Eight-treasure grey guqin lacquer body preparation process and eight-treasure grey guqin

Abstract

The invention provides an eight-treasure grey guqin lacquer body preparation process and an eight-treasure grey guqin. The eight-treasure grey guqin lacquer body preparation process specifically comprises the following steps: making a wood body by using a radially cut timber with a resonant frequency of 200-400Hz or a hundred-year scar-free and knot-free wood, and wrapping the wood body with a boiled ramie layer; according to the acoustic-aesthetic design rule, carrying out blade coating on a 12-20-mesh ore ash tire layer by layer; the method comprises the following steps: blending ores into raw lacquer according to a material hardness ratio, by mass, 2.0-10 parts of the ore material: the raw lacquer, and 0.8-1.0 part of the wood the raw lacquer; step-type grinding is conducted through a diamond grinding piece till the ore section exposure rate is larger than or equal to 80%, and transparent raw lacquer is smeared to solidify textures; closing pores and reserving 5% of space as the final process; the weight of the finally obtained finished musical instrument is 4.5-6 kg, the overtone energy density is improved by 35%-45%, and the sound scattering and tenuto is larger than or equal to 8 seconds. According to the eight-treasure grey Guqin lacquer body preparation process and the eight-treasure grey Guqin, acoustic conduction optimization can be carried out on large-particle ores, texture color development directional design is carried out, and the technical effect of timbre-appearance coordinated regulation and control is achieved.

Description

Technical Field

[0001] The present invention belongs to the technical field of guqin, and specifically relates to a preparation process for the lacquer fetus of the eight-treasure ash guqin and the eight-treasure ash guqin. Background Art

[0002] In the process of making guqin, applying lacquer is a very crucial step. Generally speaking, the grades of this process are divided into cashew lacquer process, polished raw lacquer process, hard rubbing process, and eight-treasure ash process, among which the eight-treasure ash process has the highest difficulty coefficient. According to historical records, the eight-treasure ash guqin technique originated in the Song Dynasty. The eight-treasure ash technique is to grind several precious ores such as gold, silver, pearls, agates, corals, jades, red and green gemstones, malachites, etc. into the required particles and powders, and then add a small amount of deer antler cream to blend with raw lacquer according to the hardness ratio of the materials. The raw lacquer is used to paint the guqin body multiple times, polished layer by layer, and the sound is tested repeatedly. Finally, it is obtained that the resonance of many metals and stones in the guqin cavity results in the "rhythm of metals and stones", which is the highest pursuit of guqin makers in past dynasties. Currently, the existing eight-treasure ash guqins are all from the Song Dynasty. That is, after the Song Dynasty, the eight-treasure ash technique has been lost.

[0003] The current eight-treasure ash process has the following technical problems in the actual application process:

[0004] (1) The deer antler cream and tile ash fetus (thickness ≤ 2mm) results in short sustain (open string sound ≤ 5 seconds), dry timbre and easy attenuation. There is no mature lacquer fetus ratio plan and the ability to control the timbre in this process, and it is all based on the experience summarized from years of trial and error.

[0005] (2) The appearance is limited to a single lacquer color (chestnut shell color / black / red), lacking the natural ore color display texture.

[0006] (3) The eight-treasure ash process in the Northern Song Dynasty was lost because of the difficulty in controlling the ore particles (the yield rate of large particles is only 20%) and the low acoustic matching degree of the ore and lacquer.

[0007] Therefore, a preparation process for the lacquer fetus of the eight-treasure ash guqin is proposed in this solution to solve the above technical problems. Summary of the Invention

[0008] The purpose of the present invention is to provide a preparation process for the lacquer fetus of the eight-treasure ash guqin, which solves the technical problems of how to optimize the acoustic conduction of large-particle ores (12 - 20 mesh) and conduct directional design of the texture color display, and realizes the technical effect of coordinated regulation of timbre and appearance.

[0009] A preparation process for the lacquer fetus of the eight-treasure ash guqin specifically includes the following steps:

[0010] Step S1: Use quarter-sawn wood with a resonant frequency of 200-400Hz or century-old, scarless, knot-free wood to make the wooden frame, and wrap it with a layer of boiled ramie (thickness 0.5-0.8mm). The selection of wood is very strict. Only straight-grained, scar-free, knot-free old wood or quarter-sawn wood from high altitude and naturally aged is the most suitable for sound resonance.

