Статті в журналах: "Bronze lost wax casting"

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Notis, Michael R., and DongNing Wang. "Ancient Chinese Bronze Casting Methods: The Dilemma of Choice." MRS Advances 2, no. 33-34 (2017): 1743–68. http://dx.doi.org/10.1557/adv.2017.298.

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AbstractThe history of the manufacture of the magnificent bronze castings produced in ancient China has been reinterpreted a number of times during the past hundred years or so. These bronzes were first believed to be fabricated by lost wax (cire perdue) casting, but this gave way to a belief that piece mold casting was the dominant, if not the sole method of manufacture from the Shang (1700-1100 BCE) until possibly as late as the Tang dynasty (618-907 CE). This has been reinforced by the finding, a number of years ago, of the Houma piece mold foundry, as well a number of more recent similar finds. However, this stance was challenged by the discovery of openwork bronze objects as early as in the 1920s, and more strongly challenged in the late 1970s by finds of intricately cast interwoven openwork bronze objects at the Tomb of the Marquis of Yi, dated to the Warring States Period (475-221 BCE). Since then many other similar bronze objects have been found. Questions exist concerning the very existence of the lost-wax process as early as the Spring and Autumn Period (771 to 476 BCE), and was it independently developed in China, or was it introduced from the outside.

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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio, and Marc Walton. "Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy." Heritage 2, no. 1 (February 21, 2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.

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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and authenticity. In this paper, data from 171 20th-century bronzes from Parisian foundries are presented revealing diachronic aspects of foundry production, such as varying compositional ranges for sand casting and lost-wax casting. This new detailed knowledge of alloy composition is most illuminating when the interpretation of the data focuses on casts by a single artist and is embedded within a specific historical context. As a case study, compositional analyses were undertaken on a group of 20th-century posthumous bronze casts of painted, unbaked clay caricature portrait busts by Honoré-Victorin Daumier (1808–1879).

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Yun, Yong-Hyun, Nam-Chul Cho, and Jung-Mann Doh. "Experimental Research of Lost-wax Casting: Gilt-Bronze Pensive Bodhisattva." Journal of Conservation Science 36, no. 2 (April 30, 2020): 123–42. http://dx.doi.org/10.12654/jcs.2020.36.2.06.

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Heath, Jeffrey. "Lost Wax." Diachronica 14, no. 2 (January 1, 1997): 197–232. http://dx.doi.org/10.1075/dia.14.2.02hea.

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SUMMARY Richly inflected languages often have morphologies in which one or two key relational morphemes serve as the glue which binds other, more substantive morphemes together. When an important relational morpheme suffers phonetic erosion, it may be replaced rather abruptly by a successor morpheme which obtains a foothold in the relevant paradigm and then spreads rapidly, replacing the old morpheme throughout the system. We will refer to this as the 'lost-wax' (cire perdue) method of formal renewal, on the analogy of an ancient method for casting bronze artefacts. The point is illustrated by a close case study of two morphemes, Inverse and Potential, connected with the pronominal agreement system of a set of closely related Australian languages. The mechanics are somewhat different in the two cases, but both can be described as variations on the lost-wax method. RÉSUMÉ Dans les langues à inflexion riche, il se trouve souvent que la morphologie possède un ou deux morphèmes relationnels qui servent à lier d'autres morphèmes à plus grande substance sémantique. Quant un tel morphème relationnel risque de disparaître à cause d'érosion phonétique, il peut se faire remplacer d'un coup par un autre morphème qui gagne une entrée dans le paradigme et puis s'étend rapidement jusqu'à occuper la même position relationnelle de l'ancien morphème. Nous proposons la métaphore de 'cire perdue' pour décrire cette méthode de renouvellement formel, par analogie avec une méthode classique de mouler les figures en bronze. Dans ce contexte nous étudions l'histoire de deux morphèmes, inverse et potentiel, dans le système de désinences personnelles d'un groupe de langues australiennes. Chaque cas présente une mécanique originelle, mais tout les deux rentrent dans le cadre général de la méthode 'cire perdue'. ZUSAMMENFASSUNG Sprachen mit reicher Inflexion haben oft eine Morphologie, in der ein oder zwei zusammenhängende Morpheme andere wesentlichere Morpheme zusam-menbinden. Wenn ein solches Morphem phonetisch zerfällt, kann es ein anderes Morphem plötzlich ersetzen und eine Stelle im Paradigma finden, von dem es sich im System schnell ausbreiten kann, indem es das alte Morphem im ganzen System ersetzt. Wir nennen hier diesen Vorgang 'verlorene Wachs'-Methode der formellen Erneuerung, als Analogie zur althergebrachten Methode der Gußform von Bronzekunstgegenständen. Wir illustrieren den Vorgang anhand einer Fallstudie von zwei Morphemen im pronominalen System der grammatischen Ubereinstimmung in einigen eng verwandten Sprachen Australiens.

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Garbacz-Klempka, A., Ł. Kowalski, J. Gackowski, and M. Perek-Nowak. "Bronze Jewellery from the Early Iron Age urn-field in Mała Kępa. An approach to casting technology." Archives of Foundry Engineering 17, no. 3 (September 1, 2017): 175–83. http://dx.doi.org/10.1515/afe-2017-0112.

