Dotting blue is actually similar to painting.

It's just that the painting is on paper, on canvas, and the dot blue is on the carcass of cloisonné.

After fixing the bowl tire, Li Yi used a straw to suck up the glaze, held a blue gun in one hand, and filled the glaze with the Wanshou Wujiang bowl as a sample.

The gold wire pattern has been made one by one, and Li Yi only needs to fill the glaze in the straw into the grid, then use an absorbent cloth to absorb the water, and press it with a blue gun.

But this step, Li Yi did it very carefully.

These glazes are fine powders made from some minerals.

In terms of state, they are actually sand.

Therefore, in the dream space, the step of dotting blue is also called Shangsha by craftsmen.

Dotting blue is not to fill in the color directly into the grid and finish, it is to pay attention to the steps.

The glaze is a fine ore particle, which has poor adhesion and will cause decolorization during the firing process.

Therefore, the blue should be alternated with the burnt blue, at least three times.

The glaze used for each blue spot should be adjusted and repaired according to the effect of the previous firing to form the effect of color gradient.

After starting to light blue, Li Yi closed his mouth and stopped talking.

This step needs to be quiet, the heart needs to be quiet, and the hand can be steady.

When the hands are steady, the work is clean.

The color of the cloisonné glaze must be pure and cannot be colored, so when you point to the blue, you must ensure that there is no glaze pollution.

Therefore, when you light the blue, you must be careful.

No one in the audience spoke, and everyone was infected by Li Yi's serious appearance.

Geng Wanhua and Cai Yi held their breath even more, for fear of affecting Li Yi.

They now want to know what kind of effect the cloisonne that Li Yi burned will be.

Soon, after Li Yi filled the first glaze, he sent the bowl tire into the kiln and calcined it.

The reason why cloisonne is called cloisonne "blue" is because the glaze of its first pass is often made of sapphire blue and peacock blue glaze as the base color.

Li Yi's first glaze is no exception.

After sending the bowl tire into the kiln, Li Yi did not leave, but stood at the mouth of the kiln, staring at the bowl tire in the kiln.

The melting point of cloisonné glaze is probably in the range of 700-900 °C.

Therefore, Li Yi did not adjust the furnace temperature, and still kept the kiln at 800°C.

The purpose of firing is to melt the glaze and adhere to the carcass.

But if you want the glaze to melt just right, you have to rely on the eyesight of the burnt blue master.

In the dream space, it took Li Yi more than seven years to learn how to burn blue.

However, this technique is difficult to say, simple and simple, in fact, it is to observe the reflection of the glaze.

As soon as the so-called "treasure light" appears, it proves that it is burned.

After the first firing was completed, Li Yi took out the bowl tire.

Putting the bowl in the water, he cleaned the blue tire and dried it over the fire.

Looking at the bowl tire in Li Yi's hand, Geng Wanhua was a little disappointed.

Although the effect of this golden bowl tire is good, it is enough to beat the best imitation cloisonné ware they have experimented with before.

But it can't be compared with the genuine Wanshou Boundless Bowl next to it.

The glaze color, the fullness of the glaze layer, and the brightness of the color of the genuine Wanshou Wujiang bowl are much stronger than the bowl in Li Yi's hand, which can be described as the difference between cloud and mud.

Seeing Li Yi's operation, Geng Wanhua was stunned.

Can cloisonné glaze be filled multiple times?

Really?

But before he could ask questions, Li Yi filled the lattice with glaze again.

The glaze is a fine ore particle, so there is a lot of space between the particles.

Although he had already lit it up just now, the glaze particles melted when he burned blue, the gaps in the space disappeared, and the glaze was dented.

This time, he filled the gold wire lattice with more glaze, so that the glaze protruded and rose a little higher.

A cloisonné utensil, in the process of lighting blue, must go through at least three fires, that is, three times to burn blue.

The first fire should be level with the silk, the second fire should be higher than the silk, and the third fire should be leveled with the silk.

Therefore, after filling the second glaze, Li Yi sent the bowl tire into the kiln for the second firing, that is, the second fire.

After the second fire was burned, the glaze in the golden wire lattice of the bowl tire was basically filled.

There are only a few slight notches, but the overall glaze is already very beautiful.

Seeing that the glazed surface of the Wanshou Boundless Bowl was almost seven or eight points similar to the original product, Geng Wanhua couldn't help but clench his fists, a little annoyed, as if he had been hit.

In fact, he was indeed hit by Li Yi's operation.

He never thought that the glaze of cloisonné could be refilled!

No wonder they have tried so many times before, and the finished cloisonné products are very poor.

It turned out that it was because they only burned it once!

Why didn't they think of it?

Geng Wanhua took a deep breath, his mood was very complicated.

If they could have thought of blue many times, maybe they would have copied this process?

But soon he was relieved.

Even if they can think of blue many times, they probably won't be able to reproduce it.

The ratio of the glaze is the key, and the ratio is not right, and even the glaze adheres to the carcass, which is a problem.

In front of the camera, Li Yi has already begun to make up the blue.

He filled in the porous areas of the gold wire grid with glaze, and sent the bowl tires into the kiln for a third firing.

After this firing, all the glaze areas on the bowl tire were filled, and the glaze was even overflowing.

Looking at the Longevity Boundless Bowl in Li Yi's hand, even Huang Xiaoming and they could see that this bowl was already ninety percent similar to the sample bowl that Li Yi put aside.

But although it looks very similar at first glance, in terms of glaze, bowl mouth and other details, the new bowl in Li Yi's hand is still a little rougher.

Therefore, at this step, it is necessary to carry out the grinding work, that is, grinding and polishing.

Polishing is the hardest and most tiring process in the cloisonné production process, including several steps such as piercing, polishing, and brightening.

Fortunately, Li Yi used a gold tire this time, and the material was softer and easier to polish.

If it was a bronze tire or a silver tire, he would definitely be busy today.

After three sintering, there are protruding glaze spots in some places on the glaze of the bowl tire, which need to be polished flat and smooth.

So, Li Yi took out a bag of emery stones, added water and vigorously polished the glaze that was higher than the tread.

After polishing it once, Li Yi used Huangshi powder to polish it a second time, grinding off the fire and black silk on the glaze.

Finally, he used lime charcoal powder and water to grind the glaze on the surface of the finished product that was higher than the filigree, so that the filigree on the surface was revealed.

With his final polish done, he took the bowl out of the water, dried it with a towel, and placed it on the right side of the sample bowl on the side.

If it is a cloisonné ware with copper tires, after grinding and polishing, it also needs to be plated with a wave of gold.

However, Li Yi was originally made of gold tires and gold wire, so this step was omitted.

Looking at the two bowls that Li Yi put together, there was a sudden sound of gasping at the scene.

"! Same! ”

4

(End of chapter)