Relic carrier and manufacturing method
There was a kind of cultural relic carrier that was used for Ge cultural relics. The structure of the support frame includes a main balance bar (T-shaped), a fixing arm and a supporting arm which are located on the upper side of the main balance bar and are provided with fixing hooks. The manufacturing method includes vertically connecting the supporting rod to the first balancing rod through a welding process, and finely polishing the contact surfaces of the first supporting arm, the second supporting arm, the fixing arm, the first balancing rod, and the second balancing rod, which are used to place the cultural relic racks of the Ge cultural relics, and sticking a silica gel pad to isolate and protect the Ge cultural relics. The frame was designed and manufactured by professionals with many years of experience in cultural relics. It was based on the comprehensive evaluation of the archaeological relics, the center of gravity of the cultural relics, the shape of the cultural relics, and the fixed force points of the cultural relics frame. It was designed to solve the problem of the cultural relics being unable to be suspended. Read more exciting novels for free
Method for manufacturing cultural relic protection display box
The following is a manufacturing method of a cultural relic protection display box: 1. ** Basic structure creation ** - A base plate was prepared, and a transparent display box was fixed on one side of the base plate. - A connecting gap is arranged at the end of the surface of the other side of the bottom plate, the side of the connecting gap is hinged with a hinged block, and the other end of the hinged block is fixedly connected with a side plate, so that the surface of the side plate is connected with the outer side of the surface of the bottom plate. - The other end of the surface of the side plate is provided with a threaded hole, and the surface of the side plate is fixedly sleeved with a cover plate. The side face of the cover plate is connected with a screw, and the end of the screw is threadedly connected with the side face of the threaded hole, so that the connection between the side plate and the cover plate is realized. 2. ** Internal Protection Setting ** - The surface of the side plate is fixedly adhered with a supporting sponge plate, so that the surface of the other side of the supporting sponge plate is tightly connected with the side face of the transparent display box to play the role of support and buffer protection. - Wedge sealing strips are fixed on the surfaces of both ends of the side plates, and the sealing strips are made of a right-angle structure of a graphene rubber to facilitate mutual compression and sealing, so as to avoid large gaps at the corners. 3. ** Cover protection settings ** - A protective rubber plate is fixed on the surface of one side of the cover plate, so that the protective rubber plate is tightly pressed and connected to the surface of the transparent display box, which is used for isolation and positioning after the cover plate is closed, so as to avoid collision and improve the safety protection effect. - The other end of the screw is fixedly connected with a connecting ring, and the connecting ring is located on the side of the cover plate, which is convenient for connecting and convenient for lifting the semicircle. - Make sure that the connection gap is located at the four corners of the bottom plate, and the depth is not less than the length of the hinged block to ensure the rationality and stability of the structure. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Method for manufacturing multi-functional cultural relic collection cabinet
The following is the manufacturing method of a multi-functional cultural relic collection cabinet: ** I. Overall structural design ** 1. ** Cabinet structure ** - First, the overall frame structure of the cultural relic cabinet was designed to ensure that the structure was firm, able to withstand the weight of the cultural relics, and stable for a long time. For example, the cabinet frame could be made of metal (such as iron or alloy) or processed wood. - According to the type of cultural relics and storage needs, the space layout inside the cabinet was planned, including setting up different bearing plates, drawers, compartments, etc. 2. ** Function component design ** - ** Show functional components ** - A power device is arranged inside the cabinet body. For example, in a multi-functional cultural relic cabinet, a motor can be installed on one side of the upper surface of the second bearing plate inside. The output end of the motor is connected with a second conical gear through a second bearing seat, the second conical gear is engaged with the first conical gear, the first conical gear is connected with one end of the first connecting rod, the first bearing seat (installed on the first bearing plate) is arranged on the outer wall of the first connecting rod, and one end of the first connecting rod, which is close to the first bearing seat, passes through the first bearing plate and is connected with a third bearing plate. In this way, a series of transmission components were driven by the motor, allowing the third bearing plate to rotate, which was convenient for the comprehensive display of the cultural relics placed on it. - A slot was opened at the top of the cultural relic cabinet for inserting the transparent shield. The transparent shield could not only protect the cultural relics, but also facilitate the observation of the cultural relics from the outside. - ** Movement and stability components ** - A fourth bearing plate is installed at the lower end of the interior of the cultural relic cabinet, and screw rods penetrate through the four corners of the fourth bearing plate. One end of the screw rods is integrated with a limiting block, and the other end is connected with a first roller. By turning the screw, the position of the first roller could be adjusted. When the