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AbstractThis study characterizes the bronze jewellery recovered from the Lusatian culture urn-field in Mała Kępa (Chełmno land, Poland). Among many common ornaments (e.g. necklaces, rings, pins) the ones giving evidence of a steppe-styled inspiration (nail earrings) were also identified. With the dendritic microstructures revealed, the nail earrings prove the implementing of a lost-wax casting method, whereas some of the castings were further subjected to metalworking. The elemental composition indicates the application of two main types of bronze alloys: Cu-Sn and Cu-Sn-Pb. It has been established that the Lusatian metalworkers were familiar with re-melting the scrap bronze and made themselves capable of roasting the sulphide-rich ores.The collection from Mała Kępa has been described in terms of its structure and composition. The investigations were made by means of the energy dispersive X-ray fluorescence spectroscopy (ED-XRF), scanning electron microscopy (SEM) coupled with an energy dispersive X - ray analysis system (EDS) and optical microscopy (OM). In order to fingerprint an alloy profile of the castings with a special emphasis on the nail earrings, the data-set (ED-XRF, EDS) was statistically evaluated using multidimensional analyses (FA, DA).

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Giuliani, Alessandra, Fabrizio Fiori, Jacqueline Gysens, Adrian Manescu, and Franco Rustichelli. "Analysis of neutron diffraction profiles in bronze archaeological statuettes produced by solid lost wax casting." Journal of Physics: Condensed Matter 20, no. 10 (February 19, 2008): 104251. http://dx.doi.org/10.1088/0953-8984/20/10/104251.

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Yun, Yong-Hyun, Nam-Chul Cho, and Jung-Mann Doh. "Experimental Research of Piece-Mold Casting: Gilt-Bronze Pensive Bodhisattva." Journal of Conservation Science 37, no. 4 (August 31, 2021): 340–56. http://dx.doi.org/10.12654/jcs.2021.37.4.03.

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We have tried the experimental research of lost-wax casting to reconstruct Gilt-Bronze Pensive Bodhisattva; preliminary and reconstruction experiment based on ancient texts. Main object to reconstruct is Korean National Treasure No.83, Gilt-Bronze Pensive Bodhisattva (Maitreya), then we measure alloy ratio and casting method based on the scientific analysis. Other impurities were removed from the base metal components(copper : tin : lead) and their ratio was set to 95.5 : 6.5 : 3 where the ratios for tin and lead were increased by 2.5% each. The piece-mold casting method was used, and piece-mold casting experiments were carried out twice in this study but supplementary research on piece-mold casting was necessary. The microstructure was confirmed to be typical cast microstructure and the component analysis result was similar to that of the prior study. Analysis of the chemical composition is confirmed to copper, tin, lead, and zinc, and the chemical composition of the matrix was 87.8%Cu-7.5%Sn-2.7%Pb-2.1%Zn, and similar to previous experimental research. Also resulted in the detection of small impurity in Zn. Analysis of the mould revealed that the mould was fabricated by adding quartz and organic matter for structural stability, fire resistance, and air permeability. We expect that our research will contribute to provide base data for advanced researches in future.

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Loboda, Anastasiya, and Anna Antipenko. "Bells from the tomb 19/2020 on the Eski-Kermen plateau: composition of the material and reconstruction of the manufacturing process." Materials in Archaeology, History and Ethnography of Tauria, XХVII (December 15, 2022): 386–96. http://dx.doi.org/10.29039/2413-189x.2022.27.386-396.

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The given article studies two small bells found in the tomb 19/2020 in the narthex of the single-nave church in block II at Eski-Kermen plateau. These bells have slightly flattened body with a slit and a small ball inside; they are decorated with corrugated transverse stripes. One of the bells is completely preserved, the other is fragmented. The aim of the work was to determine the composition of the metal and the manufacturing technology of the bells. The X-ray fluorescence analysis of the elemental composition of the metal of the bells showed that the items themselves and the ball inside one bell were made of tin-lead bronze. All currently known reconstructions of the manufacturing technology of such products are described, with the most possible one as the making of wax model of bells comprising of two halves and, later, lost wax casting; clay form was also lost.

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Massa, Michele, Orlene McIlfatrick, and Erkan Fidan. "Patterns of metal procurement, manufacture and exchange in Early Bronze Age northwestern Anatolia: Demircihüyük and beyond." Anatolian Studies 67 (2017): 51–83. http://dx.doi.org/10.1017/s0066154617000084.

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AbstractThis paper adds a new interpretive layer to the already extremely well-investigated site of Demircihüyük, a small Early Bronze Age settlement at the northwestern fringes of the central Anatolian plateau. It presents a reassessment of the evidence for prehistoric mining in the region, as well as a new programme of chemical composition analysis integrated with an object functional and technological typology of the site's metal assemblages. The results reveal complex manufacturing techniques (such as bivalve mould casting, plating and lost wax) and the co-occurrence of several alloying types, including the earliest tin bronzes in the region. Object typology further indicates that the Demircihüyük community was at the intersection of two distinct metallurgical networks: one centred on the western Anatolian highlands, the other spanning the northern part of the central plateau. Additionally, several strands of evidence suggest that the beginning of interregional exchanges, linking central Anatolia to northern Levantine and Mesopotamian societies, may have started at an earlier date than the commonly assumed ca 3000–2800 BC.

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Briggs, Stephen, Kevin Leahy, and Stuart P. Needham. "The Late Bronze Age Hoard from Brough-On-Humber: A Re-Assessment." Antiquaries Journal 67, no. 1 (March 1987): 11–28. http://dx.doi.org/10.1017/s0003581500026251.

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The discovery in 1719, at Brough-on-Humber [North Humberside, SE 93 26], of a hoard of Late Bronze Age weapons and casting matrices is described from contemporary manuscript and printed sources. The subsequent passage of its component artefacts through antiquarian collections is carefully documented, and four pieces are recognized as surviving in the British Museum. These comprise two rare two-piece casting moulds together with one example of each casting product. One mould is a Welby, the other a Meldreth, type, formerly provenanced respectively to ‘Yorkshire’ and ‘Quantock Hills, Somersetshire’. All are described in detail and suggestions made as to the casting techniques in which they were employed. The hoard, possibly originally comprising more artefacts than were recorded, was accompanied by a spearhead, a socketed chisel and a tanged awl or spike, now lost. These are attributed to Burgess's ‘Ewart Park phase’ of LBA2, with parallels scattered throughout the north-east, east, south-east and south of England.

