My system is not decent

Chapter 1286 Cloisonne Painting
After completing the imitation, Chen Wenzhe stopped very simply. After all, there are too many processes to make cloisonné enamel, which is too troublesome.

If he hadn't learned the filigree inlay technique, he really didn't want to make such a troublesome shape.

At this time, he didn't want to do copper cloisonné enamel with too complicated craftsmanship.

Of course, he can't be idle, after all, there are still many porcelains that he needs to make!

For example, the yellow-glazed porcelain that has been studied before is an unavoidable variety in the royal courts of all dynasties.

It's just that Chen Wenzhe didn't start working immediately after making a large batch of enamel colors, but took a good rest for a while.

However, before that, it needs to be finished!

Looking at the pile of enamel materials in front of him, he didn't want to make cloisonné enamelware, but these enamel materials should not be wasted!

Looking at the row of muddy tires with water in front of him at some point, Chen Wenzhe fell silent.

These embryos are directly painted with colored materials to make enamel porcelain?
I have done a lot before, and now I am doing it, and Chen Wenzhe doesn't have any good ideas.

At a glance, some mud tires not far away are half-dry mud, which can be used after a little tidying up.

"Just do some enamel painting!"

In fact, Chen Wenzhe had long had the idea of ​​making porcelain plate paintings, but he hadn't done it because of his lack of skills.

After all, the production of porcelain plate paintings is still a bit difficult.

Especially after thinking of the downhill tiger hanging on the gate of the porcelain plate painting factory, Chen Wenzhe became more cautious.

Well now, he has a deep understanding of the design and layout of porcelain paintings and enamel paintings.

After all, he has already made enamel paintings on copper and mud tires with filigree technology, so what enamel paintings can't be done by him?

However, the production of enamel paintings is much more difficult than porcelain plate paintings, and there is still a big difference between the two.

Let's not talk about other crafts, just that the colors are different.

If you compare it with the most conspicuous pastel porcelain painting, the first is the difference in color.

There are many colors of enamel, as many as more than ten different colors.

And like pastel glaze, although the total number of colors is more than that of five-color glaze, it is not as rich as enamel on the same vessel.

Furthermore, the hand feel is different. The pattern drawn by the enamel color material is a thick layer of material piled up, which has a three-dimensional effect and can be touched with fingers.

And pastel glaze, blue-and-white glaze, or other glazed porcelain plate paintings are painted with a thin layer of glaze water, which is very flat and does not feel raised.

Finally, the texture is different. Where the enamel color material is thicker, there are very fine cracks on the glaze surface, and it has a clear glass texture.

The color material on the porcelain plate painting does not have the problem of chipping, and has no glass texture (no reflection).

There is no clam halo phenomenon in enamel, but like pastels, there are extremely beautiful clam halos scattered around the color.

This time Chen Wenzhe is still doing Ming Dynasty works, cloisonné paintings.

Cloisonne paintings must be enamel paintings, but not all cloisonné enamel paintings are cloisonne, so special attention should be paid to this point.

The cloisonné painting maintains the gold wire inlay on the picture, the lines are fine and clear, the colors are rich and natural, the craftsmanship is exquisite and rigorous, and it has a three-dimensional effect.

The overall artistic effect of the work is vigorous, solemn, resplendent and elegant.

Because it is made of mineral pigments, the works are resistant to acid and alkali, do not fade, and are exquisite.

The birth of cloisonné enamel painting can be said to be the crystallization of the inheritance and innovation of the 600-year-old Chinese quintessential cloisonné technique.

Cloisonné enamel painting has more "possibilities" than cloisonne.

It can produce a wider range of themes, including landscapes, flowers and birds, Thangka and many other difficult works.

Usually, the traditional cloisonné type is mostly used to express related patterns such as ornamentation.

Cloisonné enamel painting needs to present the beauty of the artistic conception of traditional Chinese painting, which is naturally more difficult.

Therefore, a good cloisonné enamel painting must not only have the unique artistic conception of traditional Chinese painting, but also have the magnificent beauty of traditional enamel craftsmanship.

The contemporary works of cloisonné enamel painting, on the basis of absorbing the color characteristics and embellishing techniques of the Ming and Qing dynasties, also borrowed the techniques of color application, line drawing, and drying and dyeing of traditional Chinese painting, and made a bold breakthrough in the style of the works.

Some are exaggerated, some are concise, some are freehand, some are realistic, some are simple, some are modern...

It can be said that every piece of work is so exquisite if it is taken out and appreciated separately!

Especially the golden-yellow, gold-like thin wires in the cloisonné enamel paintings are made of aluminum, called gold wires, but they are actually aluminum wires with color-plated surfaces.

The colored part is made of very fine natural ore, which is powdered after being dyed and fired.

It is finer than table salt, and it is professionally called glaze.

Cloisonné enamel painting artisans use these excellent pigments bestowed by nature, and according to the color mixing techniques in traditional Chinese paintings, to prepare various required colors and fill them into the color blocks separated by silk threads. Make the cloisonné enamel painting show colorful and colorful tones!

The above two raw materials are the iconic materials for making cloisonné cloisonné enamel paintings.

In addition, it is necessary to use glue for sticking gold wire, glue for sanding, glue for fixing the surface, or cover with crystal resin to achieve the effect of enamel texture;

Of course, during the production process, some special tools and other materials are also needed.

In a word, to make a cloisonne cloisonné enamel painting, the materials needed are: drawing board, gold wire, colored sand, glue, tools, these five categories of raw materials.

The process of making filigree enamel paintings is not simple.

If you want to make a perfect cloisonné enamel painting, you must first have a design drawing.

To make cloisonné enamel paintings, you must first design a pattern.

The style and content of the drawing cover a wide range of subjects, and can be original, copied, or borrowed from traditional Chinese painting, oil painting, etc.;

It can be traditional style or modern style;
It can be characters, landscapes, flowers, birds, insects, fish, etc.;

Can be realistic or freehand;

It can be perception of reality or association.

All in all, anything that can be thought of and can be depicted by hand-painting can be used as the subject matter of gold silk glaze painting.

With the design drawing, then there is the drawing, also known as the drawing.

It is the process of extending the pattern on the drawing onto the wooden board stroke by stroke.

Tubing is the basic step in forming patterns in the process of making gold silk glaze paintings.

The wooden boards that need to be used for the drawing are generally selected with a thickness of 1-2 cm, such as large core boards and drawing boards that are often used in decoration.

The board has strong stability, is not easily deformed, is light in weight, and has low cost.

The size and specifications of the board can be cut according to the needs of the production.

When drawing, first lay the wooden board flat, and put a piece of carbon paper on top of the wooden board.

Then put the designed pattern on the carbon paper, adjust the position, alignment and alignment of the paper, carbon paper, and wood board.

(End of this chapter)