screw is rotated in a positive direction, the screw gradually detaches from the fourth bearing plate and drives the first roller to be lowered from the bottom of the cultural relic cabinet, so that the cultural relic cabinet can move conveniently; when the screw is rotated in a reverse direction, the screw vertically moves towards the direction of the second bearing plate and drives the first roller to be retracted into the cultural relic cabinet, so that the cultural relic cabinet can directly contact the ground and increase stability. ** 2. Material Selection and Treatment ** 1. ** Metal material (such as iron or alloy)** - From the perspective of fire protection and saving the storage area, the metal cultural relic cabinet had certain advantages. However, iron cabinets were prone to rust in humid areas such as the south, so if you chose iron, you had to consider the humidity control conditions of the warehouse. If it was an alloy, its physical and chemical properties must be used to ensure that its strength and stability met the requirements. At the same time, the metal surface should be properly treated, such as spraying paint to prevent rust or corrosion. 2. ** Wooden Material ** - If you choose wood materials, you must choose the appropriate type of wood, such as high-temperature insect-proof, anti-mold, acid removal, and molding treatment. Camphor and teak are ideal materials for cultural relics cabinets. The wood should be dried before production to reduce the possibility of releasing acidic corrosive substances and avoid damage to cultural relics. ** 3. Assembling the auxiliary components ** 1. ** Anti-slip and protective parts ** - The upper surface of the third bearing plate used for display was glued with anti-slip mats to prevent the cultural relics from sliding and causing damage during the rotation process. - On one side of the bottom of the third bearing plate, a number of groups (such as four groups) of second rollers are installed to ensure the stability of the third bearing plate when it is rotating. 2. ** Operation Control Part ** - A control panel was installed on one side of the outer wall of the cultural relic cabinet to control the operation of functional components such as the motor, so that the user could control the display function of the cultural relic cabinet. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Xia Dynasty cultural relic manufacturing
The cultural relics of the Xia Dynasty had the following characteristics: - ** Material ** - ** pottery **: The cultural relics of the Xia Dynasty were mostly pottery, which was related to the early Xia Dynasty during the Longshan culture period. Most of the pottery was made of black and gray pottery, and most of the cooking utensils made of it were pots. The surface of these pottery was decorated with raised or concave string patterns, such as the surface of pottery pots. Tao Dou, a kind of food container, appeared in the middle and late Neoliths and continued to the Xia Dynasty. There were also wine vessels such as pottery jars that were more common. - Bronze ware: There were already bronze ware in the Xia Dynasty. For example, the bronze jue was well preserved and the shape of the ware was beautiful. It was a relatively representative ware of the Xia Dynasty. A bronze coffin was also unearthed at the Erlitou site. - [Jade ware: There was a jade knife in the Xia Dynasty. The seven-holed jade knife might be a ritual or torture tool.] There was also the Xuan Gui and the stone axe. The Xuan Gui was a very important jade ritual vessel in the Xia Dynasty, and the stone axe was one of the important ritual vessels that symbolized the royal power. - ** Turquoise products **: There are bronze ornaments inlaid with turquoise. This kind of inlaid turquoise craftsmanship has appeared in the early days of the Longshan culture, but its specific use is not clear. However, its workmanship is exquisite and the artifacts are very thin. - ** Inheritance and development of craftsmanship ** - Some of the crafts of the Xia Dynasty were inherited from the Longshan culture, such as pottery making and inlaid turquoise. At the same time, the cultural relic manufacturing process of the Xia Dynasty also laid a certain foundation for the later Shang and Zhou dynasties. For example, the shape of pottery was still common in the Shang and Zhou dynasties. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Lantern manufacturing method
Here are some ways to make lanterns: ** 1. Creating lanterns with photoshop (simple electronic lanterns)** 1. He used the [Oval Tool] to draw an oval as the outline of the lantern. 2. Press [Control +J] to copy an oval shape, turn off the fill color, and choose yellow for the stroke. 3. Clone the yellow oval, press [Control +T] to change it freely, and shrink the yellow oval. 4. He copied a few more layers of yellow ovals and shrunk them freely. 5. Using the [Rectangle Tool], he drew an orange and yellow gradually changing rectangular shape and placed it above the lantern. 6. He copied a rectangular shape and placed it under the lantern. 7. By adding the hanging rope and the tassel at the bottom of the lantern, the simple electronic lantern production could be completed. ** 2. Use a piece of paper to make a lantern (Parent-child handmade lantern)** 1. Father's method: - He took out a piece of transparent tape and cut it out, painted it red, and arranged it into four squares with toothpicks. Then, he pasted decorations such as mooncakes and stars on it. - Then, he stuck a layer of transparent glue on it, folded the edges and pasted them on, and used the same method to process the upper and lower parts and punch holes. - If you don't have a pendant, make one yourself. Cut the rectangular paper into 0.5 cm thin strips, stick a red string and roll it up, then stick a yellow paper decoration through the hole. ** 3. Use mineral water bottles to make lanterns ** 1. Every 1.5 centimeters, he would cut the plastic bottle into strips. 2. Thread a tassel at the bottom of the bottle. 