Research On Oil Painting Technology Of Chinese Traditional Furniture

Painting,that is,pigments in the role of different binding agents adhered to the substrate of a craft,is an important part of the traditional furniture decoration process and techniques.Oily painting of traditional furniture has a long history and is an important carrier of Chinese traditional culture.Under the influence of different times and regional cultures,a variety of styles with distinct times and regional characteristics have been formed.The inheritance methods are mostly master and apprentice or faction inheritance,and the inheritance forms are mostly word-of-mouth transmission,which brings great difficulties to the inheritance and protection of techniques and techniques.On the other hand,the basic principle of cultural relic restoration requires that painted cultural relics should be restored in accordance with the original process.If you do not know the traditional painting process,it will cause certain difficulties for the restoration work.Therefore,based on people’s fuzzy understanding of the proportion of color painting process materials and formula,the lack of scientific and data analysis of various formula decoration effects,this paper analyzes the production techniques of color painting process from theoretical knowledge and experimental research,to explore the effect of process steps,formula and material use on the color painting coating.This not only conforms to the national policy guidance of protecting excellent traditional culture and enhancing cultural confidence,but also provides a scientific reference for the restoration and protection of traditional oil painted furniture,which has important practical significance.Based on a detailed review of relevant literature,this study investigated the physical properties of different ground battle layers and painted coating formulations based on ground battle layers,pigments and dry oils commonly used in traditional painting,and examined the aging resistance of the coatings in a dry and wet cycle environment.The main findings are as follows:(1)Through the dry-wet cycle test of the plaster layer containing 10-60% bone glue,the results show that when the content of bone glue is 10-20%,the plaster layer has obvious defects such as cavitation and cracking.The stability of the plaster layer of 30-50% bone glue is relatively good,while the plaster layer of 60% bone glue content is yellow and has many small cracks.Dry-wet circulation space 50% bone collagen content in the process of the weight and dimension stability,best rate less than 0.8% weight,rate less than 0.3%.The results of adhesion,color roughness and gloss showed that 50% bone glue content had the best performance.Therefore,in the production process of the traditional painted furniture,the ratio of bone glue and gypsum 1:1 is the best process.(2)The coating properties were tested by controlling the ratio of oil to pigment.The results showed that 70% tung oil had the highest saturation and brightness,while 70% linseed oil had the highest saturation but the lowest brightness(except the lithic yellow pigment).The microstructure of 70% oil coating surface will be more smooth,tung oil film formation will appear shrunken phenomenon,so the microstructure of linseed oil group is better.70% tung oil has the highest coating roughness,while linseed oil has the lowest coating roughness.Compared with tung oil,the increase of linseed oil can improve the gloss of coating,and the coating can be improved from dull to plain.The overall adhesion of tung oil group is better than that of sesame oil group,the adhesion of 70% coating of linseed oil group is the best,and the difference between different oils of tung oil group is small.Therefore,in the production of the pigment layer of traditional painted furniture,the type of oil and the proportion of pigment can be selected according to the coating properties required by individuals.(3)The aging resistance of the coating was tested in the dry and wet cycling environment.The results showed that the dry and wet cycling would increase the weight and size of the specimen.At 70%,the weight and size of the specimen were stable,and the difference between different pigments was small.Wetting and drying cycles do not change the effect of oil proportion on brightness,saturation,roughness and gloss of coating.But it will affect the overall color of the coating,after wet and dry cycle,cinnabar,stone green and lapis gold coating in brightness increased,saturation decreased;The surface roughness of the coating has decreased.On the whole,the surface glossiness of each color coating in tung oil group increased,while that in linseed oil group decreased.The adhesion of linseed oil group increased after cyclic wetting and drying treatment,while the adhesion of tung oil group had no obvious change.Therefore,under the condition of dry and wet cycle,the best performance is when the ratio of oil and pigment is 7:3,and tung oil and linseed oil can be selected according to the required color,glossiness and roughness.