A method for making a comprehensive material buddha statue painting and product
By integrating various materials and processes, combining anti-mildew and anti-corrosion techniques, fabric collage, rust dyeing, and mineral pigment splashing, the problem of the single technique and poor durability of traditional Buddhist painting has been solved. This has achieved the integration of multiple materials and the enhancement of artistic expression, adapting to the customized and large-scale production needs of the modern art market.
Patent Information
- Authority / Receiving Office
- CN · China
- Patent Type
- Applications(China)
- Current Assignee / Owner
- 张芳芳
- Filing Date
- 2026-06-09
- Publication Date
- 2026-07-31
AI Technical Summary
Traditional Buddhist painting techniques are limited and the material system is closed, making it difficult to create natural diffusion effects, lacking three-dimensional texture and light and shadow layers, and having poor preservation durability, making it difficult to adapt to the customized and large-scale production needs of the contemporary art market.
It employs a comprehensive material process that combines a mildew-proof and corrosion-resistant base, a fabric patchwork texture layer, rust dye, and mineral pigment splashes. Through mildew-proof and corrosion-resistant treatment, animal glue bonding, rust dye oxidation, and layered creation with mineral pigments, it forms a multi-layered artistic expression and durability.
It enhances the artistic expression and durability of Buddhist painting, achieves the integration of multiple materials, possesses three-dimensional texture and light and shadow layers, adapts to the needs of customized and large-scale production, and extends the preservation life.
Smart Images
Figure CN122481390A_ABST
Abstract
Description
Technical Field
[0001] This invention relates to the fields of religious art painting and mixed media art technology, specifically to a mixed media method for creating Buddhist images using mineral pigment splashing, rust dyeing, and fabric collage as its core, as well as Buddhist image painting products made by this method. Background Technology
[0002] Buddhist image painting is an important form of traditional Chinese religious art, represented by Thangka and meticulous Buddhist image painting. It has long used painting techniques centered on flat application of mineral pigments and line drawing.
[0003] The existing traditional Buddhist image painting mainly suffers from the following technical defects:
[0004] 1. Limited by the single technique, the texture expression is limited. Traditional techniques rely on manual layering and color transitions, which depend on the painter's experience. It is difficult to create a natural blending effect, and the picture lacks three-dimensional texture and light and shadow layers.
[0005] 2. The material system is closed, resulting in insufficient artistic expression. Traditional materials are limited to paper, cloth and mineral pigments, lacking integration with diverse materials such as fiber fabrics, metallic dyes and chemical oxidizing dyes, resulting in a single visual tension and tactile expression.
[0006] 3. Low standardization and difficulty in large-scale production: Traditional craftsmanship relies heavily on the individual skills of the painters and lacks quantifiable and controllable production parameters, making it difficult to adapt to the dual demands of the contemporary art market for customized and large-scale production.
[0007] 4. Poor preservation durability: Traditional paper and cloth media are not systematically treated for mildew, moisture and insect prevention. They are prone to mildew, insect infestation and fading of mineral pigments in environments with changes in temperature and humidity, resulting in a limited lifespan.
[0008] Therefore, in order to address the problems existing in traditional techniques, a Buddhist image painting technique that systematically integrates natural mineral color splashing, iron rust dyeing, and fabric collage is needed. Summary of the Invention
[0009] The present invention aims to at least partially solve one of the technical problems in the above-mentioned technologies.
[0010] To achieve the above objectives, the first aspect of this invention proposes a method for producing Buddha statue paintings using composite materials, comprising the following steps: S1: Preparation of anti-mildew and anti-corrosion substrate—coating an anti-mildew and anti-corrosion treatment liquid onto the surface of a carrier, allowing it to dry naturally to form an anti-mildew and anti-corrosion layer; S2: Construction of fabric patchwork texture layer—cutting and distressing natural fiber fabrics, patching them onto the carrier described in S1 according to the Buddha statue composition, and fixing them with animal glue to form a textured layer, allowing it to dry naturally before applying a layer of body powder; S3: Production of rust-dyed background—mixing an iron source with an acidic liquid and water, sealing and fermenting the mixture, filtering to obtain the original liquid, and then applying the original liquid by splashing, brushing, or drenching. Alternatively, apply the dyeing method to the texture layer described in S2, control the degree of oxidation to form a rust texture, and apply a color-fixing agent after it is completely dry; S4: Mineral color splash background creation—grind natural mineral pigments, mix them with animal glue to form a paste, and on the rust dye base in S3, use splashing, flowing, blowing or blending techniques to create an abstract background layer by layer. Each layer is dried and then layered, and a natural sealing layer is applied after completion; S5: Buddha statue main body painting and gold decoration—use mineral ink to outline the main body according to the statue ritual, use mineral pigments to fill in the colors, use gold leaf or gold paint to draw decorative patterns, and spray a protective glue liquid for final sealing after drying.
