preferably, the engraving tools include naturally formed materials and artificially processed materials. Naturally formed materials include minerals, metals, or stones (which can be used to create indentations on copper plates) and possess natural textures. Artificially processed engraving tools include hammers, chisels, and metal blocks, which possess artificially created textures. This solution utilizes naturally formed engraving tools with naturally occurring textures, allowing the natural textures on the engraving tools to be engraved onto the copper painting.

[0018] Preferably, the engraved surfaces of the hammer, chisel, and metal block are provided with corresponding raised and recessed textures based on the shapes of various textures, including hammerhead texture, hemp fiber texture, tangled hemp fiber texture, sesame texture, large axe-cut texture, small axe-cut texture, swirling cloud texture, cloud head texture, raindrop texture, rain and snow texture, vortex texture, lotus leaf texture, alum head texture, skull texture, ghost skin texture, unraveling rope texture, tangled firewood texture, ox hair texture, horse tooth texture, dotted texture, broad bean texture, prickly pear texture, broken net texture, folded ribbon texture, nail pulled out of mud texture, dragging mud and water texture, gold and green texture, boneless texture, straight rubbing texture, and horizontal rubbing texture. The engraving process requires the combined use of multiple tools. For example, when engraving the texture of a tree trunk, a hammer with a raised texture is first used to engrave the main texture, and then a chisel with a raised texture is used to fill in the unengraved areas on the edge of the tree trunk. This way, the texture of the entire tree trunk can be quickly created.

[0019] Preferably, step S11 is also included: copper stripping. The area to be stripped is selected, and the area is annealed. After annealing, a flat chisel is used to chisel and peel the copper inwards at an angle of 30°-45°. Annealing and stripping are repeated until the copper is stripped away, forming a floating section where the root connects to the copper plate. The floating section is then shaped according to the effect shown in the drawing, and the shaped floating section is rotated along the root to the target position. This step is mainly used to create a floating effect, such as tree branches extending in various directions.

[0020] Preferably, in step S11, the reference painting is first divided into multiple areas based on the color depth or three-dimensional visual effect of the pattern in the reference painting. Each area has an independent height value, which is used as a reference value for protrusion and concavity. For areas that need to be protruded or concave, they are formed by downward engraving. For areas that need to be protruded, when engraving downward, if there are multiple height values ​​within the same contour, the engraving is carried out from the inside to the outside. For two intersecting contours, the engraving is carried out from the high to the low.

[0021] Preferably, the process also includes step S12, shaping, which involves trimming the engraved pattern. This step refines the engraved pattern to enhance the detail.

[0022] Preferably, the process also includes step S13, texture refinement, where fine textures are engraved using a chisel. This step refines the engraved texture to enhance the detail.

[0023] Preferably, the method also includes step S14, leveling, reserving a ring-shaped area around the edge of the engraved copper plate for framing, and leveling the ring-shaped area after engraving.

[0024] Preferably, the process also includes step S15, surface treatment, which involves coloring the engraved copper plate and then applying a varnish. Before applying the varnish, the copper painting can be colored using a fire treatment and coloring agents. After applying the varnish, the surface of the copper painting can be protected.

[0025] Preferably, the rosin mixture is a mixture of rosin, talc, engine oil and asphalt.

[0026] Compared with the prior art, the advantages of this invention are as follows: This application sets concave and convex textures on the engraving tool corresponding to the texturing patterns in traditional Chinese painting. By using multiple tools in tandem during engraving, the texturing patterns in traditional Chinese painting are displayed in a three-dimensional way on the copper painting. This not only shows the three-dimensionality of the painting, but also the texture details. Furthermore, the engraving is carried out by using engraving tools with concave and convex textures corresponding to the texturing patterns, which greatly improves efficiency and solves the problems of slow copper painting processing and poor expression of traditional Chinese painting effects. In addition, the copper is peeled off during engraving to form a floating structure, which further enhances the three-dimensionality of the painting. Attached Figure Description

[0027] The present invention will be further described in detail below with reference to the accompanying drawings and preferred embodiments. However, those skilled in the art will understand that these drawings are drawn only for the purpose of explaining the preferred embodiments and therefore should not be construed as limiting the scope of the invention. Furthermore, unless specifically indicated, the drawings are only schematic representations of the composition or structure of the described objects and may contain exaggerated depictions, and the drawings are not necessarily drawn to scale.

[0028] Figure 1-14 This is a rendering of the effect created by the engraving.

[0029] Figure 15 A three-dimensional diagram of a hammer, one of the engraving tools;

[0030] Figure 16 A bronze traditional Chinese painting (tree) formed by engraving and chiseling.

[0031] Figure 17 A schematic diagram of the texture at the tip of a chisel, a tool used for engraving. Detailed Implementation

[0032] Preferred embodiments of the present invention will now be described in detail with reference to the accompanying drawings. Those skilled in the art will appreciate that these descriptions are merely descriptive and exemplary and should not be construed as limiting the scope of the invention.