[0011] Step S2: Apply 12-20 mesh ore lime (main material proportion ≥ 70%) in layers according to acoustic-aesthetic design rules, with a total thickness of 3-5 mm;

[0012] The ore is mixed with the raw lacquer according to the hardness ratio of the materials, wherein, by weight, the ore material: the raw lacquer = 2.0-10, the wood base: the raw lacquer = 0.8-1.0, and the ore and the raw lacquer are mixed to form the ore base;

[0013] The last step is to close the pores and leave 5% of the space. Because each layer of coarse particles will leave pores, this 5% should be filled with 40-60-80-120-200 mesh respectively. Each time it is filled, it should be placed in the shade to dry. After it is dry, the water grinding should continue to close the pores.

[0014] It should be noted that the mesh number describes the size of the particles. The larger the number, the finer the particles. 40 mesh can fill the holes left by 20 mesh, 60 mesh can fill the holes that are not filled cleanly by 40 mesh, and so on. The specific number of fillings to achieve smooth and complete results depends on the condition of the pores during actual operation and the technical level of the construction workers. If each filling is not meticulous, there will be more processes. It is normal to fill it more than ten times.

[0015] Step S3: using a diamond grinding wheel to grind in a step-by-step manner until the exposure rate of the ore cross section is ≥80%, and applying transparent raw lacquer to solidify the texture;

[0016] Step S4: The final finished piano weighs 4.5-6 kg (9-12 jin), the overtone energy density is increased by 35%-45%, and the extended sound duration of the diffuse sound is ≥8 seconds.

[0017] In step S1, the quarter-sawn timber is grown at an altitude of more than 1,000 meters, the thickness of the boiled ramie cloth is 0.5-0.8 mm, and the wood base is wrapped with raw lacquer-glutinous rice adhesive, and the mass ratio of raw lacquer-glutinous rice adhesive is 1:0.3.

[0018] In step S2, the layered scraping is carried out according to the gradient mortar construction of the bottom layer, the middle layer and the surface layer, wherein the specific parameters are:

[0019] Bottom layer: 12-16 mesh coarse particles, accounting for 50% by weight, scraping thickness 1.2-1.5mm;

[0020] Middle layer: 16-18 mesh transition particles, accounting for 20% by weight, scraping thickness 1.0-1.2mm;

[0021] Fine ash layer: fine particles of 40-60-80 mesh, with a mass ratio of 25%, and the scraping thickness is 0.8-1.0 mm;

[0022] Surface layer: fine powder of 120-200-300 mesh, with a mass ratio of 5%, and the scraping thickness is 0.4-0.6 mm;

[0023] The first air-drying time is 55-65 days, and the other two air-drying times are both 35-45 days. The temperature is 22°C-26°C, and the humidity is 75%-85%;

[0024] Adopt a "corrugated scraper" to preset the ore trend, and the exposure rate of the ore cross-section after grinding is ≥80%.

[0025] It should be noted that the mesh number (particle size), color system and ore variety of each layer are different, so as to present a gradient or rich color combination. In special cases, if customized or special themes are presented, they will also be set to be the same. Therefore, theoretically, by combining different ore components, countless combinations can be prepared, so as to obtain the appearance of the Babao ash guqin under different component combinations.

[0026] In the step S2, the ore includes any combination of at least two of lapis lazuli, gold ore / silver ore, malachite, pearl, agate, orpiment, realgar, azurite, turquoise, cinnabar, coral, ruby / sapphire, and jade.

[0027] In the step S2, the ore is in a weight fraction ratio of: 60-70 parts of lapis lazuli, 30-35 parts of gold ore / silver ore, 40-100 parts of malachite, 10-12 parts of pearl powder, 15-24 parts of agate, 10-15 parts of orpiment, 10-15 parts of realgar, 12-18 parts of azurite, 30-35 parts of turquoise, 5-10 parts of cinnabar, 18-30 parts of coral, 20-25 parts of ruby / sapphire, and 25-30 parts of jade.

[0028] Among them, the main materials in this solution are several with the largest content components. Generally, if it exceeds 20 parts, it can be defined as the main material. For example, the combination of lapis lazuli, gold ore / silver ore, malachite, turquoise, coral, ruby / sapphire, and jade can be defined as the main material in this solution.

[0029] In the step S2, by weight, (lapis lazuli + gold ore / silver ore + malachite + pearl powder) / (agate + orpiment + realgar + azurite) = 2.0-4.0;

[0030] By weight, (realgar + azurite + turquoise + cinnabar) / (coral + ruby / sapphire + jade)

[0031] = 0.8-1.2;

[0032] Among them, the mass ratio of malachite, lapis lazuli, and turquoise is 3:2:1, the particle size is 12 - 20 mesh, and the particle size of pearl powder is ≤50μm and is used to fill the acoustic pores.

[0033] The wooden core includes a main material and an auxiliary material provided at the bottom end of the main material. The main material is any one of old Chinese fir, paulownia wood, and pine wood. The auxiliary material is catalpa wood or Chinese fir of the same material as the surface. The thickness of the auxiliary material is ≥1.2 cm, and the moisture content is ≤8%.

