Highland barley three-dimensional sticking and embedding process

Abstract

The invention discloses a three-dimensional highland barley sticking and embedding process, relates to the field of non-abandoned technology innovation and handicraft manufacturing, and aims to solve the problems of planarization of Tibetan non-abandoned handicrafts, chemical addition, ineffective application of highland barley and insufficient process standardization. The technology comprises the four working procedures of raw material fine trimming and natural dyeing, base creation and contour positioning, natural adhesive material preparation, manual sticking and embedding and three-dimensional forming, wherein the highland barley with the thickness of 0.8-1.2 mm is selected and dyed through a natural dyeing material, a solid wood base is subjected to thangka line drawing positioning, the highland yak tendon is made into the natural adhesive material, the highland barley is stuck and embedded according to the density of 30-40 grains / cm < 2 > and the stacking of 1-3 layers, and curing is conducted for 24-48 hours at the temperature of 20-25 DEG C and the humidity of 40%-60%. The process is free of chemical addition, retains a non-abandoned ecological core, realizes three-dimensional expression of Tibetan culture, reduces an inheritance threshold through a standardized process, has culture and practical values, and is suitable for scenes such as cultural and creative, decoration and the like.

Description

Technical Field

[0001] This invention relates to the field of intangible cultural heritage technique innovation and handicraft production technology, specifically a three-dimensional barley inlay technique. Background Technology

[0002] The existing Tibetan traditional skills have significant limitations in contemporary application:

[0003] 1. Limited forms of expression and mediums of dissemination: Traditional Tibetan paintings (such as Thangka) are mostly presented in two-dimensional forms such as flat scrolls and murals, while handicrafts (such as woolen cloth) are mainly used in textile production. The lack of innovative expression in three-dimensional form results in insufficient visual impact during cultural dissemination and makes it difficult to adapt to the diversified needs of modern home decoration, cultural and creative products, etc. The limited mediums of dissemination restrict the audience coverage and influence of intangible cultural heritage skills.

[0004] 2. Modern manufacturing processes deviate from the traditional ecological core: In pursuit of production efficiency and color stability, some Tibetan-style handicrafts currently use chemical dyes instead of traditional natural dyes and synthetic adhesives instead of natural adhesives. This not only destroys the core attributes of Tibetan traditional craftsmanship, namely "natural materials and ecological protection," causing the handicrafts to lose the unique "natural texture" and "regional identity" of Tibetan culture, but may also pose potential environmental and health risks due to chemical residues, which contradicts the contemporary consumer demand for "natural, green, and safe" products.

[0005] 3. Ineffective Transformation of Tibetan Specialty Raw Materials: Barley, a signature crop of the high-altitude, cold regions of Tibet above 3000 meters, boasts advantages such as uniform grain size (natural grain diameter concentrated between 0.8-1.2mm), hard texture, good storage properties, and unique grain structure, making it an ideal natural raw material for carrying Tibetan cultural symbols. However, currently, barley is mainly used in food processing, with its application in intangible cultural heritage innovation and handicraft production almost nonexistent. This failure to combine its "regional characteristics" with its "cultural carrier attributes" results in a lack of dual support—"specialty raw materials + innovative processes"—for the contemporary transmission of Tibetan intangible cultural heritage techniques, leading to insufficient vitality in its transmission.

[0006] 4. High barriers to entry and lack of standardization in the transmission of intangible cultural heritage skills: Traditional Tibetan painting skills (such as Thangka) require practitioners to learn complex processes such as line drawing, dyeing, and outlining over a long period of time. Moreover, the skills rely heavily on oral transmission from master to apprentice, lacking standardized process flow and parameters. On the other hand, the traditional skills related to the production of three-dimensional handicrafts (such as metal forging and wood carving) have a low degree of integration with Tibetan painting skills, making it difficult for intangible cultural heritage inheritors to quickly master the composite production ability of "three-dimensional + traditional painting". The high barriers to entry further restrict the contemporary promotion and industrialization of Tibetan cultural intangible cultural heritage skills.

[0007] In summary, existing technologies for Tibetan intangible cultural heritage techniques suffer from problems such as two-dimensional presentation, non-natural production processes, underutilization of unique raw materials, and an imperfect inheritance system. There is an urgent need for an innovative process that uses natural materials as the core, integrates traditional techniques with three-dimensional modeling, and standardizes the process to solve the above-mentioned technical pain points and promote the living inheritance and modernization of Tibetan intangible cultural heritage techniques. Summary of the Invention

[0008] The technical problem to be solved by this invention is that existing Tibetan intangible cultural heritage crafts (such as Thangka painting and wool dyeing) suffer from problems such as flat presentation, reliance on chemical additives in production, ineffective application of Tibetan specialty barley in three-dimensional innovation, single transmission carrier, and insufficient standardization of processes.

