1. Material selection: Choosing stone materials is an important link that cannot be ignored in carving stone carvings. The hardness of the stone, the density of the stone layer and whether there are impurities in the stone will directly affect the success or failure of the work. In the process of selection, we should teach students in accordance with their aptitude. According to the size, style and modeling, location and environment of the work, stones with different colors and textures from different places of origin are selected for artistic processing and carving. In the 9th century, carrara became the main marble mining area in Italy. Michelangelo, the master sculptor, personally went to carrara to select marble to carve his works. At present, an art school in carrara has set up a marble mining course, which specializes in marble mining technology. Sculptors or old artists with rich carving experience generally rely on practical experience to identify the quality of stone materials. (1) "Look": observing the fracture section of the rock, if the color is consistent, uniform and the texture is firm and meticulous, it belongs to good material. On the contrary, the color is uneven and mottled, with obvious layers and jagged sections. It's the poor quality of stone. In short, good materials without cracks, stains and red and white lines are qualified. In addition, in order to observe whether the stone meets the above requirements, water can be poured on the seemingly parts, which makes it easier to identify the quality of the stone. (2) "Listen": Tap the stone gently with a hammer. If it makes a crisp sound, it means that this stone is good; If the voice is hoarse, it proves that there are hidden lines (such as leaks, sand holes, stone cores, etc.). ), and the quality of stone is poor. However, when choosing materials in winter, we should pay attention to the ice in the cracks. We should not just listen to the sound by tapping, but must carefully check by "looking" to identify the quality of the stone. Plastic mud manuscript
Plastic mud manuscript
Second, the method of cutting stone: the so-called "cutting" means splitting the whole stone into several pieces, each with its own specifications and sizes. This kind of stone that works underground or on the mountain has been carefully planned and combined with the natural environment to "cut" the stone, commonly known as the rock. Mountain cutting operation can be carried out by air gun drilling, or by combining manual and blasting (commonly known as blasting). Generally, artificial trenching mining is used to remove the impurity stone layer on the upper stone by blasting collapse (commonly known as covering, that is, covering the non-stone part of the stone layer). This is the case when mining marble minerals. In Mingshan Mountain (that is, all the stones are exposed, and the surface layer is only a weak surface layer formed by the weathering of the same stone for several years, and there is no other miscellaneous stones to cover it), it is generally granite. This mining system mostly adopts blasting and manual operation. The cutting of carving materials is the mined stone that is transported back to the processing plant from the mountain field. According to the needs of our sculpture modeling, cutting work is carried out. In addition to air gun drilling, electric drill or chainsaw cutting, it is generally cut by hand, so it is necessary to master different kinds of stones and cut them in different ways. Stone has its crystal texture, so it should be cut along the grain. But some marbles are stones. The Quyang stone in Hebei can't just be wedged, but can only be dug. According to the size of the stone. Generally, a chisel is used to dig a long trench with a thickness of 15cm, and the depth depends on the thickness. Generally, granite and bluestone dig a wedge-shaped nest with a length of 5cm to 10cm, a width of 3cm to 5cm and a depth of about 7cm in the middle of the cutting line. On the cutting line, arrange neatly along a straight line, then drive the steel wedges into the wedge nest one by one, tighten the direction to avoid left and right skew, and then tie the steel wedges tightly with a rope. Prevent the steel wedge from jumping out and hurting people when wedging. According to the situation, knock one by one along the line with a hand hammer or a pound hammer, and pay attention to whether there are cracks on both sides. Generally, one hammer can achieve the purpose of cutting. Before cutting, pay-off should have a surplus cutting width to avoid sticking the two sides together after cutting, which will affect the use specifications. If there is a drill to drill dense holes along the cutting line, the effect will be better. Split carving after decomposition
Split carving after decomposition