[0034] An eight-treasure ash guqin is prepared by an eight-treasure ash guqin lacquer core preparation process.

[0035] The soundbox structure is a deep arc-shaped soundbox, and the technique is to reserve a 0.3 mm shrinkage joint in the thick ash layer.

[0036] The soundbox structure is a flat and thin soundbox, and the technique is to reserve a 0.3 mm shrinkage joint in the thick ash layer.

[0037] Pretreatment of the wooden core: Degreasing and anti-cracking processes for wood, such as "using the natural air-drying method for more than 3 years and cooperating with low-temperature carbonization technology to stabilize the wood fiber structure". By optimizing the soundbox excavation parameters (the arc-shaped curved surface design of the Dragon Pond and Phoenix Marsh), the low-frequency resonance efficiency is enhanced, and acoustic optimization is achieved.

[0038] The present invention achieves the following remarkable effects:

[0039] (1) The soundboard made by this solution is unique and charming, like a deep ocean or a starry night sky; the sound quality is clean, ancient, distant, and the sustain time is long. Even in a noisy environment, it can clearly convey every note, making people's mood clear;

[0040] In this solution, the vibration characteristics of the ash core can be adjusted through the density and hardness differences of the eight-treasure materials, making the tone clear and moist, especially suitable for expressing harmonics, and reducing the material cost. The surface of the ash core forms a unique texture due to the reflection of the gemstones;

[0041] (2) This solution designs the acoustic coupling of the ash core ratio, wood material, soundbox structure, and technique, adjusts the sound quality. The bass part is like the wind in the valley, deep and powerful; the treble part is like the gurgling stream, crisp and lively;

[0042] In this solution, the designed eight-treasure ash core can reduce the vibration attenuation rate in the range of 200 - 500 Hz (the human voice sensitive area) by 21%, improving the "affinity" of the tone. The flexural strength of the ash core reaches 52 - 61 MPa, close to that of aviation laminate, ensuring a service life of thousands of years;

[0043] The Babao ash guqin in this solution achieves the acoustic miracle of "harmony between man and nature" by regulating the non-linear interaction of four elements: the wood (vibration source), the sound box (acoustic cavity), the ash layer (damping medium), and the playing technique (energy guidance). This solution finds a balance between traditional experience and materials science, designs a Babao ash guqin with excellent tone quality and low cost, provides a reference for achieving different tones, and broadens the thinking for formulating technical standards for Babao ash guqins in the future.

[0044] (3) The innovation of this solution also lies in: achieving the resonance frequency matching between large-particle ores (12 - 20 mesh) and the wooden body; realizing the design control of the color stability and artisticization of the ore texture; avoiding the industrialization obstacles of a long tone growth period (≥3 years) and a low finished product rate (<50%);

[0045] Through the matching of ore resonance characteristics, the directional distribution of particles, and the control of texture color display, the collaborative innovation of the acoustic performance (enhanced overtone and sustain, tone stability) and the appearance aesthetics (color display of natural ore texture) of the guqin is realized.

[0046] (4) The texture of the guqin prepared by this solution has a natural ore texture on its surface (similarity ≤3%) and an anti-cracking deformation coefficient ≥2.8 (compared with traditional processes);

[0047] The overtone spectrum is 1.5 - 4 kHz, the energy density is increased by 35% - 45% (GB / T 34474 - 2017), and the sustain of the open string is ≥8 seconds (ISO 3382 - 1);

[0048] The similarity of the ore texture of each guqin is ≤3% (based on the HSV color space similarity algorithm);

[0049] There are few cracks in the -20°C to 50°C cyclic test (GB / T 4893.7 - 2013). Description of the Drawings

[0050] Figure 1 It is a high-definition camera reference schematic diagram in Embodiment 1 of this solution.

[0051] Figure 2 It is a high-definition camera reference schematic diagram in Embodiment 2 of this solution.

[0052] Figure 3 It is a high-definition camera reference schematic diagram in Embodiment 3 of this solution.

[0053] Figure 4 It is a high-definition camera reference schematic diagram in Embodiment 4 of this solution. Detailed Implementation Modes

[0054] In order to more clearly illustrate the technical features of this solution, the following elaborates on this solution through specific implementation modes.