[0009] To solve the above-mentioned technical problems, the technical solution adopted by the present invention is as follows: a three-dimensional barley inlay process, characterized by comprising four major steps: raw material refinement and natural dyeing, base creation and contour positioning, natural adhesive preparation, and manual inlay and three-dimensional molding. No chemical dyes or synthetic adhesives are added throughout the entire process. The specific steps are as follows: (1) Raw material refining and natural dyeing process: Select barley grains with a particle size of 0.8-1.2mm, without damage or mold, wash them by hand 3-5 times, and pre-dry them in a ventilated environment at 30-35℃ until the moisture content is ≤10%; select at least three of the following as dye materials: saffron, indigo, madder, walnut skin, and Tibetan gentian, and crush them to a particle size of ≤5mm; mix the dye materials with pure water at a mass ratio of 1:8-1:12, boil and then simmer for 5-10 minutes to make a natural dye solution; immerse the barley grains in the dye solution at 60-80℃ for 30-40 minutes, stirring once every 5 minutes, take them out and rinse them 1-2 times, and then sun-dry them in a ventilated environment at 25-30℃ until the moisture content is ≤8% to obtain multi-colored natural dyed barley grains; (2) Base creation and outline positioning process: Select solid wood boards with a density of 0.6-0.8g / cm³, cut and sand them until the surface flatness error is ≤0.2mm; adopt the traditional Tibetan Thangka line drawing technique, use natural mineral pigments to draw line drawings on the base surface, and control the line width to 0.3-0.5mm; use a needle to drill holes on the surface of the line drawing to outline the dotted lines, and divide the inlay area according to the color zoning and three-dimensional layer requirements; (3) Natural adhesive preparation process: Select plateau yak tendons, remove impurities and cut them into 2-3cm blocks, mix them with pure water at a mass ratio of 1:5-1:7, boil them and then simmer them over low heat for 2-3 hours until completely dissolved, filter them through an 80-mesh filter and cool them to room temperature to obtain natural biological adhesive; (4) Manual inlay and three-dimensional molding process: According to the positioning marks and color division, apply natural biological adhesive evenly to the inlay area with a thickness of 0.3-0.5mm, embed barley grains of the corresponding color, and control the arrangement density to 30-40 grains / cm²; adjust the thickness of the grain stacking to 1-3 layers according to the three-dimensional layer requirements, and use gradient transition inlay for adjacent color areas; place the work in an environment of 20-25℃ and 40%-60% relative humidity and let it stand for 24-48 hours to cure until the adhesive is completely dry and solidified.

[0014] As a further aspect of the present invention: in the raw material refining and natural dyeing process, the dye material can be a single dye material or a mixed dye material, and can be mixed and used according to the preset color requirements.

[0015] As a further aspect of the present invention: in the process of creating the base and positioning the outline, the solid wood board is preferably made of pine or birch.

[0016] As a further aspect of the present invention: in the preparation process of the natural adhesive, the boiling process requires continuous stirring to ensure that the yak tendon is completely softened and dissolved, and after filtration, a viscous natural biological adhesive is obtained.

[0017] As a further aspect of the present invention: in the manual inlay and three-dimensional molding process, the height difference of barley grains forms a three-dimensional outline, thereby achieving an innovative expression of the three-dimensional visual effect of traditional Tibetan painting.

[0018] Compared with the prior art, the present invention has the following advantages:

[0019] 1. Cultural Heritage Dimension: Upholding the core of intangible cultural heritage and innovating the forms of expression of Tibetan culture.

[0020] This invention deeply integrates traditional Tibetan Thangka line drawing techniques and wool dyeing skills. It utilizes all-natural Tibetan materials (barley, saffron, and other natural dyes, and yak sinew as binder) without any chemical dyes or synthetic binders, fully preserving the cultural core and regional identity of Tibetan intangible cultural heritage: "natural materials and environmental protection." Simultaneously, by stacking 1-3 layers of barley grains to create a 0.8-3.6mm height difference, it breaks through the limitations of traditional Tibetan painting's flatness, transforming two-dimensional line drawings into three-dimensional works with both tactile texture and visual depth. This provides an innovative "three-dimensional visualization" expression medium for Thangka and other intangible cultural heritage techniques, allowing Tibetan culture to be more vividly disseminated in modern settings and effectively enhancing the contemporary appeal and audience reach of intangible cultural heritage techniques.