Stone carving construction tools and safety facilities: (1) percussion tools: bellows (or hair dryer), olecranon pliers and duckbill pliers. Gourd and duckling pliers, Wang Zi, clamping plate, meat cutter, double-sided hammer, dual-purpose hammer, chopping axe. Stove, hook, lid, bucket, dip basin, iron spoon, iron dustpan, iron sieve, hammer, eight pounds hammer, etc. Facilities: soaking tank, red coal, pot red furnace, work shed. (2) Making carving tools: ink, bending ruler, square ruler, drawing sign, string, metal level, wire pendant, Mo Dou, metal square ruler, caliper, steel crowbar, wooden stick, rope, flower hammer, hand hammer, various chisels, brooms, Hada and cymbals. (3) Polishing tools and other materials: hand-held grinder, angle grinder, electric polisher, waste grinding wheel, diamond, ash, rosin water, Sichuan wax, kerosene, fine grinding stone, oxalic acid, floor wax, etc. (4) Safety facilities: socks, aprons, trousers, sleeves, gloves, glasses, dust masks, etc. (5) Knocking chisel quenching: The main tools commonly used in stone carving are large and small chisel, and the hardness and sharpness of chisel-pointed steel mouth such as chopping axe and flower hammer directly affect the process quality and project progress. Therefore, we must master the temperature when knocking and quenching, so that the tool can be handy and play a greater role. 1. Cut round steel or octagonal steel to a length of about 22 to 24 cm, and then knock it into a circle to chisel the top. At this point, the chisel top is not allowed to be quenched. When the chisel tip is sent into the furnace for firing, it should be inserted into the fire for 5-6 cm. When the color turns white, you can clip it out with pliers and put it on the chopping block to make a chisel. But this process must be completed in a very short time (that is, it must be completed in one fire), and the chisel tip will turn white immediately, and then gradually turn from white to black (this phenomenon is called reflux). It should be noted that when the white color at the chisel tip gradually turns to nearly 5 cm, it should be put into the immersion tank in time and erected, and it is not allowed to lie down. To cool down naturally, it is not allowed to cool down suddenly in cold water, which will cause the chisel tip to be too hard and easy to break when using. The water depth in the immersion tank shall not exceed 4 cm. 2. Hada chop axe: it is a double-sided axe. Generally, the cutting edges at both ends cross vertically or the cutting edges at both ends are in the same direction. The stone surface is forged and hardened by 45 # steel. Generally, according to the shape of the sculpture and the texture of the stone, neat and parallel thin lines are cut, which can enhance the sense of direction, volume and texture of the face. The first time, when the fire turns white, use pliers to knock it out and knock it aside. It is not allowed to knock down the blade again. When the surface of the blade is uneven, it can be piled up with a hammer. After the blade is trimmed, it should be put aside for cooling, and its temperature must be naturally lowered before it is sent to the fire for baking. The second fire, if it burns purple (not white), can be dipped in an immersion tank. This time, the temperature naturally drops, and water cooling is not allowed. Hadan is a double-edged sword. When the front edge is overheated, in order to prevent the other dipping surface from softening due to overheating, the end of the dipping surface must be rubbed upward with a brush dipped in water to reduce the temperature. 3. Flower hammer: The hammer head surface consists of 9, 12, 16 and 24 regularly arranged square vertebral bodies, forged from 45 # steel. This is a special tool. When the stone carving works are nearing completion, surface effects will be made, and rough, thick and seamless sculptures will be hammered out with flower hammers. The manufacturing method is as follows: when it is fired for the first time, it will be white, then it will be clamped out with pliers, forged into a square vertebral body with a flat head, and then fired. When it turns white, it will be clamped with pliers and then cut into the required ditch with an axe. After this process is completed, put it aside steadily to cool down naturally, clamp it with a vise, and polish a sharp knife or blade with steel to make it sharp, and then go too far. But this time, the fire should not be too big. When the color is purple, you can clip it out with pliers and put it in the dip tank to naturally cool down. 4. Stone carving hammer stone carving tools, used to knock Wang Zi and carve stones. The hammer heads at both ends are slightly different in size, and the handle is hardwood, about 20 meters long. Cm, placed on the larger side of the hammer, so as to adapt to chisels with different thicknesses for striking different materials. Usually divided into three types: large, medium and small. The big one weighs about 1400g, which is a land reclamation hammer; The medium size is about 800g, which is used for blank making; Small about 600g, used for carving details. The hammer body is slightly arc-shaped, forged with 45 # steel, and the surface layer is hardened, and the hammer surface is roughly divided into 10. Horn. 5. Alloy steel chisel The quenching tool mentioned above is a traditional tool for processing stone carvings. In some places, stone carving artists still use this method. With the development of modern industry and advanced technology, alloy steel heads have been embedded in steel bars and made into various styles of carving knives. Or insert a larger alloy steel plate on one side or both sides of the chopping axe. Grinding by a grinder to form the used shape. This method is convenient to use, long in service life and does not need repeated quenching.