[0055] Example 1

[0056] A preparation process for the lacquer body of an eight-treasure ash guqin specifically includes the following steps:

[0057] Step S1: Use radially sawn wood with a resonance frequency of 200 or century-old knotless wood to make the wooden body, and wrap it with a boiled ramie layer with a thickness of 0.5 mm;

[0058] Step S2: Scrape and apply a 12-mesh mineral lime body (the main material accounts for ≥70%) layer by layer according to the acoustic-aesthetic design rules, with a total thickness of 3-5 mm;

[0059] Mix the ore and the raw lacquer according to the hardness ratio of the materials. Among them, by mass, ore material: raw lacquer = 9, wooden body: raw lacquer = 0.8;

[0060] Leave 5% of the space for closing the pores as the final process. Because pores will be left after each scrape and application of the coarse particles, these 5% need to be filled with 40-60-80-120-200 mesh respectively. After each filling, it needs to be placed in the shade to dry. After drying, water grinding is required to continue closing the pores;

[0061] Step S3: Use a diamond grinding wheel to grind step by step until the exposure rate of the ore cross-section is ≥80%, and wipe and apply transparent raw lacquer to solidify the texture;

[0062] The weight of the finally obtained finished guqin is 4.5 kg, the overtone energy density is increased by 36%, and the sustain of the scattered sound is ≥8 seconds.

[0063] In the said step S1, the radially sawn wood grows at an altitude of more than 1000 meters, the thickness of the boiled ramie cloth is 0.5 mm, and the wooden body is wrapped with raw lacquer-rice adhesive, and the mass ratio of raw lacquer-rice adhesive is 1.

[0064] In the said step S2, the gradient ash body construction is carried out by scraping and applying layer by layer according to the bottom layer, middle layer and surface layer. Among them, the specific parameters are:

[0065] Bottom layer: 12-16 mesh coarse particles, with a mass ratio of 50%, and the scraping thickness is 1.2-1.5 mm;

[0066] Middle layer: 16-18 mesh transition particles, with a mass ratio of 20%, and the scraping thickness is 1.0-1.2 mm;

[0067] Fine ash layer: 40-60-80 mesh fine particles, with a mass ratio of 25%, and the scraping thickness is 0.8-1.0 mm;

[0068] Surface layer: 120-200-300 mesh fine powder, with a mass ratio of 5%, and the scraping thickness is 0.4-0.6 mm;

[0069] The first air-drying time is 55 - 65 days, and the other two air-drying times are both 35 - 45 days. The temperature is 22°C - 26°C, and the humidity should be 75% - 85%.

[0070] Use a "corrugated scraper" to preset the ore trend, and the exposure rate of the ore cross-section after grinding is ≥80%.

[0071] In the step S2, the ore includes any combination of at least two of lapis lazuli, gold ore / silver ore, malachite, pearl, agate, orpiment, realgar, azurite, turquoise, cinnabar, coral, ruby and sapphire, jade, etc.

[0072] In the step S2, the ore is in the following weight fraction ratio: 60 parts of lapis lazuli, 30 parts of gold ore / silver ore, 40 parts of malachite, 10 parts of pearl powder, 15 parts of agate, 10 parts of orpiment, 10 parts of realgar, 12 parts of azurite, 30 parts of turquoise, 5 parts of cinnabar, 18 parts of coral, 20 parts of ruby and sapphire, 25 parts of jade.

[0073] The bottom layer composition includes 60 parts of lapis lazuli, 30 parts of gold ore / silver ore, 40 parts of malachite, 10 parts of pearl powder; the middle layer composition includes 15 parts of agate, 10 parts of orpiment, 10 parts of realgar, 12 parts of azurite, 30 parts of turquoise; the surface layer composition includes 5 parts of cinnabar, 18 parts of coral, 20 parts of ruby and sapphire, 25 parts of jade.

[0074] It should be noted that in this solution, Example 1 is used as a comparative example, and the minimum value in the above parameter range is selected as a benchmark to compare with the other parameter values under each component in the subsequent Example 2 to observe the final visual effect.

[0075] The weight of the final finished product of a Babao ash guqin is about 9 catties. About six or seven catties of ore are used, and more than three catties of raw lacquer are used. Because the guqin needs to be polished and there is some loss during the manufacturing process, the weight of the wooden core is about three catties. Finally, wooden core + raw lacquer + ore → after wear and tear → finished product → weight about nine catties. Figure 1 It can be seen that under the above Babao ash process material composition, the outer surface of the guqin presents a Fuxi-style visual effect.

[0076] The wooden core includes a main material and a secondary material arranged at the bottom end of the main material. The main material is any one of old Chinese fir, paulownia wood, and pine wood, and the secondary material is catalpa wood or Chinese fir of the same material as the surface. The thickness of the secondary material is ≥1.2 cm, and the moisture content is ≤8%.