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Steegstra, Hannie. "Malligheden. Een Noord-Franse gietmal in een Nederlands museum." Paleo-aktueel, no. 30 (December 14, 2019): 23–29. http://dx.doi.org/10.21827/pa.30.23-29.

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Saved for Science? (Summary, already written in 2008 by Jay Butler). Especially in northern France, much has been lost in the course of the wars that devastated the area, but much has been saved too. Particularly intriguing among the saved Bronze Age objects are the bronze casting moulds, which in prehistoric times must have been common objects, but which are now scarce because most examples would have been sacrificed to the smith’s ever-ready melting pot. One such object, a finely preserved half-mould for a socketed axe (of the Plainseau family, with slight plastic imitation wings) is in the possession of the Noordbrabants Museum in ’s-Hertogenbosch. It was purchased by the museum in 1962, for the sum of 50 Dutch guilders, from a reputable Eindhoven antique dealer, Dirven, in that city. The museum records state only that it was found in the north of France or in Belgium. A not uninteresting part of the work of a researcher working on the Bronze Age is the tracking down of missing finds: for example, a half-mould for a socketed axe, said to have been found in the surroundings of Amiens, which was seen, described and (well) drawn by Henri Breuil before 1902. This half-mould was said to be part of a hoard of bronze implements, which included spearheads, pins and socketed axes. Also belonging to the hoard was a core (also of bronze) for casting socketed axes.

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Slaczka, Anna, Sara Creange, and Joosje Van Bennekom. "Nataraja Informed through Text and Technique." Rijksmuseum Bulletin 67, no. 1 (March 15, 2019): 5–29. http://dx.doi.org/10.52476/trb.9714.

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The imposing Chola-period bronze Shiva Nataraja at the Rijksmuseum is a product of the living tradition of metal casting established over a thousand years ago in the region of Tamil Nadu. Purchased in 1935 from a Parisian dealer, it is one of the highlights of the collection belonging to the Royal Asian Art Society in the Netherlands, which is exhibited at the Rijksmuseum. The interdisciplinary study presented here links an art historical investigation of ancient texts and scholarly literature with scientific analysis in an attempt to refine the art historical context and at the same time flesh out what is known about the fabrication and provenance of the Nataraja in the Rijksmuseum. The Nataraja was cast by the lost-wax method; x-ray images confirm that the Shiva is solid-cast together with the halo. X-ray fluorescence reveals an alloy consistent with other Chola-period bronzes but not necessarily a pañcaloha alloy (five metals), which seems to be a modern tradition; the front hands were apparently cast on separately as a repair, probably during casting or not long after. Further evidence gathered from the sculpture and its soil encrustations (ICP-MS lead and neodymium isotope ratios, SEM-EDX and XRD) is briefly presented, and supports earlier assumptions about the Nataraja. It appears to date from the twelfth century and was under worship for a relatively short time before it was buried at an unknown location in India. The presence of Indian earth and corrosion products typical of burial imply that it did not re-enter a temple context for worship and was not subject to major restoration before entering the art market in the early twentieth century.

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Talesara, Priyank, and Aniruddh Bahuguna. "Decoding of the Story Superimposed of Buddhist Sculpture unearth from Bharja and testifying its relation to this Silk-route area of Sirohi District, India." Technium Social Sciences Journal 7 (April 25, 2020): 302–11. http://dx.doi.org/10.47577/tssj.v7i1.410.

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Rohida police station recovered an old sculpture, accidentally discovered from the cemetery of Bharja/Bhaja village. It is a broken bronze Buddhist Idol and very rare sculpture. It has exquisite Antique beauty with rust in red and corrosion in green. Sculpture of Buddha seated in Padma Asana (lotus posture) and his hand in Dhyan Mudra (meditation posture). Buddha is wearing the robe; the robe is decorated with the scene of Buddhacharita story, superimposed on the visible crust. This Sirohi district has the history of Jainism and Hinduism only, till the date there is no evidence regarding Buddhism practices in Sirohi district of Rajasthan. Sirohi is famous from its silk route in the valley, ancient Chandrawati city and Mount Abu, where thousands of temples of Jainism and Shivanism were built. Objective: what were the technique and technology used to manufacture sculpture? Where this artefact came from? What are the main characteristics & features of this sculpture? What carving scene depicted in this sculpture? Research analysis: For analysis of this sculpture we carefully look sculpture and magnify scene to compare with the stories of Buddhacharita. Moreover, check out that this sculpture is indigenous work of ancestral craftsmen or not. Also compare superimposed stories of Buddha and his life. Scientific method: Buddha sculpture is hollow in nature but very heavy in weight; Craftsman used the lost wax method to manufacture it. In ancient time the science behind manufacturing sculpture is very time consuming, first sculptors need to imagine about the subject, draft and then mould through melting, condensing, chiselling, hammering and exquisite carving. One of the oldest methods of metal casting according to Archaeo-metallurgy is bee wax method; this technique is now termed as the lost wax method. Conclusion: In the end, we like to conclude that in the history of Sirohi exploration, first time unearths the Buddhist sculpture but we have certain doubts that it mustn’t belong to Sirohi district. This idol is required for further critical research like dating and detailed mould-casting technique used in the manufacturing of this sculpture.

