Color matching silk twisting method and weaving method of freehand wash painting

Abstract

The invention relates to the technical field of k'o-ssu technology and ink art, and discloses a color matching silk twisting method which comprises the following steps: S1, selecting silk threads for traditional k'o-ssu as ground color wefts and ink color wefts; s2, respectively splitting the ground color wefts and the ink color wefts into 12-20 monofilaments, and adjusting the thickness difference of each monofilament through a manual filament splitting method to form a filament diameter gradual change effect; and S3, according to the writing and ink layers of the freehand wash and ink painting, the ground color silk threads and the ink color silk threads are twisted according to a seven-two-three matching method. According to the color matching silk twisting method and the weaving method of the freehand wash and ink painting, natural white raw silk and indigo dyed raw silk are twisted according to different proportions of coke ink, dense ink and light ink through a seven-two-three matching method, and a technology of twisting three yarns and loosening one yarns is combined, so that wefts are gradually changed in layers due to different proportions of ink silk yarns and different twisting modes; the intermittent linear structure formed by loose twisting simulates the dry pen texture of the ink painting, and the problems that the ink color layer is fuzzy and the dry pen texture is deficient are solved.

Description

Technical Field

[0001] The invention relates to the technical field of kesi craft and ink painting art, in particular to a color-matching twisting method and a kesi weaving method of freehand ink painting. Background Art

[0002] As a traditional Chinese weaving technique, kesi craft is characterized by "continuous warp and broken weft" as its core feature. It excels at presenting pattern textures through the precise arrangement of silk threads, while ink painting creates artistic conception through the thickness and wetness, dryness and wetness of ink, and the strokes of rubbing and dotting. There are significant differences between the two in material properties and artistic expression forms. Incorporating the freehand style of ink painting into kesi craft requires breaking through the technical bottlenecks of traditional kesi in terms of color level transition, brush and ink texture simulation, etc.

[0003] Traditional kesi craft faces many technical problems when expressing freehand ink paintings: on the one hand, traditional weft preparation makes it difficult to achieve delicate gradients of ink color, and it is impossible to simulate the intermittent texture of dry brush in ink painting through the silk thread twisting process, resulting in blurred distinction between burnt ink, thick ink and light ink in kesi works, and insufficient brush and ink flavor; on the other hand, for typical brushwork such as "Pi Ma Cun" and "Fei Bai" in ink painting, the warp and weft interweaving method of traditional kesi makes it difficult to accurately present their line direction and blank space effect. At the same time, the fixed angle insertion method of the warp and weft also limits the expression of the dynamic sense of the brushwork, which makes the kesi works have obvious limitations in restoring the ink artistic conception. Therefore, a color-matching twisting method and a kesi weaving method for freehand ink painting are proposed. Summary of the Invention

[0004] (1) Technical problems solved

[0005] In response to the shortcomings of the existing technology, the present invention provides a color-matching twisting method and a kesi weaving method for freehand ink painting, which has the advantages of accurately simulating the ink brushwork layers, dry brush effects and typical brushwork, significantly improving the degree of restoration of the artistic conception of freehand ink painting and the artistic expression of kesi works, and solves two technical problems existing in the traditional kesi craft in expressing freehand ink painting: one is that the traditional weft preparation cannot achieve the gradual change of ink color and the simulation of dry brush texture, resulting in blurred ink layers; the other is that the warp and weft interweaving method is difficult to accurately present the line direction and blank space effect of brushwork such as "Pi Ma Cun" and "Fei Bai", and the fixed threading angle also restricts the dynamic expression of brushwork, which limits the restoration of the ink artistic conception.

[0006] (2) Technical solution

[0007] In order to achieve the above-mentioned accurate simulation of ink and wash brushwork layers, dry brush effects, and typical brushwork, and significantly improve the restoration degree and artistic expression of the freehand ink painting artistic conception of kesi works, the present invention provides the following technical solutions: a color-matching twisting method, comprising the following steps:

[0008] S1. Selecting traditional kesi silk threads as the base weft thread and the black weft thread, wherein the base weft thread is natural white raw silk and the black weft thread is indigo-dyed raw silk;

[0009] S2. Split the base color weft and the black color weft into 12-20 single yarns respectively, and adjust the thickness of each single yarn by manual splitting to create a "gradual yarn diameter" effect;