[0011] In addition, the composite material Buddhist image painting method proposed above according to the present invention may also have the following additional technical features:
[0012] Furthermore, in S1, the carrier is handmade hemp paper or solid wood drawing board, and the anti-mildew and anti-corrosion treatment solution is a mixture of pepper water and alum water.
[0013] Furthermore, in S2, the natural fiber fabric is one or more of mulberry bark paper, cotton and linen fabric, or silk; the animal glue is cowhide glue or fish glue; and the placenta powder is clam powder.
[0014] Furthermore, in S3, the iron source is iron powder or natural rust, the acidic liquid is white vinegar, the mass ratio of the iron source, acidic liquid and water is 1:2:5, the fermentation time is 7-15 days, and the color-fixing agent is a mixture of tannic acid and gelatin.
[0015] Furthermore, in S4, the natural mineral pigment is one or more of gypsum, malachite, cinnabar, ochre, orpiment, or yellow ochre; the animal glue is peach gum or bone glue; and the natural sealant is shellac.
[0016] Furthermore, in S4, the natural mineral pigments are ground to 200-300 mesh, and the specific order of the layered creation is as follows: first, a thin paste is laid as the base color, and then a thick paste is applied to add highlights and textures, with each layer drying for no less than 24 hours.
[0017] Furthermore, in S5, the mineral ink is a mixture of pine soot ink and gum arabic, the mineral pigments include clam powder, ochre, and cinnabar for coloring facial skin, and azurite, malachite, and cinnabar for coloring clothing, and the gold foil is 24K gold foil.
[0018] Furthermore, in S5, the protective adhesive is VAE adhesive. Before spraying the VAE adhesive, the artwork needs to be left to stand for 7 days in an environment with a temperature of 25~30℃ and a humidity of 40~60%.
[0019] The second aspect of this invention proposes a composite material Buddhist image painting product manufactured by the method of the first aspect, comprising, from bottom to top: an anti-mildew and anti-corrosion base, a fabric patchwork texture layer, an iron rust dye layer, a mineral pigment splash layer, a natural sealing layer, a Buddhist image line drawing and gold decoration layer, and a protective adhesive final sealing layer, wherein the fabric patchwork texture layer has a textured surface; the iron rust dye layer penetrates into the fibers of the fabric patchwork texture layer; and the mineral pigment splash layer has multiple layers of overlapping colors.
[0020] According to the present invention, a method and product for making Buddhist statue paintings using composite materials, through the combination of chemical oxidation of rust dye and physical penetration of mineral pigments, a synergistic effect of "rust-through color" is produced, which effectively enhances the artistic expression and durability of Buddhist statue paintings. Attached Figure Description
[0021] The above and / or additional aspects and advantages of the present invention will become apparent and readily understood from the following description of the embodiments taken in conjunction with the accompanying drawings, wherein:
[0022] Figure 1 This is a cross-sectional view of the layered structure of the composite material Buddhist image painting product of the present invention;
[0023] Figure 2 This is a flowchart illustrating the process of creating a composite material Buddhist image painting method according to the present invention.
[0024] As shown in the figure:
[0025] 1. Anti-mildew and anti-corrosion base layer; 2. Fabric patchwork texture layer; 3. Rust dye layer; 4. Mineral color splash layer; 5. Natural sealing layer; 6. Buddha image line drawing and gold decoration layer; 7. Protective glue final sealing layer. Detailed Implementation
[0026] Embodiments of the present invention are described in detail below, with examples of the embodiments illustrated in the accompanying drawings. The embodiments described below with reference to the accompanying drawings are exemplary and intended to explain the present invention, and should not be construed as limiting the present invention.
[0027] The following description, in conjunction with the accompanying drawings, illustrates a method and product for creating composite material Buddhist statues according to an embodiment of the present invention.