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Bowman, Sheridan, and Stuart Needham. "The Dunaverney and Little Thetford Flesh-Hooks: History, Technology and Their Position within the Later Bronze Age Atlantic Zone Feasting Complex." Antiquaries Journal 87 (September 2007): 53–108. http://dx.doi.org/10.1017/s0003581500000846.

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Discovered in County Antrim and Cambridgeshire respectively, the Dunaverney and Little Thetford flesh-hooks are two of only thirty-six currently known examples from the Bronze Age of the Atlantic seaboard of Europe. Both are impressive and enigmatic objects and are among the most elaborate of later-series flesh-hooks dating to c 1100–800 BC. Not surprisingly, from the time it was found in 1829, Dunaverney was the subject of much antiquarian interest. Yet, despite their rarity and unusualness, the Dunaverney and Little Thetford flesh-hooks have never been adequately studied.Our investigations have provided an understanding of the technology of these two fleshhooks, as well as new chronological information for the type as a whole. They have also revealed new uses of lost-wax casting in the British Isles, where the use of this technique is otherwise rare. The bird motifs on the Dunaverney flesh-hook remain unique, although it is now possible to set them against a broader background of iconographic representations on Atlantic feasting gear. Moreover, certain recurring design features may suggest that iconographic symbols were originally more often present on flesh-hooks. The findspot of Dunaverney lies at the heart of deposits of other contemporary prestige metalwork and that of Little Thetford within the greatest concentration of finds of the innovative Wilburton-stage metalworking tradition; both re-enforce the social significance of these rare objects.

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Sánchez R, Claudia Marcela, and Carlos Julio Cortés Rodríguez. "Rapid casting and new technologies in investment casting." Ingeniería e Investigación 26, no. 1 (January 1, 2006): 116–19. http://dx.doi.org/10.15446/ing.investig.v26n1.14683.

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Rapid prototyping is a manufacturing process which is different to traditional methods as material is not removed or formed but added to obtain the designed pieces. It is not just used for manufacturing finished products but in manufacturing tooling for speeding up other manufacturing processes. This paper introduces rapid prototyping as a support technique for the lost wax process (investment casting). It gives a brief description of the different techniques implemented to date and materials used for making articles as part of the lost wax process.

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Guler, Kerem Altug, and Mustafa Cigdem. "Casting Quality of Gypsum Bonded Block Investment Casting Moulds." Advanced Materials Research 445 (January 2012): 349–54. http://dx.doi.org/10.4028/www.scientific.net/amr.445.349.

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In this study surface finish and dimensional charactersitics of castings produced with gypsum bonded block investment moulds were investigated. Commercial and laboratory made gypsum bonded investment moulds were used for investment casting mould making. To compare the casting quality of the investment powders, wax patterns for surface roughness specimens and linear dimension measurement specimens were designed and produced with special geometry. Wax trees were assembled with these patterns, cylindrical stainless steel perforated flasks were settled around the trees and gypsum bonded investment slurries were filled into flasks. Conventional tin bronze was subsequently cast into these moulds by vacuum assisted casting process. Afterwards, surface roughnesses of specimens were measured and linear dimensions of wax patterns and cast specimens were compared to determine percantage of dimensional change.

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Senotrusova, P. O., A. A. Ekkerdt, and P. V. Mandryka. "Finds of ornitomorphic images of the End of the Early Iron Age in the Lower Angara region." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 3(54) (August 27, 2021): 77–84. http://dx.doi.org/10.20874/2071-0437-2021-54-3-6.

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The paper concerns the ornithomorphic images found at the Pinchuga VI burial ground. The site is located in the lower course of the river Angara (Middle Siberia). The chronological boundaries of the study span the second quarter of the 1st millennium AD (end of the Early Iron Age). All burials at the burial ground were performed ac-cording to the rite of cremation outside the cemetery. Two intact objects and fragments of the third image of a bird were found at the necropolis. Figures were found in different contexts. One of them was found in the filling of a grave pit, the second item within an assemblage of various articles in the inter-grave space. The third item was broken and lost as the result of illegal excavations. All articles share similar characteristics. These are realistic images of diurnal birds of prey “frozen” in a diving flight; the images are shown en face, with a high-relief head, with the tucked wings and feet pulled up with talons. A geometric decor conveys their feather, and a stylized mask is present on the chest of one item. The images are slightly convex, their front side is polished. The closest analogies to the Angara images of birds are known in Western Siberia, including the Tomsk burial ground, the Kholmogory treasure, the Ishim collection, and materials from the Parabel cult place. All this makes it possible to attribute the analyzed items to the Kholmogory stylistic group of the Kulai cult casting. Products of this group be-came widespread in Western Siberia in the second quarter of the 1st millennium AD. The ornithomorphic images found at the Pinchuga VI cemetery extend the geographical range of the items of this style to the territory of Mid-dle Siberia. Apart from the figurines of birds, the necropolis also yields other items of the Western Siberian cult casting, including disks with concentric ornaments, a hollow image of a fish head, and a bird-head belt applique. Bronze items were imported, and in the course of exchange they were spreading over considerable distances. This proves the existence of established cultural ties between the populations of the Lower Angara region and Western Siberia at the End of the Early Iron Age.

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You, Wei, Yan Mei Jiang, Qian Lin, Xiao Xia Yu, Peng Fei Li, and Yu Ge Wang. "Lost Wax Casting Process Design of Artificial Jade Cup Basing on Blast Furnace Slag." Advanced Materials Research 937 (May 2014): 462–64. http://dx.doi.org/10.4028/www.scientific.net/amr.937.462.