[0010] S3. Based on the brushwork and ink layers of the freehand ink painting, twist the base color silk thread and the ink color silk thread using the "7:2:3 ratio method":

[0011] Burnt ink weft: 7-9 black silk threads + 3-5 base color silk threads;

[0012] Dark ink weft: 6-8 dark silk threads + 4-6 base color silk threads;

[0013] Light ink weft: 5-7 black silk threads + 5-7 base color silk threads;

[0014] S4. During the twisting process, the "twist three and loosen one" technique is used, that is, after twisting three groups of silk threads, loosen the twist once to form a discontinuous linear structure, simulating the dry brush effect in ink painting.

[0015] Preferably, in S1, both the base color weft and the black color weft are processed by the traditional "Jilisi" process, and the specific steps include:

[0016] S1.1. Cocoon Selection: Choose double-palace cocoons with a cocoon layer thickness of ≥0.23mm, a cocoon shell rate of ≥25%, and a complete cocoon shape without damage;

[0017] S1.2. Boiling cocoons: Place the cocoons in wood ash water at a temperature of 85-90°C for 8-12 minutes, turning the cocoons every 2 minutes to ensure uniform degumming.

[0018] S1.3, Ginning: The silk thread is drawn manually to a diameter of 0.18-0.22mm. The drawing process adopts the "three boils and three draws" process. After each boil, it is dried and then drawn again.

[0019] S1.4, Sizing: Coat the silk thread with glutinous rice paste, dry it and twist it together, making sure the surface of the silk thread is smooth and does not break after twisting.

[0020] Preferably, the wood ash water is prepared by mixing pine ash and bamboo leaf ash in a ratio of 1:1, the pine ash is the ashes of burned aged pine wood, and the bamboo leaf ash is the ashes of carbonized fresh bamboo leaves, and the pH value of the wood ash water is 10-11.

[0021] Preferably, the specific operation of the manual wire separation method in S2 is:

[0022] Use a bamboo splitting needle to separate the silk thread into strands, and adjust the length of the single filament by repeatedly stretching it so that the diameter difference of each single filament is controlled within 0.03-0.08mm;

[0023] After separation, the silk threads are subjected to a "drying" treatment, that is, they are left in a cool and ventilated place for 12-36 hours to eliminate twisting stress.

[0024] Preferably, the "723 ratio method" in S3 is implemented by the following rules:

[0025] Burnt ink weft: The silk thread is twisted in alternating "left twist + right twist" method, with 18-22 twist points per centimeter;

[0026] Thick ink weft: The silk thread is twisted using the "double right twist" method, with 12-15 twist points per centimeter;

[0027] Light ink weft: The silk thread is twisted using the "single left twist" method, with 8-10 twisting points per centimeter.

[0028] A tapestry weaving method for freehand ink painting comprises the following steps:

[0029] H1. On the kesi frame with continuous warp and broken weft, group the warp threads according to the composition of the ink painting, with the spacing between each group of warp threads being 1.0-1.5cm;

[0030] H2, using the traditional kesi technique of "cross-stitching + turning over", insert the color-matching weft prepared in H1;

[0031] H3. During the tapestry weaving process, the following effects can be achieved by adjusting the weft threading direction and weft density:

[0032] For the "Pi Ma Cun" brushwork area, the "oblique weft cross method" is used, that is, the weft and the warp are inserted at an angle of 30°-45°;

[0033] For the "flying white" brushstroke area, the "empty weft blank method" is adopted, that is, the mixed color weft threads are inserted at intervals to form a blank area with a width of 0.3-0.7cm.

[0034] Preferably, the specific operation of H3, "oblique weft crossing method" is:

[0035] Use a bamboo shuttle to insert the color-matching weft into the warp at an angle of 40°-45°, and retreat 0.3-0.5cm after each 1cm of insertion to form a "V" shape.

[0036] During the retraction process, use a wooden comb to press the weft thread to ensure that the line shape is fixed.

[0037] Preferably, the specific operation of H3, "empty weft blanking method" is:

[0038] Insert the burnt ink weft threads on both sides of the blank area, leaving 1-2 warp threads unthreaded in the middle;

[0039] The color-matching weft threads at the edge of the blank area are woven using the "double weft and parallel weft" method, that is, two color-matching weft threads are inserted side by side into the same set of warp threads.