[0021] 2. Raw material utilization dimension: Activate the unique resources of Tibet and realize the high added value transformation of raw materials.

[0022] This invention is the first to extend the use of barley, a symbolic crop of Tibet, from the food processing field to the production of intangible cultural heritage handicrafts. It fully utilizes the natural advantages of barley, such as its uniform grain size (0.8-1.2mm), hard texture, and unique grain, transforming it into a core creative material that carries Tibetan cultural symbols. By using natural dyeing techniques to give barley rich colors, combined with hand-attachment, it forms three-dimensional handicrafts with regional characteristics, upgrading barley from a "food crop" to a "cultural and creative material." This significantly enhances the added value of Tibetan specialty agricultural products and provides a feasible technical path for the integrated development of Tibetan specialty resources and intangible cultural heritage industries, thus contributing to the coordinated development of Tibetan culture and economy.

[0023] 3. Craftsmanship Application Dimension: Standardized processes lower the barrier to entry, balancing artistry and practicality.

[0024] This invention breaks down the core processes of traditional intangible cultural heritage techniques (such as Thangka line drawing and natural dyeing) into standardized parameters (such as barley particle size, dye liquor ratio, and binder boiling time). It clarifies the key control indicators such as temperature, time, and concentration for each process, solving the pain point of traditional intangible cultural heritage techniques being "passed down orally and difficult to replicate." This allows intangible cultural heritage inheritors to quickly master the three-dimensional inlay technique through standardized processes, effectively lowering the learning and promotion threshold of intangible cultural heritage techniques. At the same time, the finished handicrafts combine national artistic value with practical functions such as home decoration and cultural and creative display, and can be adapted to diverse scenarios such as modern homes, cultural and tourism venues, and cultural and creative shops. This realizes the transformation of intangible cultural heritage techniques from "cultural display" to "practical products," laying a technological foundation for the industrialization of intangible cultural heritage.

[0025] 4. Environmental and Health Dimension: Natural processes ensure safety and meet modern consumer demands.

[0026] This invention utilizes natural materials and eco-friendly processes throughout. The natural dyes (saffron, indigo, etc.) leave no chemical residues, the yak sinew adhesive is biodegradable, and both the solid wood base and natural mineral pigments meet environmental standards. The finished handicrafts release no formaldehyde, heavy metals, or other harmful substances during use, perfectly meeting the core demands of contemporary consumers for "natural, green, and safe" products. Compared to traditional handicrafts that rely on chemical dyes and synthetic adhesives, the environmental attributes of this invention not only enhance the health and safety of the product but also reduce the environmental impact of production and use, aligning with the development direction of the "green cultural and creative" industry and possessing broad market application prospects.

[0027] 5. Craftsmanship Integration Dimension: Cross-craft collaborative innovation to enrich the intangible cultural heritage craftsmanship system

[0028] This invention is not an improvement on a single technique, but rather a cross-disciplinary integration of three major intangible cultural heritage techniques: traditional Tibetan painting (Thangka), hand dyeing (Puxu), and natural adhesive making (yak tendon). Through a combination of "line drawing positioning + natural dyeing + three-dimensional inlay," a completely new "three-dimensional intangible cultural heritage craft production system" has been constructed. This cross-technique integration not only enriches the expressive forms of Tibetan intangible cultural heritage techniques, but also provides a reference paradigm for the innovative integration of intangible cultural heritage techniques of other ethnic groups, promoting the development of intangible cultural heritage techniques from "single inheritance" to "collaborative innovation," and helping to build a more vibrant intangible cultural heritage technique ecosystem. Attached Figure Description

[0029] The accompanying drawings are provided to further illustrate the invention and form part of the specification. They are used in conjunction with embodiments of the invention to explain the invention and do not constitute a limitation thereof. In the drawings:

[0030] Figure 1 This is a flowchart of a three-dimensional embedding process for highland barley according to the present invention. Detailed Implementation

[0031] The following detailed description of the three-dimensional barley inlay process of the present invention is based on specific embodiments. Each embodiment focuses on the production of three-dimensional inlay crafts with the "Eight Auspicious Treasures of Tibet" pattern. The core differences lie in the combination of dye materials, the parameters of adhesive boiling, and the layering of particles, which are intended to verify the influence of different process parameters on the finished product effect. All embodiments follow the four core processes of the present invention to ensure that no chemical dyes or synthetic adhesives are added.