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The blast furnace slag is an industrial solid waste in the production process, this paper deals with the blast furnace slag as products -- artificial jade cup handicraft lost wax casting process of high additional value of main raw material, firstly analyses the production process of chemical composition and artificial jade common blast furnace slag and natural jade, then the detailed design of the lost wax casting process of artificial jade cup, including manufacturing, shell mould manufacturing, dewaxing, baking, imitation jade material melting and casting. The lost wax casting method for producing artificial jade crafts complex products, the added value of products, so as to achieve a high added value utilization of blast furnace slag.

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Owczarek, Piotr. "Prace konserwatorskie przy kamiennej rzeźbie Matki Boskiej autorstwa Andrzeja Pruszyńskiego z elewacji kościoła pw. Matki Bożej Pocieszenia w Żyrardowie – wybrane zagadnienia historyczne i technologiczne." Artifex Novus, no. 3 (October 1, 2019): 158–67. http://dx.doi.org/10.21697/an.7072.

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SUMMARY The stone sculpture of the Virgin Mary from the facade of the church Our Lady of Consolation in Żyrardów is one of the numerous sculptural implementations of Andrzej Pruszyński workshop. In 2018 the monument was under conservation and restoration works. Preliminary macroscopic examination of the monument showed that under the numerous secondary layers of paint on the stone sculpture there is a dark green, multi-deck colour layer that could imitate a statue had made in bronze casting technique. As a result samples were taken and subjected to laboratory analysis. The research carried out allowed us to conclude that the described layer is kind of a secondary nature and is a testimony to the restoration of the monument probably after the end of World War I. It was decided not to remove the patina and to fill in the gaps in the course of the ongoing restoration and conservation works. This layer had historical and documentary value and was a testimony to the popular in the 19th century and probably known at the beginning of the 20th century practice of patinating sculptures made in less noble and less durable material than bronze. Moreover, in the course of conservation works later layers of paint and cement repairs were removed. Then the structure of weakened limestone rock was strengthened and numerous small losses of stone were filled in. As a witness the defect on the left knee of the figure was left without filling in. It is a trace of the bullet that was probably created during World War I. Moreover, the missing figure’s right hand was reconstructed. A reconstruction of the gilded halo was also made. The design of the conservation work programme is always a very complex process as it requires the simultaneous consideration of many factors. The aesthetic and historical interpretation of the work is important, the understanding of the author’s concept and the essence of the destructive processes. In the case of the described sculpture from Żyrardów it was also necessary to take into account the technical possibilities, take into account the expectations of the owner and users, or customers in general, as well as the conservation community. Preservation and restoration solutions adopted in the work programme, including hand reconstruction and unveiling of the following items and the restoration of a painting layer imitating a green patina, restored historical artistic values to the monument. The aesthetic effect achieved this way brings a new quality to work that can be the object of criticism but by restoring the sculpture’s lost aesthetic values it is possible to continue to function as an object of religious worship.

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McCoy, Todd. "Lost Wax Casting Technique for Metal Crown Fabrication." Journal of Veterinary Dentistry 31, no. 2 (June 2014): 126–32. http://dx.doi.org/10.1177/089875641403100214.

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Wongpreedee, Kageeporn, Adiruj Peerawat, Bongkot Phichaikamjornwut, and Duangkhae Bootkul. "Lost Wax Casting Conditions with Tourmaline In Situ." Key Engineering Materials 737 (June 2017): 595–98. http://dx.doi.org/10.4028/www.scientific.net/kem.737.595.

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The technique of stone-in-place casting has been established in jewelry production for three decades. However, the process is not widely used since it is limited to precious stones with high hardness and high stability at high temperature. This experiment tested tourmaline, which is a semi-precious gemstone having less hardness and less stability compared with precious stones. The objective was to achieve the conditions of a lost-wax casting process with tourmaline placed in waxes in the casting process. The experiment was divided into two parts. The first part was to understand the tolerance of tourmaline under the heating conditions. Natural tourmaline stones were investigated and compared inclusions tested at a temperature of 700°C. Tourmaline with ion-implantation was also heated to 700°C for comparison. The second part was to test tourmaline in-place casting with tree conditions of flask casting at 550°C, 625°C, and 700°C. The results showed that stones were able to tolerate as much as at 700°C. The inclusion growth of ion-implantation under heating to 700°C also observed the growth of inclusion in the same way as untreated tourmaline. The casting condition at 550°C showed better results. The highest probability of stones breaking after casting occurred in bezel settings.

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Chung, Chun Hui, and Yann Jiun Chen. "Fabrication of Three Dimensional Structures in Polymer-Based Microchannels with Lost-Wax Casting Method." Key Engineering Materials 649 (June 2015): 120–27. http://dx.doi.org/10.4028/www.scientific.net/kem.649.120.

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Polymer materials have been utilized in microfluidic devices because of their properties and competitive cost for single-use devices. However, most microfabrication processes can not produce true three dimensional features in polymers. In this study, a new method with lost-wax casting was proposed to fabricate three dimensional microstructures in polymer-based microchannels. A feasibility study was conducted with epoxy and paraffin wax sacrifice. The microchannel with both-end fixed horizontal rods was produced with precise dimension. This structure is not possible to be fabricated by other replicating methods such as hot embossing or casting. The proposed lost-wax casting process is expected to advance the development of three dimensional polymer-based microchips for both the experimental research in laboratory and the mass production in industry.

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DOUTEL, E., J. CARNEIRO, M. S. N. OLIVEIRA, J. B. L. M. CAMPOS, and J. M. MIRANDA. "FABRICATION OF 3D MILI-SCALE CHANNELS FOR HEMODYNAMIC STUDIES." Journal of Mechanics in Medicine and Biology 15, no. 01 (February 2015): 1550004. http://dx.doi.org/10.1142/s0219519415500049.