[0040] Preferably, after the tapestry weaving is completed, the "touch the warp surface" process is adopted:

[0041] Use a bamboo needle to comb repeatedly along the warp direction to make the weft fit into the gaps between the warp threads;

[0042] When manually trimming the rough edges, retain about 0.3-0.7mm of silk thread hair to simulate the smudge effect of ink painting.

[0043] (3) Beneficial effects

[0044] Compared with the prior art, the present invention provides a color-matching twisting method and a tapestry weaving method for freehand ink painting, which has the following beneficial effects:

[0045] 1. This color-matching twisting method and freehand ink painting embroidery method uses the "7:2:3 ratio method" to twist natural white raw silk and indigo-dyed raw silk in different proportions of burnt ink, thick ink, and light ink. Combined with the "twisting three and loosening one" technique, the weft yarn presents a layered gradient due to the different proportions of ink-colored silk threads and the twisting method. The intermittent linear structure formed by the loose twist simulates the dry brush texture of ink painting, solving the problems of blurred ink layers and lack of dry brush texture.

[0046] 2. This color-matching twisting method and the freehand ink painting embroidery method use the "oblique weft crossing method" to allow the color-matching weft and warp to penetrate at an angle of 30°-45° and retreat to form a "V" shape, simulating the "Pi Ma Cun" brushwork. The "empty weft and blank space method" alternates the weft to form blank areas. The "touching the warp surface" process is used to comb the weft and retain 0.3-0.7mm of hair ends, recreating the "feibai" brushwork and ink-wash smudge effect. BRIEF DESCRIPTION OF THE DRAWINGS

[0047] Figure 1 This is a process flow chart of the color-matching twisting method of the present invention;

[0048] Figure 2 The present invention is a flowchart of the tapestry weaving method for freehand ink painting. DETAILED DESCRIPTION

[0049] The following will clearly and completely describe the technical solutions in the embodiments of the present invention in conjunction with the embodiments of the present invention and the accompanying drawings. Obviously, the described embodiments are only part of the embodiments of the present invention, not all of the embodiments. Based on the embodiments of the present invention, all other embodiments obtained by ordinary technicians in this field without making creative efforts are within the scope of protection of the present invention.

[0050] See also Figure 1-2 , a color-matching twisting method, comprising the following steps:

[0051] S1. Selecting traditional kesi silk threads as the base weft thread and the black weft thread, wherein the base weft thread is natural white raw silk and the black weft thread is indigo-dyed raw silk;

[0052] S2. Split the base color weft and the black color weft into 12-20 single yarns respectively, and adjust the thickness of each single yarn by manual splitting to create a "gradual yarn diameter" effect;

[0053] S3. Based on the brushwork and ink layers of the freehand ink painting, twist the base color silk thread and the ink color silk thread using the "7:2:3 ratio method":

[0054] Burnt ink weft: 7-9 black silk threads + 3-5 base color silk threads;

[0055] Dark ink weft: 6-8 dark silk threads + 4-6 base color silk threads;

[0056] Light ink weft: 5-7 black silk threads + 5-7 base color silk threads;

[0057] S4. During the twisting process, the "twist three and loosen one" technique is used, that is, after twisting three groups of silk threads, loosen the twist once to form a discontinuous linear structure, simulating the dry brush effect in ink painting.

[0058] A tapestry weaving method for freehand ink painting comprises the following steps:

[0059] H1. On the kesi frame with continuous warp and broken weft, group the warp threads according to the composition of the ink painting, with the spacing between each group of warp threads being 1.0-1.5cm;

[0060] H2, using the traditional kesi technique of "cross-stitching + turning over", insert the color-matching weft prepared in H1;

[0061] H3. During the tapestry weaving process, the following effects can be achieved by adjusting the weft threading direction and weft density:

[0062] For the "Pi Ma Cun" brushwork area, the "oblique weft cross method" is used, that is, the weft and the warp are inserted at an angle of 30°-45°;

[0063] For the "flying white" brushstroke area, the "empty weft blank method" is adopted, that is, the mixed color weft threads are inserted at intervals to form a blank area with a width of 0.3-0.7cm.