Combined installation
Application of Point-and-Line Instrument
Application of Point-and-Line Instrument
4. Application of dot machine: For round carvings and reliefs, especially garden sculptures, memorial sculptures, realistic decorative sculptures and even abstract sculptures, dot machine is often used as an auxiliary tool for processing stone carvings. The counting machine is made of metal and has three reference points (three coordinates). It consists of three adjustable T-shaped metal tubes (copper tubes or stainless steel tubes) with fixed reference points, two components and a pointer with a sliding universal joint that can rotate in vertical and horizontal directions. Fixing the point line machine on the gypsum model and the stone to be processed and carved (at the same position), using the point line machine to help find out the contours of various shapes and different undulations for carving, generally making stone carving works in three times: the first time, after finding out the contour of the gypsum model with the point line machine, reserving the waste of 1 cm, and carving the large contour of the gypsum model first; The second time, while carving, use a sharp machine to detect, and reserve 0.2 to 0.3 cm of waste; The third time, the same sculpture was detected by a point machine. The advantages of using point machine to assist engraving are as follows: 1. Those who can master the basic carving skills can successfully complete the carving of their works by using the point machine to assist the carving. 2. There will be no great errors in the whole, local and high and low points of various round carvings and reliefs, which are similar to gypsum models. It should be noted that sculptors must participate in the production of sculptures. When the work is nearing completion, the sculptor and sculptor should work closely together to re-process the art if necessary. Sculptors should personally carve the key parts of their works to make them more perfect. Measuring tool for carving the caliper with bow handle. There are two retractable crescent-shaped clamping feet, which are now made of stainless steel. Change the bending degree of the clamping foot at any time when the work needs it. The measurement method is: aim the two clamping feet at two points on the object to be measured and take them off. The distance between the two clamping toes is the measured distance. Used to check the error between the sculpture and the physical size and correct the visual deviation. Proportional bow is one of the sculpture tools. The measuring tool consists of two opposite handles and two overlapping sliding rulers, and a fixed scale is engraved in the middle. Committed to the enlargement of sculpture. Therefore, the distance between the * * * of the bow handle and the two ends can be arbitrarily changed in the slide rail in the middle of the slide ruler, thus forming a certain proportional relationship between the two bow handles, and the slide ruler is engraved with a fixed proportional scale. Therefore, when in use, the proportional position of the central screw should be fixed as required, and the gauge feet at one end of the bow handle should be opened to align with the two points of the manuscript, and the distance between the gauge feet at the other end of the bow handle is the enlarged size. Reverse use can be reduced, so it is also called "shrinking bow handle"
5. Stone Carving Technology: The ancient traditional stone carving in China is a carving skill inherited by stone carving artists, who independently designed (often painted), carved and completed it. Until now, many stone carving artists still use this method, such as carving traditional figures and animals. There are also a few artists who are familiar with western sculpture and can directly carve western human bodies on stones. With the rise of urban sculpture in China, many large and medium-sized stone carvings are directly designed and made by sculptors, and then processed and made by stone carvers in factories. Its technology and carving skills are relatively high, and its carving process is generally divided into the following steps: (1) land reclamation: also known as "land reclamation", the rough stone is chiseled away. At the stage of preliminary outline. The process of further developing the basic form of decent relationship is called "opening up" Generally, when the processing distance is about 1 cm from the gypsum model, it is called "small wasteland". The three processes are sometimes carried out alternately, and the tools used are large, medium and small chisels. (2) Fine cutting: chisel away the redundant part of the "small wasteland", focus on depicting the image, and identify subtle changes such as the undulating structure of the body. It is an important stage in the artistic treatment of stone statues. The tools used are dental chisel, flat chisel, stone file, etc. This is the last stage of stone carving, which requires patient and meticulous carving. (3) Polishing: On the basis of careful carving, polishing with abrasives can show the polished stone points, add luster to the stone carving works and improve the artistic appeal of the works. Tools and materials for polishing include polishing machine, grinding wheel, emery cloth, sandpaper, water sandpaper, chromium oxide, polishing paste, etc. This process is carried out according to the artistic effect, some are completely polished and some are partially polished. Combined installation