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3D mili-scale channel representing simplified anatomical models of blood vessels were constructed in polidimethylsiloxane (PDMS). The objective was to obtain a sequential method to fabricate transparent PDMS models from a mold produced by rapid prototyping. For this purpose, two types of casting methods were compared, a known lost-wax casting method and a casting method using sucrose. The channels fabricated by both casting methods were analyzed by Optical Microscopy, Scanning Electron Microscopy (SEM), and Energy Dispersive X-ray Spectroscopy (EDS). The lost-wax method is not ideal since the channels become contaminated during the removal process. The models produced with the lost-sucrose casting method exhibit much better optical characteristics. These models are transparent with no visible contamination, since the removing process is done by dissolution at room temperature rather than melting. They allow for good optical access for flow visualization and measurement of the velocity field by micro-Particle Image Velocimetry (μPIV). The channels fabricated by the lost-sucrose casting method were shown to be suitable for future hemodynamic studies using optical techniques.

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Alekseev, A. Yu, R. S. Minasyan, and E. A. Shablavina. "NOTES ON BRONZE POLE-TOPS WITH A GRIFFIN FROM SCYTHIAN ALEKSANDROPOL BARROW." Archaeology and Early History of Ukraine 33, no. 4 (December 25, 2019): 278–84. http://dx.doi.org/10.37445/adiu.2019.04.20.

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The article proposes a scheme and algorithm for the manufacture of four bronze pole-tops from the Scythian Royal Alexandropol burial mound dated to the second half of the 4th century BC, which can serve as a basis for understanding the manufacturing process or the ancient repair of the similar Scythian replicated products. There is both a general idea of the manufacture of such bronze pole-tops by casting (according to a wax model or in detachable forms), and private judgments about the nature of castings, the correction of defects and the repair of pole-tops and their parts. But at the same time, specific details of the production process by different researchers (S. V. Polin, B. N. Mozolevsky, A. I. Melyukova, L. I. Babenko, A. R. Kantorovich, V. R. Erlikh, etc.) are assumed different, showing a very colorful picture. The process of making bronze pole-tops which were similar in composition, but different in the elaboration and decoration, most likely consisted of the following successive steps: creating a stencil of wax models of griffins in a rectangular frame; revision and decoration by hand of some individual parts on the surface of these wax figures (wings, paws, etc.), giving individuality to each object; attachment and molding of wax plugs; closure of the wax model by the clay mold, its drying and firing (?); casting in metal; destruction of clay mold; machining the surface of the casting. The pole-tops are casted from lead-tin bronze (copper is the base, tin is 9—12 %, lead is 2—3 %, traces of arsenic, iron and nickel). The pole-top (no. Dn 1853 1/6) differs by one feature. On the side edges of the nozzle are high dark triangles with clear boundaries, made by lead-tin plating. On the other objects such ornamentation (?) is not visible. Thus, the considered pole-tops were made using a single stencil and cast according to a single technical scheme.

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Choi, Bong-Jae, Si-Young Sung, Myoung-Gyun Kim, and Young-Jig Kim. "Development and Technology of Lost-Wax Investment Casting Process." Journal of Korea Foundry Society 31, no. 5 (October 31, 2011): 249–54. http://dx.doi.org/10.7777/jkfs.2011.31.5.249.

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Park, Hak Soo, and Eui Pak Yoon. "Early movable metal types produced by lost-wax casting." Metals and Materials International 15, no. 1 (February 2009): 155–58. http://dx.doi.org/10.1007/s12540-009-0155-z.

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Horne, Lee. "A study of traditional lost-wax casting in India." JOM 42, no. 10 (October 1990): 46–47. http://dx.doi.org/10.1007/bf03220414.

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Chung, Chunhui, Yann-Jiun Chen, Pin-Chaun Chen, and Chia-Yuan Chen. "Fabrication of PDMS passive micromixer by lost-wax casting." International Journal of Precision Engineering and Manufacturing 16, no. 9 (August 2015): 2033–39. http://dx.doi.org/10.1007/s12541-015-0264-1.

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Markov, A. A., and Yu N. Kornaushenkova. "Application of low-waste technology in lost-wax casting." Chemical and Petroleum Engineering 22, no. 6 (June 1986): 296–97. http://dx.doi.org/10.1007/bf01282447.

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Tachibana, Daiki, Ken Matsubara, Ryosuke Matsuda, Taichi Furukawa, Shoji Maruo, Yoshimi Tanaka, Ohmi Fuchiwaki, and Hiroki Ota. "3D Helical Micromixer Fabricated by Micro Lost‐Wax Casting." Advanced Materials Technologies 5, no. 1 (November 20, 2019): 1900794. http://dx.doi.org/10.1002/admt.201900794.

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Congdon, L. O. K. "Water-Casting Concave-Convex Wax Models for Cire Perdue Bronze Mirrors." American Journal of Archaeology 89, no. 3 (July 1985): 511. http://dx.doi.org/10.2307/504365.

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Manuel de A. Monteiro Ramos, António, and José António Simões. "CAD‐CAM‐RTV – lost‐wax casting technology for medical implants." Rapid Prototyping Journal 15, no. 3 (May 29, 2009): 211–15. http://dx.doi.org/10.1108/13552540910960316.

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Sharke, Paul. "Lost & Foundry." Mechanical Engineering 122, no. 09 (September 1, 2000): 62–67. http://dx.doi.org/10.1115/1.2000-sep-3.

