My system is not decent

Chapter 1696 Undoubtedly Treasure
Jin Muhou, the son of Jin Xianhou, also followed or was ordered by the King of Zhou to fight many times, and naturally he also had various achievements.

In this way, it is logical for him to make many bronzes for burial, which also shows his status and achievements.

my country's rabbit culture has a long history, and rabbits have a beautiful meaning of having many children and grandchildren, health and longevity.

The ancients often incorporated the image of the rabbit into their lives, hoping to bring good luck to themselves.

This kind of utensil with beautiful meaning will be sought after no matter what era it is.

The two that Chen Wenzhe saw now were bought by Cao Qingchun in Xiangjiang.

He happened to meet him in an antique shop when he was traveling in Xiangjiang.

Although the Rabbit Zun was no longer beautiful to learn from, a bright red rust spot had appeared on his fat and round buttocks.

From this point, he simply proved that it was a Western Zhou utensil, and believed that it was probably a treasure lost in the ancient tomb on the Western Mountain.

Overjoyed, he spent a lot of money to buy them.

This bronze rabbit statue is 33 centimeters long and 11 centimeters high. The whole body is rubbed yellow and red, bright and beautiful.

The rabbit is crawling, as if a person presses it with a finger, and the rabbit can jump accordingly.

There is a trumpet-shaped mouth on the back of the rabbit, but the rabbit cover is unfortunately lost.

The belly of the rabbit statue is hollow, with short feet underneath. There are three concentric circular patterns on both sides of the abdomen, and the circular patterns are circular swirls from the inside to the outside.

The image of this rabbit statue is lively and innocent, vividly expressing the agile and alert features of the rabbit.

What is particularly interesting is that there are leaves stuck inside the rabbit statue.

Tests confirmed that the residue was related to wine, so the experts concluded that the rabbit statue should be a wine vessel.

Although the reasons for the rareness of rabbit statues in bronze statues have yet to be explored, one thing is certain.

That is, the rabbit symbolizes wit, joy, vitality and vitality.

Look, the image of this Rabbit Zun eager to try, seems to express its bright prospect for the prosperity of the Year of the Rabbit!
Compared with the small Jade Rabbit, this bronze ware is clearly made with more care.

It is vivid in shape and vivid in shape.

The rabbit is crawling, with its forelimbs pointing to the ground and its hind legs bent, just like the moment before jumping.

The ears are close together, and the belly of the rabbit is hollow, communicating with the protruding trumpet on the back.

There is a low rectangular base under one foot, a rounded rectangular opening on the back, and a cover that is integrated with the rabbit's body, and there are oblate buttons on the cover.

Both sides of the rabbit body are decorated with circular fire patterns, four identical thunder patterns and hooked thunder patterns.

The shape of a vessel with a rabbit as a statue is even rarer in bronze ware.

Before that, in 1992, two pieces were unearthed from Tomb No. 8 in the Marquis of Jin Cemetery, with the same shape and decoration, only one larger and one smaller.

"Such a cute bunny, I must make a few more!"

It turned out that Chen Wenzhe had seen Niu Zun and Tiger Zun, but he had never thought about Rabbit Zun.

Now that we have encountered it, this must be one of their main products of Yi Nian Tang.

Looking at the bronze rabbit statue in his hand, the whole systematic process of making traditional bronze ware appeared before his eyes.

Looking carefully, it doesn't seem to be particularly troublesome.

After all, Chen Wenzhe knows too many skills now, it is okay to learn by analogy, or use them directly.

Making bronze ware is actually not too difficult. For example, first use special mud to make a solid clay mold of the bronze ware to be cast.

Then, the outer form was remade in pieces on the clay mold, and then the outer form was trimmed, and detailed patterns were engraved, and the small pieces of the outer building were spliced ​​into large pieces.

Next, it is the moment of pretense, that is, to make the corresponding inscription on the predetermined position of the bronze vessel.

After finishing this phase, the mud film needs to be trimmed.

That is to scrape off a layer of thickness on the clay mold, and this layer of gap is the thickness of the bronze to be cast.

After all these are done, it is necessary to make the cross-sectional model of the gate and the riser.

Once the clay model is ready, it is time to start firing the clay model.

At this time, it is baked into ceramics at a temperature of about 600 degrees, and the synthetic integral fan is preheated and poured with copper liquid.

After completing this step, it is necessary to break the clay fan and take out the bronze vessel.

Looking at it this way, it is the copper material formula of the bronze ware, and then the making of the clay model.

For Chen Wenzhe, these are the simplest.

Of course, the lost wax method is indispensable for making ancient bronzes.

The lost-wax method is actually simpler. First, the clay model is molded out of the inner fan of the smoker and allowed to dry in the shade.

Then there are wax sheets pasted inside the inner frame, and the sheets are carved empty and carved.

Use wax to mold the wax pillars of the dragon and the mouthpiece, make the wax gate, the exhaust channel, and weld them to form a whole set of wax molds.

The model material is diluted into a slurry, which is repeatedly applied outside the wax mold to form a thickness that can withstand the copper casting liquid.

After drying in the shade, take the drier model material and wrap it outside the mud layer, and then dry it in the shade to form a whole mud model.

With the mouth cup facing down, bake the mold material, the wax material will melt and flow out, and bake to 600-850 degrees Celsius to form a pottery mold.

Preheat the pottery fan to the sintering temperature before injecting the bronze liquid.

After the copper is solidified and cooled, the inner and outer molds are removed, and the gate is cut off.

A complete smoker of complex shape, properly polished.

So broken down, is not very simple?
In fact, the best craftsmanship for making bronzes is still modern.

The production process of modern antique bronzes also belongs to lost wax casting.

Lost wax casting is a kind of precision casting, as the name suggests, it has high process requirements.

It is very different from the crafting method imagined by most customers. Some customers will mistakenly think: "Isn't casting just to make a mold, pour one by one and come out one by one, it's very simple." It's not the case.

The process of lost wax casting is really not simple if you are not an expert.

Of course, any craft, no matter how simple it is, can't be done by an expert, let alone done well.

However, for an insider, there are also certain difficult techniques, and it is really difficult.

The first step in the lost wax method is to make a wax model.Every time you make a bronze ware, you must first make a wax model.

That is to say, what the wax type looks like, the bronze ware looks like.

There are four parts to making wax models, the first is shaping, that is, carving out the first wax model with wax;
The second is to make a mold for the first wax-up sculpture, which is made of plaster or silicone rubber.

The purpose is to reduce the plasticity every time, because many wax patterns that are exactly the same as the first wax pattern can be made through the mold;

The next step is to press the mold through the mold, that is, after the wax is melted, the wax is pressed into the prepared mold through the pressure equipment to make it shape;
The extruded wax-type needs to be modified, so the wax-type should be refined.

That is, the stylist uses special tools to modify the wax pattern one by one.

The quality of refined wax-up is an important part of the quality factors;
The last is the group type, which is to combine the refined wax models together, which is for the convenience of casting.

The second step is encrusting, dewaxing, roasting and casting, and the assembled wax pattern must first be hung with sand and encrusted.

Dip the assembled wax pattern into the pre-prepared colloid solution, and then coat the refractory quartz sand on the wax pattern layer by layer from fine to coarse.

This makes the inner and outer crusts of the wax-type wall, so that the wax-type is wrapped in the middle by the quartz sand layer.

(End of this chapter)