Six, stone bonding materials and their proportions: any large and medium-sized stone statues indoors and outdoors are rarely carved with a whole stone. (except the modern mountain carving grottoes), so it is necessary to use adhesive materials for bonding and assembly. Here are several bonding materials and their proportions: (1) old bonding method 1. Flux bonding (1) material and proportion: white wax, rut, rosin and carbon black, with the weight ratio of 2:1:kloc-0/:33. (2) Unit dosage: The dosage per square inch (building ruler) is divided into two parts: ash, rut and rosin, and black charcoal. (3) Manufacturing method: the above materials are mixed together according to the weight ratio, and then slowly heated and melted into an adhesive for bonding stone carvings, with good effect. This bonding method is suitable for medium-sized carvings. 2. In the process of stone filling, there are impurities in the stone, or the carving process is wrong, which leads to stone defects affecting the complete effect of the work, so this method is adopted. (1) Material and proportion: white wax, yellow wax, rue, stone powder and black carbon: 3: 1: 1: 56: 30. (2) Unit dosage: per square inch (building ruler), white clam is one yuan and fifty cents, yellow wax and lost fragrance are fifty cents each, stone powder is 228 yuan and eighty cents, and black charcoal 1.25 yuan. (3) The modulation method is the same as 1. 3. Yellow wax glue (1) material and proportion: yellow wax, rosin and alum. The weight ratio is: 1.5: 1: 1. (2) The modulation method is the same as 1. (2) New bonding method 1. Cement mortar is used to bond large stone carvings. 1: 1 cement mortar is used. This method has the advantages of cheap materials, easy deployment, labor saving and wide application. 2. Epoxy Adhesive With the development of China's chemical industry, a variety of polymer chemical materials have been widely used in the construction industry and urban sculpture industry in recent years. Practical experience has proved that the following three kinds of adhesives synthesized with epoxy resin are effective. Its formula (weight ratio) is as follows: (1) epoxy resin (#6 10 1): ethylenediamine, with the ratio of 100: 6-8. (2) Epoxy resin (#6 10 1): ethylene triamine: xylene. 100: 10: 10。 (3) Epoxy resin (#6 10 1): reactive diluent (#50 1): polyethylene polyamine. The ratio is:100:10:130. This method is suitable for bonding large and medium-sized stone carvings. There will always be gaps in the above bonding methods, especially the bonding of special-shaped stone carvings, which can not guarantee a perfect joint. Then use the original stone powder to mix the adhesive (usually 502 glue) in the gap and tighten it. After drying, use a chisel or chisel to cut the seam. So that you can't see the traces of adhesion.
Seven, stone lettering: because of different purposes and requirements, lettering on stones is different in techniques and fonts. Some fonts need to be colored after carving. Some requirements are natural and simple to reflect the carving skills. Generally, the stone is roughly machined or finely carved, polished and leveled, and then spectrally carved. Some carve planes on mountains and engrave words on cliffs. 1. Common font styles: imitation song style, handwritten font, official script, cursive script, artistic font, foreign font and seal script are rare, but they are occasionally encountered. The main requirements of lettering are undistorted, straight edges, keeping the spirit of the original characters and full of momentum, which can reflect the original works of famous artists as masters. Before carving handwritten fonts, we should carefully study and understand the relationship between pen ups and downs, and work with calligrapher * * * to determine how to merge, increase or decrease. The outline of engraving strokes should be clear, and some problems must be solved in the manuscript. 2. Magnification and reduction of written words: The commonly used methods are nine-grid magnification, magnification ruler, slide magnification and photographic magnification. At present, it is very convenient and accurate to zoom in and out with a copier. The size difference between the written word and the required carved word is too many times, which can be scaled several times. 3. Over-spectrum: Check the spacing, row spacing, up, down, left and right relations of the amplified word spectrum or the written word spectrum to make the lines horizontal and firm, leave the size of the sky (up) and the ground (down), and find out the vertical center line (make records). Then kiss the reticle completely on the engraved surface of the stone and you can pass the spectrum. The traditional method is to use single hook or double hook of silver anvil. Tick out double lines or single lines on the back of the character spectrum with a brush, make white glue on the stone surface, find the crosshairs, straighten the character spectrum, and use a wooden hammer along the light hammer to make the silver anvil pass through the stone surface, and the spectrum is completed. This method is troublesome, but its advantage is safety and accuracy. At present, carbon paper is generally used for spectroscopy. In order to keep the original from being damaged, copy it in advance. The back of the replica paper pad with different color from the stone is spectrally printed on the surface of the stone. It is best to draw the outline in one breath, and finally, carefully compare the original work and make necessary changes. 