[0033] The engraving and chiseling technique for traditional Chinese paintings on copper includes the following steps:

[0034] S1, Design the Chinese painting to be displayed;

[0035] S2, Select copper plates of different hardness and thickness according to the height and layering of the painting and the complexity of the pattern.

[0036] S3, attach the reference image to the copper plate or print the reference image on the copper plate;

[0037] S4, Place the rosin mixture that has been melted at high temperature and hardened at room temperature into a container, and use a torch to melt the rosin mixture into a liquid state. Place a copper plate on top of the liquid rosin mixture and press it down with a weight to remove air bubbles between the two.

[0038] S5. After the rosin has cooled, proceed with engraving. First, use a line and curved chisel or a hammer to engrave the main outline along the edge of the pattern.

[0039] S6 uses small to medium-sized chisels or hammers to engrave a three-dimensional structure with a sense of depth and layering on a copper plate.

[0040] S7. Based on the concave-convex three-dimensional structure formed in step S6, the three-dimensional texture of the texture is engraved by combining the texture of traditional Chinese painting. Select an engraving tool with concave-convex texture, and then tap the pattern on the textured surface of the engraving tool to engrave it on a specific position of the copper plate to form a textured three-dimensional pattern.

[0041] S8, Remove the copper plate and pry it up with a flat and blunt metal rod;

[0042] S9, Heat the copper plate to perform annealing;

[0043] S10, repeat S4-S9 until the shape is formed.

[0044] Preferably, the engraving tools include naturally formed materials and artificially processed materials. Naturally formed materials include minerals, metals, or stones (which can be used to create indentations on copper plates) and possess natural textures. Artificially processed engraving tools include hammers, chisels, and metal blocks, which possess artificially created textures. This solution utilizes naturally formed engraving tools with naturally occurring textures, allowing the natural textures on the engraving tools to be engraved onto the copper painting.

[0045] Preferably, the engraved surfaces of the hammer, chisel, and metal block are provided with corresponding raised and recessed textures based on the shapes of various textures, including hammerhead texture, hemp fiber texture, tangled hemp fiber texture, sesame texture, large axe-cut texture, small axe-cut texture, swirling cloud texture, cloud head texture, raindrop texture, rain and snow texture, vortex texture, lotus leaf texture, alum head texture, skull texture, ghost skin texture, unraveling rope texture, tangled firewood texture, ox hair texture, horse tooth texture, dotted texture, broad bean texture, prickly pear texture, broken net texture, folded ribbon texture, nail pulled out of mud texture, dragging mud and water texture, gold and green texture, boneless texture, straight rubbing texture, and horizontal rubbing texture. The engraving process requires the combined use of multiple tools. For example, when engraving the texture of a tree trunk, a hammer with a raised texture is first used to engrave the main texture, and then a chisel with a raised texture is used to fill in the unengraved areas on the edge of the tree trunk. This way, the texture of the entire tree trunk can be quickly created. Figure 15 As shown (the reverse side is not shown in the figure), the hammer can be set to different shapes on its two striking surfaces so that they can be reversed for engraving, and the two striking surfaces can also be set to different textures.

[0046] Preferably, step S11 is also included: copper stripping. The area to be stripped is selected, and the area is annealed. After annealing, a flat chisel is used to chisel and peel the copper inwards at an angle of 30°-45°. Annealing and stripping are repeated until the copper is stripped away, forming a floating section where the root connects to the copper plate. The floating section is then shaped according to the effect shown in the drawing, and the shaped floating section is rotated along the root to the target position. This step is mainly used to create a floating effect, such as tree branches extending in various directions. Figure 16The image shows a tree pattern created by combining copper peeling and engraving, with the branches having a raised structure and the leaves and trunk having raised textures formed by engraving.

[0047] Preferably, in step S11, the reference painting is first divided into multiple areas based on the color depth or three-dimensional visual effect of the pattern in the reference painting. Each area has an independent height value, which is used as a reference value for protrusion and concavity. For areas that need to be protruded or concave, they are formed by downward engraving. For areas that need to be protruded, when engraving downward, if there are multiple height values ​​within the same contour, the engraving is carried out from the inside to the outside. For two intersecting contours, the engraving is carried out from the high to the low.

[0048] Preferably, the process also includes step S12, shaping, which involves trimming the engraved pattern. This step refines the engraved pattern to enhance the detail.

[0049] Preferably, the process also includes step S13, texture refinement, where fine textures are engraved using a chisel. This step refines the engraved texture to enhance the detail.

[0050] Preferably, the method also includes step S14, leveling, reserving a ring-shaped area around the edge of the engraved copper plate for framing, and leveling the ring-shaped area after engraving.

[0051] Preferably, the process also includes step S15, surface treatment, which involves coloring the engraved copper plate and then applying a varnish. Before applying the varnish, the copper painting can be colored using a fire treatment and coloring agents. After applying the varnish, the surface of the copper painting can be protected.

[0052] Preferably, the rosin mixture is a mixture of rosin, talc, engine oil and asphalt.