[0077] Example 2

[0078] Based on the technological steps in the above Example 1, this Example 2 is designed as follows:

[0079] In step S2, by weight, (lapis lazuli + gold ore / silver ore + malachite + pearl powder) / (agate + orpiment + realgar + azurite) = 2.0 - 4.0;

[0080] By weight, (realgar + azurite + turquoise + cinnabar) / (coral + ruby / sapphire + jade)

[0081] = 0.8 - 1.2;

[0082] Among them, the mass ratio of malachite, lapis lazuli, and turquoise is 3:2:1, the particle size is 12 - 20 mesh, and the particle size of pearl powder is ≤50 μm and is used to fill acoustic pores.

[0083] Based on the component ratio relationship in this Example 2, the following three test groups are designed:

[0084] Test Group A: In step S2, the lime base of the ore is in the following weight fraction ratio: 60 parts of lapis lazuli, 32 parts of gold ore / silver ore, 90 parts of malachite, 10 parts of pearl powder, 16 parts of agate, 12 parts of orpiment, 12 parts of realgar, 13 parts of azurite, 30 parts of turquoise, 6 parts of cinnabar, 20 parts of coral, 22 parts of ruby / sapphire, and 26 parts of jade.

[0085] At this time, (lapis lazuli + gold ore / silver ore + malachite + pearl powder) / (agate + orpiment + realgar + azurite) = 3.62; (realgar + azurite + turquoise + cinnabar) / (coral + ruby / sapphire + jade) = 0.897.

[0086] The bottom layer components include 60 parts of lapis lazuli, 32 parts of gold ore / silver ore, 90 parts of malachite, and 10 parts of pearl powder; the middle layer components include 16 parts of agate, 12 parts of orpiment, 12 parts of realgar, 13 parts of azurite, and 30 parts of turquoise; the surface layer components include 6 parts of cinnabar, 20 parts of coral, 22 parts of ruby / sapphire, and 26 parts of jade.

[0087] From Figure 2 it can be seen that under the above components of the eight-treasure ash process materials, the outer surface of the guqin presents a chaotic visual effect.

[0088] Test Group B: In step S2, the lime base of the ore is in the following weight fraction ratio: 64 parts of lapis lazuli, 34 parts of gold ore / silver ore, 96 parts of malachite, 11 parts of pearl powder, 18 parts of agate, 14 parts of orpiment, 14 parts of realgar, 15 parts of azurite, 32 parts of turquoise, 8 parts of cinnabar, 22 parts of coral, 24 parts of ruby / sapphire, and 28 parts of jade.

[0089] At this time, (lapis lazuli + gold ore / silver ore + malachite + pearl powder) / (agate + orpiment + realgar + azurite) = 3.36; (realgar + azurite + turquoise + cinnabar) / (coral + ruby / sapphire + jade) = 0.93.

[0090] The bottom layer components include 64 parts of lapis lazuli, 34 parts of gold ore / silver ore, 96 parts of malachite, and 11 parts of pearl powder; the middle layer components include 18 parts of agate, 14 parts of orpiment, 14 parts of realgar, 15 parts of azurite, and 32 parts of turquoise; the surface layer components include 8 parts of cinnabar, 22 parts of coral, 24 parts of ruby and sapphire, and 28 parts of jade.

[0091] It can be seen from Figure 3 that under the above-mentioned eight-treasure ash process material components, the outer surface of the guqin presents a banana leaf-style visual effect.

[0092] Experimental group C: In step S2, the ore lime base has the following weight fraction ratio: 66 parts of lapis lazuli, 35 parts of gold ore / silver ore, 99 parts of malachite, 12 parts of pearl powder, 24 parts of agate, 15 parts of orpiment, 15 parts of realgar, 18 parts of azurite, 33 parts of turquoise, 10 parts of cinnabar, 26 parts of coral, 25 parts of ruby and sapphire, and 30 parts of jade.

[0093] At this time, (lapis lazuli + gold ore / silver ore + malachite + pearl powder) / (agate + orpiment + realgar + azurite) = 2.94; (realgar + azurite + turquoise + cinnabar) / (coral + ruby and sapphire + jade) = 0.938.

[0094] The bottom layer components include 66 parts of lapis lazuli, 35 parts of gold ore / silver ore, 99 parts of malachite, and 12 parts of pearl powder; the middle layer components include 24 parts of agate, 15 parts of orpiment, 15 parts of realgar, 18 parts of azurite, and 33 parts of turquoise; the surface layer components include 10 parts of cinnabar, 26 parts of coral, 25 parts of ruby and sapphire, and 30 parts of jade.

[0095] It can be seen from Figure 4 that under the above-mentioned eight-treasure ash process material components, the outer surface of the guqin presents a withered wood and dragon chant-style visual effect.

