景泰藍(lán)英文導(dǎo)游詞

　　景泰藍(lán)，中國的著名特種瓷器工藝品之一，春秋時(shí)已有此技術(shù)，到明代景泰年間這種瓷器工藝技術(shù)制作達(dá)到了最巔峰，用這種技術(shù)制作的瓷器最為精美而著名，故后人稱這種瓷器為“景泰藍(lán)”，

景泰藍(lán)英文導(dǎo)游詞

。景泰藍(lán)正名“銅胎掐絲琺瑯”，俗名“琺藍(lán)”，又稱“嵌琺瑯”，是一種在銅質(zhì)的胎型上，用柔軟的扁銅絲，掐成各種花紋焊上，然后把琺瑯質(zhì)的色釉填充在花紋內(nèi)燒制而成的瓷器器物 。因其在明朝景泰年間盛行，制作技藝比較成熟，使用的琺瑯釉多以藍(lán)色為主，故而得名“景泰藍(lán)”。下面是由應(yīng)屆畢業(yè)生小編為大家?guī)�來的關(guān)于景泰藍(lán)英文導(dǎo)游詞，希望能夠幫到您!

　　景泰藍(lán)英文導(dǎo)游詞

　　Cloisonne is a famous traditional enamel ware, known as the "Blue of Jingtai" in China, with a history of over 500 years. it was so called "blue" was the typical colour used for enamelling and "Jingtai" was the reign title of the 7th Ming Emperor. Enamel ware became very popular during the Emperor's reign. There is a great variety of products, such as vase, jar, bowl,plate, box and ash-tray. They are brilliant in colours and splendid in design.

　　Cloisonne is one of the famous arts and crafts of Beijing.The making of cloisonne requires rather elaborate and complicated processes; base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. The products are featured by excellent quality. The skill and workmanship have been handed down from the Ming Dynasty. Quite a number of new varieties have been created. it enjoys a high reputation both at home and abroad. They are mostly for export.

　　CLOISONNE-MAKING

　　The first step is body making. The material used for making the bodyis copper, because copper is easily hammered and stretched. This step requires a sound judgement in shaping and uniformity of thickness and weight. It is in fact the work of the copper smith. The only difference is that when an article is well shaped, the copper smith‘s work is finished, whereas the cloisonne craftsman’s work is just on the the start.

　　The second step is filigree soldering. This step requires great care and high creativeness. The artisan adheres copper strips onto the body. These strips are of 1/16 inch in diameter and of lengths as the artisan desires. The strips or filigree thus adhered make up a complicated but complete pattern. The artisan has a blueprint in mind and he can make full use of his experience, imagination and aesthetic view in setting the copper strips on the body.

　　The third step is to apply the colour which is known as enamel filling. The colour or enamel is like the glaze on ceramics. It is called falang. Its basic elements are boric acid, saltpetre and alkaline. Due to the difference in the minerals added, the colour differs accordingly. Usually one with much iron will turn grey, with uranium, yellow, with chromium, green, with zinc, white, with bronze, blue, with gold or iodine, red. In time of filling, all the colours, ground beforehand into minute powder and contained in plates, are placed in front of the workers and are then applied to the little compartments separated by filigree.

　　The fourth step is enamel firing. This is done by putting the article, with its enamel fillings, to the crucible. After a short moment, the copper body will turn red. But after firing, the enamel in the little compartment will sink down a bit. That will require a refilling. This process will go on repeatedly until the little compartments are finally filled.

　　The fifth step is polishing. The first polish is with energy. Its aim is to make the filigree and the filled compartments even. The whole piece is again put to fire. Polish once more with a whet stone. Finally, use a piece of hard carbon to polish again so as to obtain some lustre on the surface of the article.

　　The sixth step is gilding. This is done by placing the article in fluid of gold or silver. Add electric current. The exposed parts of the filigree and the metal fringes of the article will be smoothly and evenly gilded. After that, the metal part of the article will not get rusty. Then the article will again undergo another electroplating and a slight polish.

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