[0064] Example 1:

[0065] This embodiment is directed to a color-matching twisting technology solution, specifically addressing the problem that traditional weft yarn preparation cannot achieve ink color gradients and dry brush texture simulation.

[0066] By refining the various process parameters and operating procedures, we ensure that the layers of burnt ink, thick ink and light ink are clearly distinguished. At the same time, the "twist three and loosen one" technique is used to achieve accurate simulation of the dry brush effect, providing feasible operational details for the technical solution.

[0067] During the cocoon selection process, double-palace cocoons are strictly selected. The selected cocoons must meet the standards of cocoon layer thickness ≥ 0.23mm, cocoon shell rate ≥ 25%, and cocoon shape intact and without damage. This cocoon selection requirement ensures the strength and uniformity of the silk thread from the raw material end, laying the foundation for subsequent processes.

[0068] During the cocoon boiling operation, the cocoons are placed in wood ash water made by mixing aged pine ash and fresh bamboo leaf ash in a 1:1 ratio. The pH value of the wood ash water is maintained in the range of 10 to 11. The water temperature is controlled at a constant temperature of 85°C and boiled for 12 minutes. During this period, the cocoons are turned over every 2 minutes with a bamboo tool to ensure uniform degumming of the cocoons.

[0069] During the cotton ginning process, the "three boiling and three pulling" process is adopted. After each boiling, the silk thread needs to be naturally dried for 4 hours before being pulled. Through multiple processing steps, the diameter of the silk thread is finally controlled at around 0.20mm, with an error of no more than 0.02mm, ensuring that the thickness of the silk thread is uniform.

[0070] During the sizing stage, the surface of the silk thread is evenly coated with glutinous rice slurry with a concentration of 15%, and dried in an environment with a temperature of about 25°C and a humidity of about 60%. A constant tension of 0.5 Newtons is applied during twisting to ensure that the surface of the silk thread is smooth and does not break after twisting, thereby improving the performance of the silk thread.

[0071] During the splitting and dividing stages, the natural white raw silk and indigo-dyed raw silk are split into 16 single filaments respectively, and each filament is adjusted one by one using a bamboo splitting needle; through repeated stretching, the length difference of the single filament is kept within 0.5cm, and the difference in wire diameter is controlled at around 0.05mm, with an error of no more than 0.03mm; after dividing, the silk is dried in an environment with a temperature of 20°C and a humidity of 55% for 24 hours to eliminate twisting stress.

[0072] During the twisting process:

[0073] The burnt ink weft yarn is twisted with an alternating left-hand twist and right-hand twist, with 8 black silk threads and 4 base-colored silk threads. The twist is twisted at 20 points per centimeter, and after every three twists, the yarn is loosened once at a 90° angle, forming a discontinuous linear structure that simulates the dry brush effect of ink painting.

[0074] The thick ink weft uses 7 black silk threads and 5 base color silk threads, twisted with the "double right twist" method, with 13 twist points per centimeter. The loose twist frequency is the same as the burnt ink weft, achieving a thick ink layering effect;

[0075] The light ink weft thread is a combination of 6 black silk threads and 6 base color silk threads, twisted using the "single left twist" method, with 9 twisted points per centimeter; through different twisting techniques, a layered transition of ink color from burnt ink to light ink is achieved.

[0076] Example 2:

[0077] This embodiment is aimed at the embroidery method, focusing on solving the problem that the traditional warp and weft interweaving method is difficult to present the brushwork such as "Pi Ma Cun" and "Fei Bai" and lacks a sense of dynamics.

[0078] By innovating the weft threading angle, blank space technology and warp surface treatment, the three-dimensional restoration of ink and wash brushwork is achieved, providing specific operational guidance for the embroidery method and ensuring that the technical bottlenecks of traditional crafts can be solved.

[0079] During the warp grouping stage, the warp threads are divided into 5 groups on the kesi frame according to the composition of the ink painting, with a spacing of 1.2 cm between each group. Cotton thread is used to mark the positions between the groups to ensure the precision control when the weft threads are inserted.

[0080] In the basic weft threading stage, the prepared color-matching weft yarn is threaded using the "pick-up + flip-over" technique; when threading the weft, the bamboo shuttle movement speed is maintained at 10 cm per minute, and the weft yarn tension is controlled at 1.2 Newtons to ensure that the warp and weft are tightly and smoothly interwoven, laying a good foundation for subsequent brushwork simulation.