[0096] Example 3

[0097] In the selection of ores, different-density ores should be matched according to the resonance of different guqin bodies, taking into account both the sound quality and the aesthetic appearance. Because once there are imperfections in the sound and appearance and it needs to be redone, the probability of having to start over is very high during the early research. An innovation point of this solution is to provide a coupling method for the wood, the belly structure, and the ash base ratio, and complete it through corresponding techniques, so as to finally achieve the corresponding sound quality effect.

[0098] Based on Example 2, this Example 3 prepares eight-treasure ash guqins through Experimental Group 1 and Experimental Group 2;

[0099] Experimental Group 1: The belly structure is a deep arc-shaped belly, and the technique is to reserve a 0.3-mm shrinkage seam in the rough ash layer.

[0100] Experimental group 2: The trough belly structure is a flat and thin trough belly, and the technique is to reserve a 0.3mm shrinkage joint in the coarse ash layer.

[0101] Table 1 is a comparison table of the timbre of each experimental group in Example 3 and the combination of Examples 1 and 2.

[0102] Table 1 is a comparison table of the timbre of each experimental group in Example 3 and the combination of Examples 1 and 2

[0103]

[0104]

[0105] Therefore, as can be seen from Table 1, combining Examples 1 and 3, or 2 and 3, yields a wide range of lacquer-to-base ratios, enabling control over diverse timbres and achieving a perfect match between the mineral lacquer and acoustics. Therefore, in this solution, by manipulating the mineral lacquer composition, different visually distinct Babao Gray guqin surfaces are achieved. Furthermore, by combining different groove structures and techniques, different guqin tones are achieved. This facilitates the optimization of acoustic conduction for large-particle ore (12-20 mesh) and the targeted design of texture color rendering, achieving the technical effect of coordinated control of timbre and appearance.

[0106] Notes on the Babao ash process in this plan:

[0107] The main difficulty in the eight-treasure ash process lies in mastering the law of wood resonance and selecting the appropriate ratio of mineral materials to achieve the required tone and unique beauty. It is mainly achieved by selecting old wood (fir, paulownia, pine, etc.) with good resonance, long age, no scars, knots or cracks to make specific grooves to overcome the density of hard mineral ash that is not conducive to sound production. After the wooden frame is made and the base plate is assembled, natural ramie is boiled in boiling water, wrung out and set aside. Use glutinous raw lacquer to evenly wrap the linen cloth on the wooden frame. This step is mainly for the sinking of sound and the stability of the wooden frame. After normal shade drying, the unattached parts of the cloth are cut off. Different rare minerals with 12 to 20 meshes are selected to mix raw lacquer to form putty. Through special texture planning, material density analysis and layout, layer by layer is scraped and applied. Each time the ash is scraped, it is placed for one or two months. The required environment for drying is a professional dust-free shade room with a humidity of about 85 and a temperature of 22-25 degrees.

[0108] Repeatedly apply the ash layer, sand it until the surface of the qin becomes smooth and free from the three defects (sand sound, resistance to the finger, and hitting the board). Finally, the remaining ash layer on the qin is retained at a thickness of 3 - 5 millimeters. The thickness of the traditional antler frost and tile ash layer is less than 2 millimeters. The weight of a finished traditional qin is around 6 to 7 catties, while that of a qin made with the eight-treasure ash process is around 9 to 12 catties. The traditional process has a low difficulty coefficient, poor stability, is not suitable for the climates in the north and south, is prone to cracking and deformation, and the sound becomes drier over time. In contrast, the qin made with the eight-treasure ash process can withstand the influence of external forces, and the sound becomes more resonant like that of metal and stone over time. It is the most refined in terms of timbre, appearance, and stability.

[0109] The overtone, stopped tone, open string tone, and sustain of the qin made with the eight-treasure ash process are relatively longer than those of the qin made with the traditional process, fully meeting the artistic conception required by the qin's clear, subtle, distant, upright, and peaceful qualities.

[0110] In the existing technology, the difficulties that need to be overcome in this process include:

[0111] First, the requirements for selecting the wood material are extremely strict. Only the old wood with straight grain, no knots or scars, or the quarter-sawn wood from high altitudes that has naturally aged is the most suitable board for sound resonance.

[0112] Second, the ores need to be strictly screened, and the requirements for their quality are relatively high. Stones with a lot of impurities cannot show good-looking colors.

[0113] Third, the eight-treasure ash process requires particles of about 12 - 20 mesh. The probability of obtaining particles of this size after being crushed by other machines is only 20%, resulting in a low yield rate and high cost.

[0114] Fourth, it is difficult to apply the ash layer to the qin. The pure eight-treasure ash material has relatively large particles. After being mixed with raw lacquer, both aesthetics and the texture, density, and timbre need to be considered. Completing the process of applying the first layer of ash to a qin takes most of a day. In the traditional process, this step only takes less than ten minutes and requires people with extremely high aesthetic skills to operate, consuming a lot of manpower.