[0032] Example 1: Basic style (mainly high-saturation monochrome, suitable for home decoration)

[0033] 1. Raw material refining and natural dyeing process

[0034] Barley screening: Select barley grains with a particle size of 1.0-1.2mm and no damage, wash them by hand 4 times (using natural spring water from Tibet, with a water flow rate of 0.3m / s), and pre-dry them in a ventilated environment at 32℃ until the moisture content is 8%.

[0035] Dyeing material combination: mainly single dyeing material, selecting saffron (red), indigo (blue) and madder (orange), and crushing them to a particle size of 3-5mm;

[0036] Dye preparation and dyeing: Mix the dye material and purified water at a mass ratio of 1:10, boil and then simmer for 8 minutes; soak the barley grains in the 70℃ dye solution for 35 minutes, stirring once every 5 minutes; take them out and rinse them twice with purified water, and air dry them at 28℃ until the moisture content is 7% to obtain highly saturated single-color barley grains (red, blue, orange).

[0037] 2. Base creation and outline positioning process

[0038] Substrate selection: A substrate with a density of 0.7 g / cm³ was chosen. 3 The pine wood boards were cut into 30cm×40cm sizes and sanded with 180-320 grit sandpaper in sequence. The surface roughness Ra=0.6μm and the flatness error was 0.1mm.

[0039] Line drawing and positioning: The line drawing of the "Eight Auspicious Treasures" is drawn with natural cinnabar (red) and azurite (blue), with a line width of 0.4mm; the outline is marked with holes (2mm apart) to draw dotted lines, and the inlay area is divided into three sections of red, blue and orange, without any three-dimensional layering or intersection.

[0040] 3. Natural binder preparation process

[0041] Yak tendon processing: After removing the fascia, cut into 2.5cm pieces. Mix yak tendon and purified water in a mass ratio of 1:6. After boiling, simmer over low heat for 2.5 hours, stirring at 40 rpm to ensure complete dissolution.

[0042] Filtration and cooling: After filtration through an 80-mesh filter and cooling to room temperature, a viscous material with a viscosity of 6500 mPa·s is obtained.

[0043] 4. Manual gluing and three-dimensional molding process

[0044] Adhesion parameters: adhesive coating thickness 0.4mm, barley grain density 35 grains / cm². 2 The corresponding monochrome particles are embedded according to color zones, and all areas are stacked in one layer (height difference 0.8-1.2mm);

[0045] Curing conditions: Allow to stand for 36 hours at 22℃ and 50% relative humidity until the adhesive is completely dry and solidified.

[0046] Finished product effect

[0047] The finished product has high color saturation, clear boundaries of monochrome areas, and smooth three-dimensional contours, making it suitable for modern minimalist home decoration. There are no particles falling off the surface, and the color does not fade after wiping with water.

[0048] Example 2: Advanced version (gradient color + double layer stacking, suitable for cultural tourism and creative product displays)

[0049] 1. Raw material refining and natural dyeing process

[0050] Barley screening: Same as in Example 1, particle size 0.9-1.1 mm, moisture content 9% after pre-drying;

[0051] Dyeing material combination: mainly mixed dyeing materials, ① saffron + madder (1:1, gradient orange-red), ② indigo + Tibetan gentian (2:1, gradient blue-purple), ③ walnut shell + madder (3:1, gradient brown-yellow), crushed to a particle size of 2-4mm.

[0052] Dye preparation and dyeing: The dye and pure water were mixed at a mass ratio of 1:9, boiled, and then simmered for 7 minutes; the barley grains were soaked in the 65°C dye solution for 32 minutes, with the stirring frequency the same as in Example 1; after rinsing, they were dried at 26°C until the moisture content was 6%, resulting in 3 groups of gradient barley grains.

[0053] 2. Base creation and outline positioning process

[0054] Substrate selection: density 0.65 g / cm³ 3 The birch wood planks, measuring 25cm x 35cm, have a surface roughness Ra = 0.5μm and a flatness error of 0.15mm after sanding.

[0055] Line drawing and positioning: Draw the line drawing of "Eight Auspicious Treasures" using natural ochre (brownish-yellow) and malachite green (green), with a line width of 0.35mm; after drilling holes for positioning, divide the area into "orange-red gradient (main body of the eight treasures), blue-purple gradient (background pattern), brown-yellow gradient (border)" and mark the main body area as double-layered, while the background and border are single-layered.