[0081] Brushstroke simulation operation stage:

[0082] For the "hemp-like" areas, a 45° oblique weft-cross method was used. The bamboo shuttle was inserted into the warp at a 45° angle, and after every 1 cm of penetration, it retreated 0.4 cm, forming a "V"-shaped trajectory. During the retreat, a wooden comb applied 0.8 kg of pressure to compress the weft, and the overlap of adjacent "V" shapes was 0.3 cm, accurately simulating the cross-texture of the brushwork.

[0083] In the "feibai" area, burnt ink weft threads are inserted on both sides of the blank area, with two warp threads left unthreaded in the middle, forming a 0.5cm wide blank band; the edge of the blank area adopts the "double weft and parallel weaving" method, that is, two strands of burnt ink weft threads are inserted side by side to prevent deformation of the blank area and achieve the white space effect of the "feibai" brushwork.

[0084] During the post-processing stage, after the weaving is completed, bamboo needles are used to comb along the warp direction at a frequency of 30 times per minute, so that the weft is embedded in the gaps between the warp threads to a depth of 0.3mm; during manual trimming, 0.5mm of silk thread hair ends are retained, and the natural smudging of the hair ends is used to simulate the penetration effect of ink.

[0085] To sum up, the color-matching twisting method and the embroidery method of freehand ink painting use the "723 ratio method" to twist natural white raw silk and indigo-dyed raw silk in different proportions of burnt ink, thick ink, and light ink, combined with the "twisting three and loosening one" technique, so that the weft thread presents a layered gradient due to the different proportions of ink-colored silk threads and the twisting method. The discontinuous linear structure formed by the loose twisting simulates the dry brush texture of ink painting, solving the problems of blurred ink levels and lack of dry brush texture.

[0086] In addition, the color-matching twisting method and the embroidery method of freehand ink painting use the "oblique weft crossing method" to allow the color-matching weft and warp to penetrate at an angle of 30°-45° and retreat to form a "V" shape, simulating the "Pi Ma Cun" brushwork, and the "empty weft blanking method" to interweave the weft to form a blank area, and use the "touching the warp surface" process to comb the weft and retain 0.3-0.7mm hair ends, restoring the "flying white" brushwork and ink smudge effect, solving two technical problems in the traditional embroidery craft when expressing freehand ink painting: first, the traditional weft preparation cannot achieve the gradual change of ink color and the simulation of dry brush texture, resulting in blurred brush and ink layers; second, the warp and weft interweaving method is difficult to accurately present the line direction and blanking effect of brushwork such as "Pi Ma Cun" and "Flying White", and the fixed threading angle also limits the dynamic expression of brushwork, which limits the restoration of ink artistic conception.

[0087] The relevant modules involved in this system are all hardware system modules or functional modules that combine computer software programs or protocols with hardware in the existing technology. The computer software programs or protocols involved in the functional modules are themselves technologies that are well known to those skilled in the art and are not improvements to this system. The improvements to this system are the interaction or connection relationships between the modules, that is, improvements to the overall structure of the system to solve the corresponding technical problems to be solved by this system.

[0088] While embodiments of the present invention have been shown and described, it will be appreciated by those skilled in the art that various changes, modifications, substitutions, and variations may be made to these embodiments without departing from the principles and spirit of the invention, and that the scope of the invention is defined by the appended claims and their equivalents.

Claims

1. A color-matching twisting method, characterized in that: The following steps are involved: S1. Selecting traditional kesi silk threads as the base weft thread and the black weft thread, wherein the base weft thread is natural white raw silk and the black weft thread is indigo-dyed raw silk; S2. Split the base color weft and the black color weft into 12-20 single yarns respectively, and adjust the thickness of each single yarn by manual splitting to create a "gradual diameter" effect; S3. Based on the brushwork and ink layers of the freehand ink painting, twist the base color silk thread and the ink color silk thread according to the "7:2:3 ratio method": Burnt ink weft: 7-9 black silk threads + 3-5 base color silk threads; Dark ink weft: 6-8 dark silk threads + 4-6 base color silk threads; Light ink weft: 5-7 black silk threads + 5-7 base color silk threads; S4. During the twisting process, the "twist three and loosen one" technique is used, that is, after twisting three groups of silk threads, loosen the twist once to form a discontinuous linear structure, simulating the dry brush effect in ink painting.