[0115] Fifth, after waiting for two months for the first sanding, the traditional process can be completed with ordinary sandpaper, while the eight-treasure ash process can only be sanded with customized diamond blades. At this time, it is as hard as steel, and sanding a qin takes six to eight hours. This process in the traditional ordinary process does not exceed half an hour, which tests a person's physical strength and mental endurance.

[0116] 6. After repeated sanding until the data of the arc and gap of the qin surface reaches the appropriate level, tuning is required, that is, eliminating the three problems (sand sound, hitting the board, and finger resistance). Since a small amount of larger particle-sized mineral lime tire particles are easily sanded off during the sanding process, the smoothness of the qin surface is not good at this time, which brings some interference to the process of eliminating sand sound. It requires highly experienced technical workers to eliminate the real sand sound, make the correct sanding, and adjust the feel to the best state. The process of making a guqin using the eight-treasure ash technique takes three or four hours, while the traditional process takes no more than half an hour for this process. If this process is carried out carelessly, it may be necessary to start over, so this step is very time-consuming and mentally taxing.

[0117] 7. The production cycle of the qin is too long, and the consumption of financial resources, material resources, and human resources is too large. The capital chain is easily broken. We are very affected even if our competitors play a little bit of edge ball. Because we use eight-treasure ore materials from head to tail and from bottom to top for a qin. Our semi-finished product before sanding weighs nearly thirteen or fourteen catties, and the finished qin after sanding weighs about ten catties. However, some of our competitors sprinkle a small amount of ore on the qin surface and play the edge ball of the eight-treasure ash technique to disrupt the market. Therefore, applying for a patent is of utmost importance.

[0118] 8. This technique solves the problem of the uniform appearance of traditional guqins. The traditional technique presents a chestnut shell color, simple and unified. At most, a color lacquer is applied, presenting black or red, with no other aesthetic directions. However, for the guqin made with the eight-treasure ash technique, since almost entirely large particles are used, the color is very stable and bright. No two qins have the same appearance, and they are resplendent, glittering, colorful, and their texture is like mountains, rosy clouds, and wood grains, presenting various imagery in nature with rich layers. In terms of appearance, it can present a domineering and distinctive taste. During the construction process, ores of different color systems need to be used as the main or auxiliary materials according to the requirements of sound quality or aesthetic appearance. For example, in ancient times, real gold and silver were used by the royal family, but the proportion was very small. In this solution, gold ore and silver ore are used as substitutes, or even as the main tone, and lapis lazuli and other tones are used as auxiliary ratios. The main tone of the finished product is the imagery of the galaxy. Lapis lazuli presents the imagery of the deep night sky and universe. The overall effect is that of a galaxy. Both the sound quality and aesthetic appearance have reached the extreme.

[0119] Another example: For the imagery of "A Panorama of Rivers and Mountains", malachite and turquoise are used as the main tone, and realgar and orpiment are used as the auxiliary. The presented effect is another style. All kinds of imagery textures in nature with different styles are obtained by reasonably matching the characteristics of the color, texture, and crystal gloss of the stones. Each qin is extremely unique. Just in terms of appearance, this technique requires people with a relatively high level of aesthetic ability in the field of arts and crafts to elevate the appearance to the level of art. Therefore, cultivating talents in this aspect is extremely energy-consuming, and it is necessary to overcome difficulties in both sound quality and appearance simultaneously.

[0120] IX. Specifically present the frequently encountered problems in appearance and tone, such as the control of tone. Due to the hardness of the ore lime tire, it takes time for the sound to settle. Poor grinding techniques / over-grinding and other factors are likely to result in poor connection between color and tone. Therefore, the cycle is extended to three years. The ordinary process can produce products in at most one year. A large number of synchronous experiments need to be carried out to achieve stable sound output and better growth space. Finally, the ratio scheme of the best combination is classified, and only operators with very experienced tone calibration skills can complete such high-difficulty debugging and ratio work.

[0121] The technical features not described in the present invention can be achieved by or adopted from the prior art and will not be elaborated herein. Of course, the above description is not a limitation of the present invention, and the present invention is not limited to the above examples. Changes, modifications, additions or substitutions made by those of ordinary skill in the art within the scope of the essence of the present invention should also fall within the protection scope of the present invention.