4. lettering: different forms of lettering have different lettering methods. Basically, it can be divided into three categories: Yin characters, Yang characters and Yang group characters. Each category has a variety of lettering methods due to different word base treatments, which are described as follows: (1) Pointed-based characters: generally small characters, fine strokes, Arabic numerals and foreign characters, and most of them are pointed-based characters. The carving method is to choose a suitable carving knife according to the requirements of the font, and leave half a line to gradually deepen when cutting, so that the requirements of the two slopes are the same as those of the sharp knife, the sharp bottom is in the middle, the depth depends on the size of the font and the width of the strokes, and the edge of the word mouth is straight and stiff, so that it cannot be carved into a zigzag shape, and the edge can not be shaken or dropped. (2) Semi-circular bottom: The bottom of the word is semi-circular, and the radian depends on the font. At first, it was similar to the above practice, and the radian of the bottom of the word should be smooth and consistent. When encountering a stroke turning point or stroke, the difference should be deepened appropriately, and the stroke order should overlap, but it should not be too obvious. If you need gold foil or copper foil, the bottom should be smooth and polished, and no knife marks can be left. (3) Yang Qunzi: The carving requirements are basically the same, but the shapes are different. That is, the word mouth is carved by the outline of the outside line, and some are carved vertically, generally with a small slope. The middle of the stroke is a convex arc, which gradually slopes from both sides of the arc to the bottom of the edge. The middle of calligraphy and painting forms a gentle slope to both sides, with grooves on both sides. There is also a carving method, that is, the high point of the middle arc is uneven with the stone surface, and some middle arcs are narrow to form a wide groove. These three shapes have better sound effects than before. 4) Flat font: Dig vertically from the edge of the font, and the upper and lower strokes are basically the same width. This carving method generally needs to reach half or more of the stroke width, depending on the effect. This kind of figure is usually sandblasted and carved, and the effect is good. (5) Yang character: it is a kind of character protruding from the stone surface, which is divided into dome shape and flat top shape, which is labor-consuming and material-consuming, and is still in use under special circumstances. After the word is engraved, it is necessary to perform various treatments on the surface of the word. According to different purposes and requirements, the methods are different. This paper summarizes several common surface treatment methods of stone carving. 1. Pigment and color: In order to make the words engraved on the stone surface stand out and stand out. After the carving is completed, you can paint the stone with contrasting colors according to the different colors. This method is simple to operate and saves labor and materials. But the disadvantage is that the preservation time of outdoor stone carvings is limited. Another feature of it is that it can be painted off and painted with new paint at any time. 2. Xu Jinfen: Mix the gold powder with varnish (nitro varnish with appropriate diluent, which has the advantage of not being afraid of water immersion). Brush on the words, and it will have a golden effect after drying. Its advantages are labor saving, material saving and easy operation. The disadvantage is that it can't last long, and it is easy to oxidize and turn black when exposed to sunlight for a long time. 3. Xu mineral pigments: As we all know, mineral pigments can stand the test of history and will not fade for a long time. Dunhuang colored sculptures are a powerful proof. According to the different colors of stones, it is very effective to coat the carved words with azurite and azurite mixed glue. However, it should be noted that it should be used indoors or in a rain-proof and waterproof environment. 