2. A color-matching twisting method according to claim 1, characterized in that: In S1, the base color weft and the black color weft are both processed using the traditional "Jilisi" process, and the specific steps include: S1.

1. Cocoon Selection: Choose double-palace cocoons with a cocoon layer thickness of ≥0.23mm, a cocoon shell rate of ≥25%, and a complete cocoon shape without damage; S1.

2. Boiling cocoons: Place the cocoons in wood ash water at a temperature of 85-90°C for 8-12 minutes, turning the cocoons every 2 minutes to ensure uniform degumming. S1.3, Ginning: The silk thread is drawn manually to a diameter of 0.18-0.22mm. The drawing process adopts the "three boils and three draws" process, and after each boil, it is dried and then drawn again; S1.4, Sizing: Coat the silk thread with glutinous rice paste, dry it and twist it together, making sure the surface of the silk thread is smooth and does not break after twisting.

3. A color-matching twisting method according to claim 2, characterized in that: The plant ash water is prepared by mixing pine ash and bamboo leaf ash in a ratio of 1:

1. The pine ash is the ash of burned aged pine wood, and the bamboo leaf ash is the ash of carbonized fresh bamboo leaves. The pH value of the plant ash water is 10-11.

4. A color-matching twisting method according to claim 1, characterized in that: The specific operation of the manual wire separation method in S2 is as follows: Use a bamboo splitting needle to separate the silk thread into strands, and adjust the length of the single filament by repeatedly stretching it so that the diameter difference of each single filament is controlled within 0.03-0.08mm; After separation, the silk threads are subjected to a "drying" treatment, that is, they are left in a cool and ventilated place for 12-36 hours to eliminate twisting stress.

5. A color-matching twisting method according to claim 1, characterized in that: The S3, "723 matching method" is implemented by the following rules: Burnt ink weft: The silk thread is twisted in alternating left-hand twist and right-hand twist, with 18-22 twist points per centimeter. Thick ink weft: The silk thread is twisted using the "double right twist" method, with 12-15 twist points per centimeter; Light ink weft: The silk thread is twisted using the "single left twist" method, with 8-10 twisting points per centimeter.

6. A tapestry weaving method for freehand ink painting, characterized in that: The following steps are involved: H1. On the kesi frame with continuous warp and broken weft, group the warp threads according to the composition of the ink painting, with the spacing between each group of warp threads being 1.0-1.5cm; H2, using the traditional Kesi technique of "cross-stitching + turning over", insert the color-matching weft prepared in H1; H3. During the tapestry weaving process, the following effects can be achieved by adjusting the weft threading direction and weft density: For the "Pi Ma Cun" brushstroke area, the "oblique weft cross method" is used, that is, the weft and the warp are inserted at an angle of 30°-45°; For the "flying white" brushstroke area, the "empty weft blank method" is adopted, that is, the mixed color weft threads are inserted at intervals to form a blank area with a width of 0.3-0.7cm.

7. The tapestry weaving method of freehand ink painting according to claim 6, characterized in that: The specific operation of H3, "oblique weft crossing method" is as follows: Use a bamboo shuttle to insert the color-matching weft into the warp at an angle of 40°-45°, and retreat 0.3-0.5cm after each 1cm of insertion to form a "V" shape. During the retraction process, use a wooden comb to press the weft thread to ensure that the line shape is fixed.

8. The tapestry weaving method of freehand ink painting according to claim 6, characterized in that: The specific operation of H3, "empty weft blanking method" is as follows: Insert the burnt ink weft threads on both sides of the blank area, leaving 1-2 warp threads unthreaded in the middle; The color-blocked weft threads at the edge of the blank area are woven using the "double weft" method, that is, two color-blocked weft threads are inserted side by side into the same set of warp threads.

9. The tapestry weaving method of freehand ink painting according to claim 6, characterized in that: After the tapestry is completed, the "touch the warp surface" process is adopted: Use a bamboo needle to comb repeatedly along the warp direction to make the weft fit into the gaps between the warp threads; When manually trimming the rough edges, retain about 0.3-0.7mm of silk thread hair to simulate the smudge effect of ink painting.

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