[0028] like Figure 1 and Figure 2 As shown, an embodiment of the present invention provides a method for creating a composite material Buddhist image painting, comprising the following steps:
[0029] S1: Preparation of anti-mildew and anti-corrosion substrate 1—Coating the surface of the carrier with anti-mildew and anti-corrosion treatment liquid and allowing it to dry naturally to form an anti-mildew and anti-corrosion layer.
[0030] It should be noted that in S1, the carrier is either handmade hemp paper or a solid wood canvas. The handmade hemp paper has a natural fiber texture that matches the permeability of the subsequent rust dye, while the solid wood canvas provides rigid support to prevent the collage layer and mineral pigment layer from cracking. Both have the material continuity of traditional religious art. The anti-mildew and anti-corrosion treatment solution is a mixture of pepper water and alum water. The pepper water contains natural bactericidal components, while alum has astringent and color-fixing effects. The two work together to achieve green anti-mildew and moisture protection without introducing chemical preservatives, significantly improving the preservation life of the artwork, and without changing the natural texture of the carrier itself.
[0031] S2: Fabric patchwork texture layer 2 construction - Cut and distressed natural fiber fabrics are patched onto the S1 carrier according to the composition of the Buddha image, and fixed with animal glue to form a textured layer. After natural drying, a layer of lint powder is applied.
[0032] It should be noted that in S2, the natural fiber fabric is one or more of mulberry bark paper, cotton and linen fabric or silk, the animal glue is cowhide glue or fish glue, and the placenta powder is clam powder.
[0033] Specifically, the three types of fabrics have different fiber structures: mulberry bark paper fibers are short and dense, suitable for fine collage; cotton and linen fibers are long and coarse, with a stronger affinity for dyeing with rust dye; and silk fibers are delicate, providing a contrast in luster. The combination of the three can create a rich textured layer.
[0034] Specifically, the aforementioned animal glue has excellent chemical compatibility with natural fiber fabrics, and after drying it has a certain elasticity and is not easy to crack. Compared with chemically synthesized glue, animal glue does not hinder the penetration of subsequent rust dyeing solution, ensuring uniform dyeing.
[0035] Specifically, the clam powder has a microporous structure, which forms an isolation layer after application, preventing subsequent rust dye and mineral pigments from penetrating deep into the substrate. At the same time, its own whiteness provides a bright background for the mineral pigments.
[0036] S3: Rust-dyed background production - Mix iron source with acidic liquid and water, seal and ferment, then filter to obtain the original solution. Apply the original solution to the S2 texture layer by splashing, brushing, drenching or blurring, control the degree of oxidation to form rust texture, and apply a color-fixing agent after it is completely dry.
[0037] It should be noted that in S3, the iron source is iron powder or natural rust, the acidic liquid is white vinegar, the mass ratio of iron source, acidic liquid and water is 1:2:5, the fermentation time is 7~15 days, and the color fixing agent is a mixture of tannic acid and gelatin.
[0038] Specifically, the iron powder reacts more evenly and controllably, while natural rust contains a variety of iron oxides, resulting in a richer and more layered rust color. Neither of them contains heavy metal pollutants and meets environmental protection requirements.
[0039] Specifically, the white vinegar mentioned above is a weak acid, which reacts slowly and controllably with iron, avoiding excessive corrosion of fibers caused by strong acids. Moreover, the white vinegar leaves no residue after evaporation and does not affect the stability of the mineral color layer.
[0040] Specifically, the above ratio is the optimal ratio optimized through repeated experiments: 1 part iron source provides sufficient reactants, 2 parts acetic acid ensures moderate acidity, and 5 parts water controls the reaction rate to avoid the reaction being too fast, which would cause the rust layer to become loose and easy to fall off.
[0041] Specifically, within 7 days, the rust is not fully oxidized and is yellowish-brown in color. After 15 days, the rust is too thick and easily becomes brittle. In the range of 7 to 15 days, the rust layer has sufficient color depth and is firmly bonded to the fibers, forming a stable structure of "rust fibers".
[0042] Specifically, the tannic acid and iron ions form a dark complex, which can significantly improve lightfastness. Gelatin acts as a film-forming agent to prevent the color-fixing layer from becoming brittle. The two work together to give the rust dye layer both UV fading resistance and flexibility and wear resistance.