3. Put a red balloon at the mouth of the bottle and blow it up. 4. He closed the bottle cap and tied a rope to the small wooden stick. ** 4. Use transparent tape to make lanterns (transparent Mid-Autumn Festival lanterns)** 1. He made two squares and sealed the top and bottom to form the main body of the lantern. 2. Make a tassel, cut the bottom of it with a piece of paper, put a rope in the middle and roll it up. 3. He hung the tassels through the lantern. ** 5. Use chopsticks and crepe paper to make palace lanterns ** 1. He placed four pairs of chopsticks into a square, stacked three layers of chopsticks in the same way, fixed the connection points with 502 glue, and tied the four corners with red rope to make two such bases. 2. He took out a pair of chopsticks and used a red string to tie the two ends of the chopsticks to the two bases. He used the same method to fix the other three sides with chopsticks to complete the lantern skeleton. 3. Cut the crepe paper to a suitable size (you can stack it a few times before cutting it to ensure that it is neat), then circle the cut crepe paper around the skeleton and stick it on the four pillars with double-sided tape. 4. He tied a red string to each of the four corners of the lantern, tied the four strings together into a knot, and put a chopstick on it. 5. Red tassels were hung at the bottom of the lanterns, and decorations could be attached to the lanterns according to their preferences. ** 6. Making red lanterns with red packets (Two methods)** [Method 1:] 1. Prepare some unwanted red packets, cut off the top seal, and then use a utility knife to open the three edges of the red packet. Divide one red packet into two pieces, take the back of the red packet, and cut off a part of the edge (about one centimeter wide). 2. He took the side of the red packet with the letters and drew a one-centimeter-wide line on the left and right sides with a pen. The inside was divided into 0.5 mm equal parts, and then he used a hand-made knife to cut it according to the fine lines. 3. Prepare an appropriate amount of double-sided tape and stick it on the left and right sides of the red packet. Stick the bottom of the letter to the bottom of the red packet. 4. He cut off a part of the left side of the red packet, stuck double-sided tape on the bottom, and glued it to complete the bottom of the red lantern. 5. He prepared a scrap edge that he had cut out earlier, folded it together, and glued it to the top of the red lantern. [Method 2:] 1. He prepared seven red packets, folded them horizontally and then vertically, and divided the red packets into four. 2. Fold the four corners of the red packet in half (with the middle line as the fixed point), and fold six red packets for later use. 3. He stuck double-sided tape on the back of the folded corner of the red packet and stuck the corners of the red packet together to form the base of the lantern. 4. Prepare a single-sided red packet skin, leave one centimeter at the edge without trimming, and divide the inside into 0.3 mm long strips (be careful not to cut). 5. Sticking double-sided tape on the top of the red packet, he prepared a red string and rolled it from left to right into a tassel shape. 6. He made some small holes at the bottom of the lantern and hung the tassel at the bottom of the lantern.
Relic pattering method
At present, there was no specific literature on how to form the patina of antiques. However, the possible ways to form the patina were as follows: For porcelain, the glaze on the surface of the porcelain glaze would form a stable compound under the effect of oxygen and moisture in the air. This was the patina. After the porcelain was fired, the surface of the porcelain glaze would have a strong glaze light (thief light). However, after a hundred years of circulation, due to the influence of the air's oxidization reaction, artificial scrubbing, playing, moving, and the dust in the room, the glaze light of the porcelain would gradually become old and lose its brightness. These performance characteristics were the formation process of the patina. When the jade was unearthed, the soil and iron rust stains on the surface were not cleaned. This was because the jade had been eroded and oxided in the humid underground environment for a long time, resulting in the loss of brightness or a layer of pulpy substance on the surface. This was a kind of patchy situation. After the jade was unearthed, the oily texture and the sense of moisture formed after being polished for a long time were also patchy. The surface of the bronze ware was mainly in the form of patina, which was caused by the copper's oxidization. In antiques, the patina might be the result of the sweat of many people, the soil buried in the ground, or even the reaction of the air. These things would adhere to the surface of the object and form a layer of patina under the friction of people. High-grade wood such as red sandalwood, mahogany, and yellow rosewood had an oily luster. Coupled with the accumulation of time from generation to generation, the oil hidden in the wood furniture was stimulated. When people touched these furniture all year round, the oily substances mixed with the sweat of various human bodies would form a patina. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Bamboo fence manufacturing method
The method of making a bamboo fence was as follows: First, find a few fresh bamboos, cut them down, and remove the scabs and tips. Then, he used a saw to cut the bamboo into the required height of the fence, and each section was cut open with a knife. Next, he made bamboo strips, cut the bamboo into a width of about 10 mm, and removed the yellow bamboo strips. He laid the bamboo pieces that he had just cut open on the ground and used the bamboo strips that he had made to connect the bamboo pieces according to the interweaving method. After the production was completed, he could choose to plant some flowers or trees to increase the aesthetics of the courtyard.