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This article focuses on an ancient art form exhumed by modern engineering tools that makes hyperefficient gas turbines. IGT makers, such as GE, Siemens Westinghouse, and Alstom Power, use Howmet’s blades and vanes in the “hot sections” of their gas engines. Extreme inlet temperatures and the promise of greater efficiencies keep Howmet engineers seeking ways to implement advanced cooling designs, higher- temperature alloys, and stronger airfoils. Developing directionally solidified crystals was an important step in the improvement of turbine blade strength—one taken over 30 years ago. For directionally solidified casting, both the mold and the metal are kept at similar temperatures, around 2700 or 2800°F. Aside from the technological leaps that have been made in lost wax casting to produce ever larger, stronger, hotter, and more complex IGT components, it is still very much an elemental process.

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Czarnecka-Komorowska, Dorota, Krzysztof Grześkowiak, Paweł Popielarski, Mateusz Barczewski, Katarzyna Gawdzińska, and Mikołaj Popławski. "Polyethylene Wax Modified by Organoclay Bentonite Used in the Lost-Wax Casting Process: Processing−Structure−Property Relationships." Materials 13, no. 10 (May 14, 2020): 2255. http://dx.doi.org/10.3390/ma13102255.

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In this paper, the influence of bentonite (BNT) on rheological properties, linear shrinkage, hardness, and structure of polyethylene wax (PE-wax) used in the lost-wax casting process are studied. Experiments were conducted with PE-wax with different contents of bentonite (from 0.1 to 5 wt.%). The structural changes of modified polyethylene wax were evaluated using differential scanning calorimetry (DSC) and scanning electron microscopy (SEM). The addition of bentonite in a concentration range between 0 and 0.8 wt.% into PE-wax caused a decrease of the linear shrinkage and the hardness of PE-wax/BNT blends. Modified polyethylene wax containing greater than 1 wt.% of the filler showed an increase in viscosity. The DSC-based investigations confirmed good miscibility and a uniform structure of PE-wax with BNT. Moreover, an increase in melting temperature onset and its enthalpy observed for filler PE-wax material showed an influence of bentonite on the crystalline structure of the polymeric matrix. SEM observations of the fractured surfaces confirmed the homogeneous structure of blends with contents up to 0.8 wt.% BNT. In the case of higher filler concentrations, the presence of more numerous and large clusters of filler in the polymer matrix was observed due to the increase in the viscosity of the PE-wax/BNT melt composition during mixing. The PE-wax blend with 0.4 wt.% BNT gives better results of reduced linear shrinkage and lower hardness than unmodified material. Lastly, a new developed material (PE-wax/0.4 BNT) was subjected to technological tests, consisting of the preparation of the mold and manufacture of a high-quality aluminum cast, using the lost-wax method.

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खत्री Khatri, ओम Om. "नेपाली धातुकला विधि र परम्परा [Nepali Metalwork Method and Tradition]". SIRJANĀ – A Journal on Arts and Art Education 7, № 1 (21 вересня 2021): 84–101. http://dx.doi.org/10.3126/sirjana.v7i1.39887.

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मूर्ति रचना पद्धतिका सन्दर्भमा नेपालमा धातुकलाको निकै लामो र विशिष्ट परम्परा रहिआएको छ ।धातुकलामा ढलाइ (Casting) पद्धति र पाता अर्थात् रिपोसे (Sand casting) पद्धति प्रचलित रहेका छन् । स्यान्ड कास्टिङ (Sand casting) लाई ढलान पद्धतिमा वैकल्पिक विधिका रूपमा लिइन्छ । धातुमूर्ति रचना पद्धतिमा मैन निर्गम पद्धति (Lost wax Process) को अलगै महत्व रहेको छ । प्रस्तुत अध्ययन मैन निर्गम पद्धतिको परम्परामा केन्द्रित रहेको छ । ढलाइ पद्धति साँचामा पग्लेको धातु खन्याई मैनको ‘मानसरा’ मा मधुच्छिष्ट विधानम् भनी उल्लेख गरिएको पाइन्छ । यस पद्धतिलाई फ्रान्सेली भाषामा ‘सेर पर्डु’ (cere-perdue) र अङ्ग्रेजी भाषामा (lost wax process)भनिन्छ । ऐतिहासिकताका दृष्टिले सिन्धुघाटी सभ्यताको मोहेन्जोदारोमा प्राप्त २५०० इस्वी संवत्पूर्वको ‘नर्तकी’ नाम दिइएको धातु मूर्ति सर्वाधिक प्राचीन मानिएको छ । मैन निर्गम पद्धतिबाट गठित तथाखोक्रो दुबै खालका मूर्ति बनाउन सकिन्छ । यो पद्धति भारतका बिभिन्न आदिवासी समुदायमा पनि ‘डोकरा कास्टिङ’ नामले प्रचलित रहेको पाइन्छ । आधुनिक पद्धतिका तुलनामा यो पद्धति कम खर्चिलोभए तापनि परम्परागत पद्धतिमा केही चुनौतीहरू पनि रहेका छन् ।

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Nesterov, N. V., and B. S. Vorontsov. "Production of Bronze-Steel Bimetallic Parts by Lost Foam Casting." Chemical and Petroleum Engineering 57, no. 7-8 (November 2021): 588–94. http://dx.doi.org/10.1007/s10556-021-00980-3.

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Bandyopadhyay-Ghosh, S., Ian M. Reaney, A. Johnson, I. M. Brook, K. Hurrell-Gillingham, and P. V. Hatton. "Castability and Biocompatibility of Novel Fluorcanasite Glass-Ceramics." Key Engineering Materials 309-311 (May 2006): 293–96. http://dx.doi.org/10.4028/www.scientific.net/kem.309-311.293.