[0043] S4: Mineral Paint Splatter Background Creation - Grind natural mineral pigments and mix them with animal glue to form a paste. On the S3 rust-dyed base, use splashing, flowing, blowing, or blurring techniques to create an abstract background in layers. Each layer is dried before being layered again. After completion, apply a natural top coat 5.
[0044] It should be noted that in S4, the natural mineral pigment is one or more of gypsum, malachite, cinnabar, ochre, orpiment, the animal glue is peach gum or bone glue, and the natural seal layer 5 is shellac.
[0045] Specifically, the aforementioned mineral pigments are all classic mineral pigments used in traditional Thangka paintings and rock paintings, characterized by their strong lightfastness and stable hue.
[0046] Specifically, both peach gum and bone glue have natural film-forming properties and do not become damp after drying. Compared with chemical glue, natural glue is more conducive to the suspension of mineral pigment particles and does not damage the crystal structure of mineral pigments.
[0047] Specifically, the shellac mentioned above has excellent water and acid / alkali resistance, and high transparency, without obscuring the luster of the mineral pigment layer. Shellac is a natural source and is consistent with traditional mineral pigment material systems.
[0048] It should be noted that in S4, the natural mineral pigments are ground to 200-300 mesh. The specific order of layering is as follows: first, lay down the base color with a thin paste, and then layer the highlights and textures with a thick paste. Each layer should be dried for no less than 24 hours.
[0049] Specifically, the above-mentioned 200-300 mesh is the ideal fineness of mineral pigments: if it is too coarse (<150 mesh), the color particles are too heavy and the adhesion is poor; if it is too fine (>400 mesh), the mineral crystal structure is destroyed and the color saturation decreases. This fineness range takes into account both color performance and adhesion.
[0050] Specifically, the aforementioned thin paste (low concentration) easily penetrates into the micropores of the rust stain layer, forming the first layer of semi-transparent base color, allowing subsequent colors to seep through from the inside. The aforementioned thick paste (high concentration) floats on the surface, forming highlights and textures. This layering method, "from bottom to top, from thin to thick," produces a "rust-through color" effect that cannot be achieved by traditional painting methods.
[0051] Specifically, mineral pigments use water as a solvent. If the next layer is not fully dried before being applied, the colors will blend together and the boundaries will become blurred. Drying for 24 hours ensures that each layer of pigment forms an independent color layer with the underlying layer, preserving the depth of the multi-layer coating.
[0052] S5: Buddha statue body painting and gilding - Use mineral ink to outline the main body according to the iconography, use mineral pigments to fill in the colors, use gold leaf or gold paint to draw decorative patterns, and after drying, spray on a protective adhesive for final sealing.
[0053] It should be noted that in S5, the mineral ink is a mixture of pine soot ink and gum arabic, and the mineral pigments include clam powder, ochre, and cinnabar for shading facial skin, and azurite, malachite, and cinnabar for shading clothing. The gold leaf is 24K gold leaf.
[0054] Specifically, the ink mixture of pine soot ink and peach gum produces clear, non-smudging lines, making it suitable for the fine line drawing of Buddhist statues and rituals. The peach gum acts as a binder to prevent the ink lines from being washed away by the water during subsequent color separation.
[0055] Specifically, the clam powder base provides a bright white base, ochre is used for shadows in the dark areas of the skin, and cinnabar is used for rosy areas such as the lips and cheeks. This is consistent with the traditional Thangka technique of "skin coloring". However, when combined with the rust-colored base, the skin color and the rust color of the background create a warm and cool contrast, enhancing the three-dimensional effect.
[0056] Specifically, the aforementioned azurite and malachite are cool colors, while cinnabar is a warm color. The three colors form a complementary color contrast against the rust-stained background, making the Buddha's clothing stand out visually.
[0057] Specifically, the aforementioned 24K gold leaf has the highest purity and the strongest antioxidant properties. Against a background stained with rust, the gold leaf reflects a brighter and purer gold, enhancing the sense of sacredness and solemnity.
[0058] It should be noted that in S5, the protective adhesive is VAE adhesive. Before spraying VAE adhesive, the artwork needs to be left to stand for 7 days in an environment with a temperature of 25~30℃ and a humidity of 40~60%.