Method for manufacturing simple globe
The following are some simple ways to make a globe: ** 1. Make a simple globe with table tennis balls ** 1. ** Confirm the North and South Poles and the Prime Meridian ** - A thin line was used to circle around the joint of the table tennis ball. The two ends of the thin line were fixed to determine that one point was the North Pole and the other point was the South Pole. - One of the meridians was determined to be the prime meridian, and the other was the 180° meridian. 2. ** Division of meridians and latitudes ** - Draw the middle point of the thin line on the table tennis ball, connect each equal point and the two poles, 90°E, etc., and then circle the table tennis ball once. He took off the thin line and drew a mark on the ping-pong ball at the middle of the thin line after each movement. - Mark the equal points, divide each meridian in the northern hemisphere into three equal points, connect all the marked points closest to the equator on the north side of the equator, draw the other meridians and mark the degrees. - He determined the equator and marked the degrees. He used a thin line to connect the two poles, and then connected these midpoints with a pen to form the equator. Divide the equator into two parts, north and south, and drill a small hole on each of the north and south poles (you can use incense diamonds). - Draw the prime meridian and the 180° meridian, circle around the table tennis ball, and then use the same method to draw the 60°N latitude, 30°S latitude, and 60°S latitude and mark them. 3. ** Note Information ** - Write the degrees on the table tennis ball so that every minute is 30 degrees apart. At the same time, you can also mark other geographical information on it. ** 2. Use game paper to make a simple globe ** 1. ** Prepare materials ** - Prepare scissors, glue, and a paintbrush. Obtain the game paper from the public account of "Kuomaru Kaixin School"(you can get it by replying to "Globes"). There are three size of globe materials in the game paper. You can print and cut them according to your needs. It's best to choose a harder paper. 2. ** Assembling the globe ** - After cutting out the material, he bent it slightly and glued it to the jagged shape according to the order on the game paper to fix and connect the material. 3. ** Perfecting the globe ** - After assembling the globe, he could use a paintbrush to color and draw the locations of various countries on the globe.
Cultural relic restoration method
According to the information provided, the restoration methods of some cultural relics were as follows: - For the restoration of bronzes, taking the Qin Mausoleum bronze carriage as an example, the team of experts had to carefully clean up and collect the fragments. Due to the large number of fragments and the fact that many of them were damaged or even missing due to age, experts had to repeatedly compare and experiment to find the necessary fragments, piece together the outline of the object, and then gradually complete the restoration of the entire cultural relic according to the outline. - The digital restoration method mentioned in the exhibition of cultural relics protection technology and equipment, such as the cultural relics protection of the cave temple in Dunhuang Mogao Grottoes as an example, using high-precision instruments to protect the ancient murals to show the historical elegant demeanor; The use of wearables to experience movie-level digital restoration of CG images to reproduce the gorgeous and solemn murals of the years; There is also the use of holographic projection, virtual reality, light and shadow special effects technology to transform the "Thousand Miles of Rivers and Mountains Painting" into the "Rhythmic Rivers and Mountains" experience scene. - In the aspect of cultural relic restoration experience, there was the process of touching the screen in the inscription recognition, experiencing the virtual restoration and Optical Character Recognition of the Jingyun Stone Stele of Qu Ren Ling in Bajun of the Eastern Han Dynasty, and watching the process of restoring Han brocade through the interaction device. However, different types of cultural relics may adopt different restoration methods due to factors such as their material and preservation state. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Method for manufacturing foldable bamboo fence
The manufacturing method of the foldable bamboo fence could use steel nails, linen, or bamboo strips to fix the vertical poles. The specific steps were as follows: First, use a machete to cut the bamboo into bamboo boards that were 1 meter long and 3 centimeters wide. Then, according to the required length, the bamboo board was fixed to the wooden or bamboo pole with a fine hemp rope or plastic rope. Finally, he used a hammer and nails to fix the fence to the ground, completing the production of the foldable bamboo fence.
Illustration of the manufacturing method of the leg sling
We can get the following diagram of the manufacturing method of the leg sling: 1. " Prepare materials: A wooden stick or plastic tube about one meter long and about one centimeter in diameter; a string or fishing line; a small iron hook or iron sheet; a knife or pliers. 2. The material was processed appropriately: a wooden stick or plastic pipe was sharpened to make it easier to hit the ground, and a groove was made on the forked branch. 3. The forked branch was hammered into the ground. It did not need to be too high from the ground. 4. He inserted an elastic rod into the back and made a living circle. 5. He tied a small wooden stick to the hoop and tied one end to the elastic rod. Please note that these steps are summarized based on the search results provided. There may be other production methods.