4. Hot stamping: (1) The engraving of the character base should be flat, smooth and smooth, otherwise the hot stamping will not achieve the bright, bright and smooth effect, and the hot stamping characters will look magnificent, noble and elegant. Pay attention to gold plating on light-colored stones, which will easily lead to color deviation, especially in direct sunlight, which will not highlight people and the effect is poor. (2) bronzing method: tool brush, small scissors, small tweezers, bamboo clips and small brush cotton balls. When operating, brush the bottom of the word first, and brush the gold glue oil in dusty environment, paying attention to the consistency of thickness. When it looks dry, start to paste gold foil. The thickness of gold-brushing glue oil has a great influence on the gold-pasting effect. When gold glue oil can stick to gold foil is closely related to season, climate, degree of dryness and wetness during operation and oil-making temperature. The gold foil should be compacted and polished, and finally the burr should be removed with a sharp knife. If a layer of gold foil can't meet the requirements, you can stick it for the second or third time according to the above method. (3) In the past, it was also useful to paste gold on a large paint base, which had a good effect and a heavy feeling. The operation and requirements of the industrial environment should be strict. (4) Gold gum oil is the adhesive for heating and reprocessing tung oil, so it should be properly kept after it is prepared, otherwise it will gradually solidify. You can also use paint instead of small-area gold plating, without gold glue oil. (5) In the indoor dry environment, you can also use melted rock sugar water instead of glue to paste gold. (6) Gold foil coating: In order to prevent oxidation and keep the effect of gold foil for a long time, the effect of coating gold foil with sealing coating is darker than that before sealing. (7) Gold foil: Gold foil is hammered with gold, which is divided into two types: Kujin (containing 98% gold) and Red Gold (containing 74% gold), and the last sound is yellowish and shallow than the previous sound. The general specification of gold foil is 9.33 × 9.33 cm, and that of red gold is 8.33 × 8.33 cm. Recently, there is a quarter of gold foil, generally 100 a bundle, 1000 a giant. Generally, there are two pieces of tissue paper and a gold foil of the same specification. In recent years, there is a piece of paper and a piece of gold foil. 5. copper foil: the practice is basically the same as bronzing. Because gold foil is expensive and difficult to buy, copper foil is used instead, which is not as effective as real gold, but better than gold powder (called gold powder and strength copper powder sold in the market).
Eight, stone coloring: In prehistoric times, in a cave in Dordogne, southwest France, there was still the original ochre pigment on the famous stone relief "Venus of Lausel" on the middle hat. As early as the pre-Egyptian era, many sculptures were painted, and full-length portraits and busts were displayed in museums. Circular carvings and reliefs are painted in khaki, khaki, black and green. In those days, many Greek marble statues were painted. With the increase of age, the color has fallen off. The most famous Parthenon in Athens is a group of statues handed down by Phidias (now in the museum), and we can still see the remaining color traces from the depths of clothing lines. During the Southern and Northern Dynasties, there was a Buddha statue about 5 meters high in Hebei. It is carved from white marble. Although it has been located in an open farmland for thousands of years, you can still see the colors of azurite and turquoise from the depths of your clothes. In many ancient grottoes in China, it is not difficult to find examples of posing as barbarians. Today, in order to beautify the living environment, the creation of indoor and outdoor large, medium and small stone carvings can not only make use of the natural color and texture of the stone itself for artistic processing and treatment, but also tap the outstanding heritage created by human beings at all times and in all countries to serve the people. The development of tourism, the restoration of stone carvings in caves and temples of historical sites, and the development of antique tourism products often require the antique artistic effect of old works to attract tourists' attention and love. At present, the treatment of stone carving is: 1) Brush the stone carving surface with nitric acid water or hydrochloric acid water. The surface of the stone has been corroded by chemical reaction. When it rains in the open air in summer, it looks like a cultural relic after a long time. Black and shiny due to nitric acid water or hydrochloric acid water, with a layer of wrinkled skin on it. But there are no real cultural relics. (2) Heat the stone carving with fire, adjust the yellow mud with alum water and smear it on it, and make it look like an unearthed cultural relic after drying. (3) Boil the stone carving with smoked water and alum for several days. Then take the stone carving out to dry. It looks like iron filings and rust. (4) Boiling the stone carving with Huangteng alum for several days has the same effect as (3). (5) Use a layer of smoked stone carving with a fragrant head, put it in a sunny place, spray water several times a day, and brush off floating smoke, ash and floating soil with cold water after several months. The remaining smoke glaze and condensed stone carvings are almost the same as real loess rust. (6) Wash it with potassium permanganate boiling water and apply it on the stone statue. After being infiltrated by potassium permanganate, according to the requirements of color depth, the floating color on the surface is washed off with clear water, and then wiped with a little yellow mud to achieve the effect of antique works. To know the real stone carving cultural relics, it won't peel off with an alkaline brush. If the fake rust is realistic, but the rust brushed with alkaline water no longer exists.