[0059] Specifically, the VAE emulsion forms a transparent, flexible, and UV-resistant film after drying, and is reversible, so it does not affect the long-term needs of cultural relic restoration.
[0060] Specifically, the above temperature and humidity range is conducive to the physical adsorption and chemical bonding of mineral color and rust dye layer. Too high humidity (>60%) may cause shellac to turn white and gold foil to oxidize. Too low humidity (<40%) may cause natural glue layer to become brittle. Seven days of standing ensures that each layer is fully penetrated and stably bonded, preventing cracking later.
[0061] like Figure 1 As shown, the composite material Buddha image painting product made by the above-mentioned composite material Buddha image painting production method in this embodiment of the invention includes, from bottom to top, the following layers arranged in sequence: anti-mildew and anti-corrosion base 1, fabric patchwork texture layer 2, rust dyeing layer 3, mineral color splash layer 4, natural sealing layer 5, Buddha image line drawing and gold decoration layer 6, and protective glue final sealing layer 7.
[0062] Among them, the fabric patchwork texture layer 2 has a textured surface, the rust dye layer 3 penetrates into the fibers of the fabric patchwork texture layer 2, and the mineral color splash layer 4 has multiple layers of overlapping colors.
[0063] Example 1: Mixed Material Painting of a Four-Armed Manjushri Bodhisattva
[0064] First, a 90×60cm solid wood drawing board is used, and it is pretreated with pepper water and alum for 72 hours.
[0065] Secondly, assemble the cotton and linen fabrics, fix them with bone glue, let them dry for 48 hours, and then apply clam powder three times, with an interval of 4 hours between each application.
[0066] Then, iron powder, white vinegar, and water are mixed in a ratio of 1:2:5. After fermentation for 10 days, the mixture is applied using a combination of splashing and rinsing to create varying shades of brown texture. The mixture is then blended with water and dried for 48 hours before being coated with a mixture of tannic acid and gelatin to fix the color.
[0067] Next, grind azurite, malachite, ochre, and orpiment to 250 mesh, mix with peach gum to form a paste, first use a thin paste to blend the blue-green tone, then use a thick paste to layer the layers, each layer drying for 24 hours, and then apply two coats of shellac for sealing.
[0068] Finally, use mineral ink to outline the four-armed Manjushri, attendants, and protectors. Use clam powder and ochre to color the skin, and use azurite, malachite, or cinnabar to color the clothing. Apply 24K gold leaf to the headdress, body aura, and ritual implements. After drying for 7 days in an environment with a temperature of 25°C and a humidity of 50%, spray on a VAE emulsion for sealing.
[0069] Example 2: Mixed Material Buddhist Statue Painting of the Millennium Fifth Master
[0070] First, handmade hemp paper is selected as the carrier and pre-treated.
[0071] Secondly, cotton, linen, and silk materials are pieced together to create a base with a contrast between soft and hard textures.
[0072] Then, the rust dyeing process is the same as in Example 1, forming a warm brown base color, and incorporating calligraphy elements as a background.
[0073] Next, use a yellow mineral color to outline the overall shape of Fifth Master.
[0074] Finally, the thickness is increased by layering mineral pigments to highlight the three-dimensional shape of the Fifth Master. After that, an overall seal is applied. After standing for 7 days in an environment with a temperature of 25~30℃ and a humidity of 40~60%, a VAE emulsion seal is sprayed on.
[0075] In the description of this specification, the terms "first" and "second" are used for descriptive purposes only and should not be construed as indicating or implying relative importance or implicitly specifying the number of indicated technical features. Thus, a feature defined as "first" or "second" may explicitly or implicitly include at least one of that feature. In the description of this application, "multiple" means at least two, such as two, three, etc., unless otherwise explicitly specified.
[0076] In the description of this specification, the references to terms such as "one embodiment," "some embodiments," "example," "specific example," or "some examples," etc., indicate that a specific feature, structure, material, or characteristic described in connection with that embodiment or example is included in at least one embodiment or example of this application. In this specification, the illustrative expressions of the above terms do not necessarily refer to the same embodiment or example. Furthermore, the specific features, structures, materials, or characteristics described may be combined in any suitable manner in one or more embodiments or examples. Moreover, without contradiction, those skilled in the art can combine and integrate the different embodiments or examples described in this specification, as well as the features of different embodiments or examples.