[0053] The following explanation is provided in conjunction with the accompanying drawings. Figure 1 This demonstrates the effect of using a beveled chisel to outline the contours of a mountain rock; Figure 2 The image shows the effect of using a beveled chisel to create the texture of a mountain rock called "hemp fiber pattern"; Figure 3 The effect of using slanted chiseling to depict the texture of leaves in a landscape painting; Figure 4 The image shows the effect of using a flat-edged, dotted chisel to engrave the texture of the tree trunk and the shaded areas. Figure 5 The image shows the effect of using a flat-edged, dotted chisel to engrave the "rice-dot pattern" in the mountain stone; Figure 6 This demonstrates the effect of using a round, dotted engraving technique to create the "bean-shaped" pattern on a pine tree. Figure 7 This demonstrates the effect of using a round-faced, dotted chisel to create a "bean-shaped" texture on rock. Figure 8This demonstrates the effect of using water ripple engraving to create "raindrop patterns" on the mountains in a landscape painting; Figure 9 This demonstrates the effect of using water ripple engraving to depict wild grasses in a landscape painting; Figure 10 The image shows the effect of engraving a lotus stem using a combination of water-patterned chisels and flat-edged dotted chisels; Figure 11 The image shows the effect of combining cat claw chisels with wavy straight chisels to engrave wildflowers.

[0054] like Figure 12 As shown, the sharp, beveled edge of the chisel is pushed flat onto the copper plate to create irregular lines with dots; as shown... Figure 13 The diagram illustrates the pattern formed by rotating and striking a beveled chisel around one of its sharp corners as an axis; the chisel is then pushed flat against a copper plate to obtain the desired pattern. Figure 14 The pattern shown; Figure 17 The image shows the textured pattern at the end of the chisel.

[0055] The above describes the copper engraving process for traditional Chinese paintings provided by this invention. Specific examples have been used to illustrate the principles and implementation methods of this invention. The descriptions of these embodiments are merely for the purpose of helping to understand this invention and its core ideas. It should be noted that those skilled in the art can make various improvements and modifications to this invention without departing from its principles, and these improvements and modifications also fall within the scope of protection of the claims of this invention.

Claims

1. The copper engraving technique for traditional Chinese paintings, characterized by: Includes the following steps: S1. Design the Chinese painting to be displayed; S2. Select copper plates of different hardness and thickness according to the height, layers, and complexity of the painting; S3. Attach the reference painting to the copper plate or print the reference painting onto the copper plate; S4. Place the rosin mixture, which is melted at high temperature and hardened at room temperature, into a container and melt it into a liquid state using a torch. Place the copper plate on top of the liquid rosin mixture and press it down with a weight to remove air bubbles; S5. After the rosin cools, begin engraving. First, use a line chisel and curved chisel or a hammer to engrave the main outline along the edge of the pattern; S6. Use a small to medium-sized chisel or hammer... The process involves: S7, S8, S9, S10, S21, S32, S42, S73, S83, S84, S94, S84, S95, S86, S87, S88, S98, S99, S8 ... S9, heat the copper plate for annealing; S10, repeat S4~S9 until the shape is formed; It also includes step S11: copper stripping. Select the position to be stripped and anneal the position. After annealing, use a flat chisel to engrave and peel inward at an angle of 30°-45°. Repeat annealing and stripping until the copper is stripped to form a floating part connected to the copper plate at the root. The floating part is shaped according to the effect in the picture. The shaped floating part is rotated along the root to the target position.

2. The copper engraving process for traditional Chinese paintings according to claim 1, characterized in that, The engraving tools also include natural formations, including minerals, metals, or stones with natural textures.

3. The copper engraving process for traditional Chinese paintings according to claim 1, characterized in that, In step S11, the reference painting is first divided into multiple areas based on the color depth or three-dimensional visual effect of the pattern in the reference painting. Each area has an independent height value, which is used as a reference value for protrusion and concavity. For areas that need to be protruded or concave, they are formed by downward engraving. For areas that need to be protruded, when engraving downward, if there are multiple height values ​​in the same contour, the engraving is carried out from the inside to the outside. For two intersecting contours, the engraving is carried out from the high to the low.

4. The copper engraving process for traditional Chinese paintings according to claim 1, characterized in that, It also includes step S12, shaping, trimming the engraved pattern.

5. The copper engraving process for traditional Chinese paintings according to claim 1, characterized in that, It also includes step S13, texture finishing, which involves engraving fine textures with a chisel.

6. The copper engraving process for traditional Chinese paintings according to claim 1, characterized in that, It also includes step S14, leveling, reserving a ring-shaped area around the edge of the copper plate for framing, and leveling the ring-shaped area after engraving.

7. The copper engraving process for traditional Chinese paintings according to claim 1, characterized in that, It also includes step S15, surface treatment, coloring the engraved copper plate, and then applying varnish.

8. The copper engraving process for traditional Chinese paintings according to claim 1, characterized in that, Rosin mixture is a mixture of rosin, talc, engine oil and asphalt.

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