[0056] 3. Natural binder preparation process

[0057] Parameter adjustment: Yak tendon: purified water = 1:5.5, simmer over low heat for 2.2 hours, stirring speed 35 rpm, viscosity after filtration 7000 mPa·s.

[0058] 4. Manual gluing and three-dimensional molding process

[0059] Adhesion parameters: adhesive coating thickness 0.35mm, particle density 38 particles / cm². 2 The main area (orange-red gradient) uses a double-layer stacking (after the bottom layer of particles is embedded, the surface layer is stacked with a 50% coverage rate and a height difference of 1.8-2.2mm), while the background and border are stacked in one layer; adjacent gradient areas achieve color connection through the "half-grain transition method" (half of the edge particles are embedded in the A color area and half are embedded in the B color area).

[0060] Curing conditions: Curing at 23℃ and 45% relative humidity for 40 hours.

[0061] Finished product effect

[0062] The gradient color transition is natural, the main area has a prominent three-dimensional sense of layering (obvious height difference), the pattern has a strong visual impact, and it is suitable for display in cultural and tourism venues or high-end cultural and creative gifts. After a drop test from a height of 1 meter, only a small number of particles at the edges loosened, and there was no large-area detachment. Its wear resistance is better than that of Example 1.

[0063] Example 3: High-end version (multi-color mixing + three-layer stacking, suitable for intangible cultural heritage skills performances)

[0064] 1. Raw material refining and natural dyeing process

[0065] Barley screening: Particle size 0.8-1.0mm, hand-washed 5 times (water flow rate 0.2m / s), pre-dried at 30℃ to moisture content 7%;

[0066] Dyeing material combination: All 5 dyeing materials are involved: ① Saffron + Indigo + Madder (1:1:1, gradient scarlet), ② Indigo + Tibetan Gentian + Walnut shell (2:2:1, gradient indigo), ③ Saffron + Walnut shell + Tibetan Gentian (3:1:1, gradient golden red), crushed to a particle size of 1-3mm;

[0067] Dye preparation and dyeing: Mix the dye material and pure water at a mass ratio of 1:11, boil and then simmer for 9 minutes; soak the barley grains in the 75℃ dye solution for 38 minutes, and add a small amount of natural alum (a natural mineral from Tibet, 1% of the dye solution mass) while stirring to help fix the color; after rinsing, dry at 29℃ to a moisture content of 5% to obtain 3 groups of highly complex gradient color grains.

[0068] 2. Base creation and outline positioning process

[0069] Substrate selection: density 0.75 g / cm³ 3 The high-quality pine wood measures 40cm x 50cm. After sanding, the surface roughness Ra = 0.4μm, and the flatness error is 0.08mm.

[0070] Line drawing and positioning: The "Eight Auspicious Treasures" are drawn with fine lines in four colors: natural cinnabar, azurite, malachite and ochre, with a line width of 0.3mm. After drilling and positioning, the three-dimensional areas are divided into three layers: "scarlet (core of the eight treasures), indigo (middle layer pattern), and gold red (outer layer decoration)". The core is marked as 3 layers stacked, the middle layer as 2 layers stacked, and the outer layer as 1 layer stacked.

[0071] 3. Natural binder preparation process

[0072] Parameter adjustment: Yak tendon: purified water = 1:6.5, simmer over low heat for 2.8 hours, stirring speed 45 rpm, viscosity after filtration 7800 mPa·s, add 1% Tibetan beeswax (melted and mixed) to improve adhesion.

[0073] 4. Manual gluing and three-dimensional molding process

[0074] Adhesion parameters: adhesive coating thickness 0.45mm, particle density 32 particles / cm². 2The core area (crimson) is stacked in three layers (bottom layer fully covered, middle layer with 60% coverage, top layer with 30% coverage, height difference 3.0-3.6mm), the middle layer (indigo) is stacked in two layers (height difference 1.5-2.0mm), and the outer layer (golden red) is stacked in one layer; the "color nesting method" (small area of ​​highly saturated color particles embedded in large area of ​​gradient color) is used to enhance details;

[0075] Curing conditions: Allow to stand for 48 hours at 21℃ and 55% relative humidity. After curing, spray a layer of diluted natural rosin on the surface to enhance gloss.