[0077] Although embodiments of this application have been shown and described above, it is understood that the above embodiments are exemplary and should not be construed as limiting this application. Those skilled in the art can make changes, modifications, substitutions and variations to the above embodiments within the scope of this application.
Claims
1. A method for making a composite material Buddha painting, characterized in that, Includes the following steps: S1: Preparation of anti-mildew and anti-corrosion substrate—Coating the surface of the carrier with anti-mildew and anti-corrosion treatment liquid, and allowing it to dry naturally to form an anti-mildew and anti-corrosion layer; S2: Fabric patchwork texture layer construction - Cut and distressed natural fiber fabrics are patched onto the carrier described in S1 according to the composition of the Buddha image, and animal glue is used to bond and fix them to form a textured layer. After natural drying, a layer of talcum powder is applied. S3: Rust-dyed background production - Mix iron source with acidic liquid and water, seal and ferment, then filter to obtain the original solution. Apply the original solution to the texture layer described in S2 by splashing, brushing, drenching or blurring, control the degree of oxidation to form rust texture, and apply a color-fixing agent to fix the color after it is completely dry. S4: Mineral Paint Splatter Background Creation - Grind natural mineral pigments and mix them with animal glue to form a paste. On the S3 rust-dyed base, use splashing, flowing, blowing, or blurring techniques to create an abstract background in layers. Each layer is dried before being layered, and a natural top coat is applied after completion. S5: Buddha statue body painting and gilding - Use mineral ink to outline the main body according to the iconography, use mineral pigments to fill in the colors, use gold leaf or gold paint to draw decorative patterns, and after drying, spray on a protective adhesive for final sealing.
2. The method for producing a composite material Buddhist image painting according to claim 1, characterized in that, In S1, the carrier is handmade hemp paper or solid wood drawing board, and the anti-mildew and anti-corrosion treatment solution is a mixture of pepper water and alum water.
3. The method for producing a composite material Buddhist image painting according to claim 1, characterized in that, In S2, the natural fiber fabric is one or more of mulberry bark paper, cotton and linen fabric or silk, the animal glue is cowhide glue or fish glue, and the placenta powder is clam powder.
4. The method for producing a composite material Buddhist image painting according to claim 1, characterized in that, In S3, the iron source is iron powder or natural rust, the acidic liquid is white vinegar, the mass ratio of the iron source, acidic liquid and water is 1:2:5, the fermentation time is 7-15 days, and the color-fixing agent is a mixture of tannic acid and gelatin.
5. The method for producing a composite material Buddhist image painting according to claim 1, characterized in that, In S4, the natural mineral pigment is one or more of gypsum, malachite, cinnabar, ochre, orpiment, or yellow ochre; the animal glue is peach gum or bone glue; and the natural sealant is shellac.
6. The method for producing a composite material Buddhist image painting according to claim 1, characterized in that, In S4, the natural mineral pigments are ground to 200-300 mesh. The specific order of the layered creation is as follows: first, a thin paste is used to lay the base color, and then a thick paste is used to layer highlights and textures. Each layer takes no less than 24 hours to dry.
7. The method for producing a composite material Buddhist image painting according to claim 1, characterized in that, In S5, the mineral ink is a mixture of pine soot ink and gum arabic, the mineral pigments include clam powder, ochre, and cinnabar for coloring facial skin, and azurite, malachite, and cinnabar for coloring clothing, and the gold foil is 24K gold foil.
8. The method for producing a composite material Buddhist image painting according to claim 1, characterized in that, In S5, the protective adhesive is VAE adhesive. Before spraying the VAE adhesive, the artwork needs to be left to stand for 7 days in an environment with a temperature of 25~30℃ and a humidity of 40~60%.
9. A composite material Buddhist image painting product made using the composite material Buddhist image painting method according to any one of claims 1 to 8, characterized in that, The structure, arranged from bottom to top, includes: an anti-mildew and anti-corrosion base layer (1), a fabric patchwork texture layer (2), an iron rust dyeing layer (3), a mineral color splash layer (4), a natural sealing layer (5), a Buddha image line drawing and gold decoration layer (6), and a protective adhesive final sealing layer (7). The fabric patchwork texture layer (2) has a raised or recessed texture; The rust-dyed layer (3) penetrates into the fibers of the fabric patchwork texture layer (2); The mineral color splash layer (4) has multiple layers of overlapping color layers.