After completing the imitation, Chen Wenzhe simply stopped. After all, making cloisonné enamel involves too many processes and is too troublesome.
If he hadn't learned the filigree inlay technique, he really wouldn't have wanted to make such a troublesome vessel.
At this time, he didn't want to make copper-embedded filigree enamel, which was too complex.
Of course, he can't be idle, after all, there are still a lot of porcelain that need him to make!
For example, the yellow glazed porcelain that we have studied before is an unavoidable variety in the royal courts of all dynasties.
However, having just made a large batch of enamel paintings, Chen Wenzhe would not start working immediately, but would take a good rest for a while.
However, before that, the finishing touches need to be made!
Looking at the pile of enamel materials in front of him, he didn't want to make filigree enamelware, but these enamel materials couldn't be wasted!
Looking at the muddy tire filled with water that had been placed in front of him for some time, Chen Wenzhe fell silent.
Are these ware embryos directly coated with colored materials to make enamel porcelain?
I have done a lot before, and now that I am doing it, Chen Wenzhe doesn’t have any good ideas.
At a glance, I saw some mud tires not far away. They were all semi-dry mud and could be used after a little tidying up.
"Just do some enamel painting!"
In fact, Chen Wenzhe had the idea of making porcelain plate paintings for a long time, but he had always been limited to insufficient technical skills, so he never started.
After all, the production of porcelain plate paintings is still a bit difficult.
Especially after thinking of the descending tiger hanging on the door of the porcelain painting factory, Chen Wenzhe became even more cautious.
Now, he has a deep understanding of the design and layout of porcelain paintings and enamel paintings.
After all, he has already used filigree techniques to make enamel paintings on copper and clay bodies. So what other enamel paintings cannot he make?
However, the production of enamel paintings is much more difficult than that of porcelain plate paintings, and the difference between the two is still very big.
Let’s not talk about other craftsmanship, just that the colors are different.
If we use the most eye-catching pastel porcelain plate paintings for comparison, the first thing is that the colors are different.
There are many colors of enamel, including more than ten different colors.
For example, although pastel glaze has more colors than multicolored glaze, it is not as rich as enamel glaze on the same vessel.
Furthermore, the feel is different. The patterns drawn with enamel colored materials are piled up with a thick layer of materials, which has a three-dimensional effect and can be touched with your fingers.
Porcelain plate paintings with pastel glaze, blue and white glaze, or other glaze colors are applied with a thin layer of glaze. They are very flat and cannot feel the bulge.
Finally, the texture is different. Where the enamel color material is thicker, there are very fine flakes on the glaze surface, and there is an obvious glass texture.
The colored materials on the porcelain plate paintings do not have the problem of cracking, and they have no glass texture (no reflection).
There is no clam halo phenomenon in enamelware, but like pastels, there is a beautiful clam halo scattered around the color.
This time Chen Wenzhe still painted works from the Ming Dynasty, cloisonné paintings.
Cloisonné paintings are definitely enamel paintings, but not all cloisonné enamel paintings are cloisonné, so special attention should be paid to this.
Cloisonne painting, the picture maintains the gold inlay, the lines are fine and clear, the colors are rich and natural, the craftsmanship is sophisticated and rigorous, and it has a strong three-dimensional effect.
The overall artistic effect of the work is rich, solemn, resplendent and elegant.
Because it is made from mineral pigments, the work is acid and alkali resistant, does not fade, and is exquisite.
The birth of filigree enamel painting can be said to be the crystallization of the inheritance and innovation of my country's 600-year-old cloisonne technique.
Cloisonné enamel painting has more "possibilities" than cloisonné.
It can produce a wider range of themes, including landscapes, flowers and birds, Thangkas and many other difficult works.
Usually, the traditional cloisonné vessel type is mostly used to express patterns and other related patterns.
Cloisonné enamel painting, on the other hand, 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 have both the unique artistic conception of traditional Chinese painting and the magnificent beauty of traditional enamel craftsmanship.
Contemporary works of filigree enamel painting, on the basis of absorbing the color characteristics and polishing techniques of the Ming and Qing dynasties, also drew on the techniques of color application, line drawing and drying of traditional Chinese painting, making bold breakthroughs in the style of the work.
Some are exaggerated, some are concise, some are freehand, some are realistic, some are simple, some are modern...
It can be said that every work, if taken out and appreciated individually, is so exquisite!
Especially the golden, gold-like thin wires in cloisonné enamel paintings are made of aluminum and are called gold wires. They are actually aluminum wires with a color-plated surface.
The colored part is made from very fine natural ores, which are dyed, fired and then ground into powder.
It is thinner than table salt and is technically called glaze.
Artists who make cloisonné enamel paintings use these fine pigments given by nature and use the color mixing techniques in Chinese paintings to prepare various required colors and fill them into color blocks separated by silk threads.
Make the cloisonné enamel paintings show colorful tones!
The above two raw materials are the iconic materials for making cloisonné filigree enamel paintings.
In addition, you need to use glue to stick gold wire, glue to touch sand, glue to fix the surface, or use crystal resin to cover it to achieve the effect of enamel texture;
Of course, some special tools and other materials are also required during the production process.
In one sentence, to make a cloisonné filigree enamel painting, the materials needed are: drawing board, gold wire, colored sand, glue, and tools. These five major categories of raw materials are.
The process of making cloisonné enamel paintings is also not simple.
If you want to make a perfect cloisonné enamel painting, you must first have a design drawing.
To make a filigree enamel painting, you must first design the pattern.
The style and content of the drawings cover a wide range of topics, 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.;
It can be realistic or freehand;
It can be a perception of reality or an association.
All in all, anything that can be thought of and can be depicted by hand painting can be used as a subject for gold silk glaze painting.
Once you have the design drawing, then there is the engraving, also called tracing.
It is the process of rubbing the patterns on the drawing onto the wooden board stroke by stroke.
Rubbing 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 rubbings are generally large core boards, drawing boards, etc. that are often used in decoration with a thickness of 1-2 cm.
This kind of wooden board has strong stability, is not easy to deform, is light in weight and low in cost.
The size and specification of the wooden board can be cut according to the production needs.
When rubbing the drawing, first lay the board flat and place a piece of carbon paper on top of the board.
Then put the designed pattern on the carbon paper, adjust the position, alignment and alignment of the paper, carbon paper and wooden board.