[0076] Finished product effect

[0077] With rich color layers (3 sets of gradients + nested details), a strong three-dimensional outline (the core area is prominent), and high fidelity in line drawing details, it combines the artistry and complexity of intangible cultural heritage techniques. It is suitable for intangible cultural heritage exhibitions and museum collections. According to professional testing, the finished product has a stable moisture content of 6% and does not crack or deform in environments ranging from -10℃ to 40℃, demonstrating excellent weather resistance.

[0078] Comparative analysis of various embodiments

[0079]

[0080] As can be seen from the above comparison, the present invention can adjust the process parameters according to actual needs (scenario, cost, artistry) to achieve graded product development of "basic model - advanced model - high-end model", which not only meets the practical needs of the mass consumer market, but also adapts to the professional needs of intangible cultural heritage inheritance and high-end collection, fully demonstrating the flexibility and scalability of the process.

[0081] The present invention and its embodiments have been described above. This description is not restrictive, and the accompanying drawings are only one embodiment of the present invention; the actual structure is not limited thereto. In conclusion, if those skilled in the art are inspired by this description and design similar structures and embodiments without departing from the spirit of the invention, such designs should fall within the protection scope of the present invention.

Claims

1. A three-dimensional inlay process for highland barley, characterized in that, The process includes four main steps: raw material refinement and natural dyeing, base creation and outline positioning, natural adhesive preparation, and hand-attachment and three-dimensional molding. No chemical dyes or synthetic adhesives are added throughout the entire process. The specific steps are as follows: (1) Raw material refining and natural dyeing process: Select barley grains with a particle size of 0.8-1.2mm, without damage or mold, wash them by hand 3-5 times, and pre-dry them in a ventilated environment at 30-35℃ until the moisture content is ≤10%; select at least three of the following as dye materials: saffron, indigo, madder, walnut skin, and Tibetan gentian, and crush them to a particle size of ≤5mm; mix the dye materials with pure water at a mass ratio of 1:8-1:12, boil and then simmer for 5-10 minutes to make a natural dye solution; immerse the barley grains in the dye solution at 60-80℃ for 30-40 minutes, stirring once every 5 minutes, take them out and rinse them 1-2 times, and then sun-dry them in a ventilated environment at 25-30℃ until the moisture content is ≤8% to obtain multi-colored natural dyed barley grains; (2) Base creation and outline positioning process: Select solid wood boards with a density of 0.6-0.8g / cm³, cut and sand them until the surface flatness error is ≤0.2mm; adopt the traditional Tibetan Thangka line drawing technique, use natural mineral pigments to draw line drawings on the base surface, and control the line width to 0.3-0.5mm; use a needle to drill holes on the surface of the line drawing to outline the dotted lines, and divide the inlay area according to the color zoning and three-dimensional layer requirements; (3) Natural adhesive preparation process: Select plateau yak tendons, remove impurities and cut them into 2-3cm blocks, mix them with pure water at a mass ratio of 1:5-1:7, boil them and then simmer them over low heat for 2-3 hours until completely dissolved, filter them through an 80-mesh filter and cool them to room temperature to obtain natural biological adhesive; (4) Manual inlay and three-dimensional molding process: According to the positioning marks and color division, apply natural biological adhesive evenly to the inlay area with a thickness of 0.3-0.5mm, embed barley grains of the corresponding color, and control the arrangement density to 30-40 grains / cm²; adjust the thickness of the grain stacking to 1-3 layers according to the three-dimensional layer requirements, and use gradient transition inlay for adjacent color areas; place the work in an environment of 20-25℃ and 40%-60% relative humidity and let it stand for 24-48 hours to cure until the adhesive is completely dry and solidified.

2. The three-dimensional inlay process for highland barley according to claim 1, characterized in that, In the raw material refining and natural dyeing process, the dyeing material can be a single dyeing material or a mixed dyeing material, and can be mixed and used according to the preset color requirements.

3. The three-dimensional inlay process for highland barley according to claim 1, characterized in that, In the process of creating the base and positioning the outline, pine or birch is preferred for the solid wood boards.

4. The three-dimensional inlay process for highland barley according to claim 1, characterized in that, In the preparation process of the natural adhesive, the boiling process requires continuous stirring to ensure that the yak tendon is completely softened and dissolved, and after filtration, a viscous natural biological adhesive is obtained.

5. The three-dimensional inlay process for highland barley according to claim 1, characterized in that, In the manual inlay and three-dimensional forming process, the height difference of barley grains forms a three-dimensional outline, realizing an innovative expression of the three-dimensional visual effect of traditional Tibetan painting.

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