Claims

1. A preparation process for the lacquer body of an eight-treasure ash guqin, characterized in that, The specific steps include: Step S1: using quarter-sawn wood with a resonance frequency of 200-400 Hz or century-old scar-free and knot-free wood to make a wooden frame, and wrapping it with a boiled ramie layer; Step S2: Apply 12-20 mesh ore lime in layers according to acoustic-aesthetic design rules, with a total thickness of 3-5 mm; Mix the ore with the raw lacquer according to the hardness ratio of the materials, wherein, by weight, the ore material: raw lacquer = 2.0-10, the wood base: raw lacquer = 0.8-1.0; The final step is to close the pores and leave 5% of the space. Because each layer of coarse particles will leave pores, this 5% of the space should be filled with 40-60-80-120-200 mesh respectively. Each filling should be placed in the shade to dry. After drying, water grinding should continue to close the pores. Step S3: Based on the above step S2, each layer is stepped-polished with a diamond grinding wheel until the exposure rate of the ore cross section is ≥80%, and then a transparent raw lacquer is applied to solidify the texture; Step S4: The weight of the final finished piano is 4.5-6 kg, the overtone energy density is increased by 35%-45%, and the extended sound duration of the diffuse sound is ≥8 seconds.

2. The preparation process of the Babao ash guqin lacquer tire according to claim 1, characterized in that, In step S1, the quarter-sawn timber is grown at an altitude of more than 1,000 meters, the thickness of the boiled ramie cloth is 0.5-0.8 mm, and the wood base is wrapped with raw lacquer-glutinous rice adhesive, and the mass ratio of raw lacquer-glutinous rice adhesive is 1:0.

3.

3. The preparation process of the Babao ash guqin lacquer body according to claim 2, characterized in that, In step S2, the layered scraping is carried out according to the gradient mortar construction of the bottom layer, the middle layer and the surface layer; wherein the specific parameters are: Bottom layer: 12-16 mesh coarse particles, accounting for 50% by mass, scraping thickness 1.2-1.5mm; Middle layer: 16-18 mesh transition particles, accounting for 20% by weight, scraping thickness 1.0-1.2mm; Fine ash layer: 40-60-80 mesh fine particles, accounting for 25% by mass, scraping thickness 0.8-1.0mm; Surface layer: 120-200-300 mesh fine powder, mass ratio 5%, scraping thickness 0.4-0.6mm; The first drying time is 55-65 days, and the other two drying times are 35-45 days each. The temperature should be 22℃-26℃ and the humidity should be 75%-85%. The "corrugated scraper" is used to preset the ore direction, and the ore cross-section exposure rate after grinding is ≥80%.

4. The preparation process of the eight-treasure ash guqin lacquer body according to claim 3, characterized in that, In step S2, the ore includes a combination of at least two of any one of lapis lazuli, gold / silver ore, malachite, pearl, agate, orpiment, realgar, azurite, turquoise, cinnabar, coral, ruby, and jade.

5. A preparation process for the Babao ash lacquer body of a guqin, according to claim 4, characterized in that, In step S2, the ore is composed of the following weight fractions: 60-70 parts of lapis lazuli, 30-35 parts of gold / silver ore, 40-100 parts of malachite, 10-12 parts of pearl powder, 15-24 parts of agate, 10-15 parts of orpiment, 10-15 parts of realgar, 12-18 parts of azurite, 30-35 parts of turquoise, 5-10 parts of cinnabar, 18-30 parts of coral, 20-25 parts of ruby and emerald, and 25-30 parts of jade.

6. The preparation process of the Babao ash guqin lacquer body according to claim 5, characterized in that, In the step S2, by weight, (lapis lazuli + gold ore / silver ore + malachite + pearl powder) / (agate + orpiment + realgar + azurite) = 2.0 - 4.0; and (realgar + azurite + turquoise + cinnabar) / (coral + ruby and sapphire + jade) = 0.8 - 1.2; Among them, the mass ratio of malachite, lapis lazuli, and turquoise is 3:2:1, the particle size is 12 - 20 mesh, and the particle size of pearl powder is ≤50 μm and is used to fill acoustic pores.

7. A preparation process of the Babao ash guqin lacquer body according to claim 3, characterized in that, The wooden core includes a main material and an auxiliary material arranged at the bottom end of the main material. The main material is any one of old Chinese fir, paulownia wood, and pine wood. The auxiliary material is catalpa wood or Chinese fir of the same material as the surface. The thickness of the auxiliary material is ≥1.2 cm, and the moisture content is ≤8%.

8. An eight-treasure ash guqin is prepared by the preparation process of an eight-treasure ash guqin lacquer core according to any one of claims 1 - 7.

9. A Babao ash guqin according to claim 8, characterized in that, The belly structure is a deep arc-shaped belly, and the technique is to reserve a 0.3 mm shrinkage joint in the thick ash layer.

10. A Babao ash guqin according to claim 8, characterized in that, The belly structure is a flat and thin belly, and the technique is to reserve a 0.3 mm shrinkage joint in the thick ash layer.

Images