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Novel fluorcanasite based glass-ceramics were produced by controlled two stage heattreatment of as-cast glasses. Castability of parent glasses was determined using a graduated spiral cast piece. Fluorcanasite glasses were also cast to form complex shapes using the lost wax casting technique. Gypsum and phosphate bonded investments were used to investigate their effect on the casting process, cast surface crystallinity and biocompatibility. The stoichiometric composition had the greatest castability but the other two modified compositions also had good castability. X-ray diffraction showed similar bulk crystallisation for each glass irrespective of the investment material. However, some differences in surface crystallisation in the presence of different investment materials were detected. Discs cast using gypsum bonded investment showed greater in vitro biocompatibility than equivalent discs cast using phosphate bonded investment under the conditions used. Gypsum and phosphate bonded investments could both be successfully used for the lost wax casting of these novel fluorcanasite glasses.

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Zhou, Weirong, and Wei Huang. "Lost-Wax Casting in Ancient China: New Discussion on Old Debates." JOM 67, no. 7 (May 28, 2015): 1629–36. http://dx.doi.org/10.1007/s11837-015-1462-0.

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Sánchez R, Claudia Marcela, and Carlos Julio Cortés Rodríguez. "Concepts of design for manufacturing (DFM) of lost wax parts." Ingeniería e Investigación 25, no. 3 (September 1, 2005): 49–60. http://dx.doi.org/10.15446/ing.investig.v25n3.14657.

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Integrated Product Design uses several methodologies, Design for Manufacturing is one of them. DFM pretends to facilitate manufacturing of parts by means of analysis of geometries, values and tolerances, and is used in first design stages in order to decrease the product cost. The design for manufacturing was studied as well as design rules to propose a methodology for Design for Investment Casting.

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Aziz, Moh Nor Ali, Edi Santoso, Ninik Martini, and Rusnaldy Rusnaldy. "Analisis Cacat Proses Pengecoran pada Pembuatan Sekrup Penyambung Tulang dengan Menggunakan Metode Cetakan Lost Wax Casting." Jurnal Rekayasa Mesin 17, no. 3 (December 23, 2022): 463. http://dx.doi.org/10.32497/jrm.v17i3.3924.

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Kementrian Kesehatan Republik Indonesia menerbitkan data bahwa Indonesia masih tergantung produk ortopedi impor hingga mencapai 92% pada Oktober 2017. Oleh sebab itu, inovasi pada proses manufaktur diperlukan untuk mengurangi ketergantungan Indonesia impor produk ortopedi. Sekrup penyambung tulang termasuk dalam kategori produk ortopedi yang dimana produknya tidak boleh terkorosif, tidak boleh mengalami distorsi dan memiliki akurasi dimensi yang lebih tinggi daripada sekrup pada umumnya. Salah satu proses manufaktur yang berpotensi baik dalam inovasi ini adalah lost wax casting. Berdasarkan kajian litelatur proses lost wax casting mampu menghasilkan sekrup dengan keakurasian dimensi yang baik, sehingga selanjutnya perlu dianalisis cacat yang terjadi pada proses pengecorannya. Bahan utama untuk Sekrup penyambung tulang yang aman bagi tubuh manusia adalah paduan magnesium. Namun, untuk proses pengecoran bahan ini diperlukan alat khusus karena magnesium mudah teroksidasi dan terbakar jika proses penuangan dilakukan diruang terbuka. Oleh sebab itu, untuk menghindari hal ini bahan sementara yang dipertimbangkan adalah timah pewter. Pembahasan dalam penelitian ini meliputi: proses manufakturnya dan pengamatan cacat produk. Penelitian ini dimulai dari metode experimental dengan menggunakan proses investment casting. Pembuatan cetakan pattern wax menggunakan bahan dari silicon rubber dengan pecampuran katalis 2,6% dan pengencer 10%. Sedangkan pembuatan cetakan ceramic slurry adalah campuran antara air dan gypsum dengan perbandingannya 1:1,25.

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Chochorowski, Ja. "«BIRD-HEAD» OR «HORSE-HEAD» SCEPTRES — A REAL OR APPARENT DILLEMA?" Archaeology and Early History of Ukraine 36, no. 3 (April 2, 2020): 35–78. http://dx.doi.org/10.37445/adiu.2020.03.01.

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Thanks to their visual attractiveness the bronze sceptres resembling small axe-heads but enriched with zoomorphic elements rank among the most exclusive and interesting objects of ancient bronzeworking. Late Bronze Age examples of such artefacts are known from two separate regions in Europe: north-west Ciscaucasia (3 pieces) and the Carpathian Basin (7 pieces). Cultural affiliation of these few albeit highly interesting objects was first discussed by J. Werner, who in 1961 characterised Central European finds of «battle axes-batons» when presenting a specimen discovered in an Early Hallstatt grave from Předměřice on the upper Elbe River (Czech Republic). Due to the shape of the top («head»), which resembled a stylised horse head set on an arching neck, he described such objects as «horse-head» sceptres (Pferdekopfszepter). The issue was re-addressed in 1965 by V. A. Ilinskaja, who interpreted the find from Předměřice as a kind of a horseman’s pick. In her opinion, the contours of Pre-Scythian and Scythian sceptres resembled stylised eagle heads, so she introduced the descriptor «bird-headed» (птицеголовые скипетры). All the researchers addressing Central European sceptres terminating in horse heads have been unanimous in noting the absence of local traditions for this type of zoomorphic style in the Late Bronze Age bronze metallurgy of Central Europe. Looking for the original inspiration for such artefacts and for the “horse head” motif, they have commonly pointed to the Caucasus, and in particular to the milieu of the Koban (Protomeotic) culture. Addressing this issue requires above all the a stylistic analysis of both Central European and Caucasian sceptres, the analysis that would consider similarities and differences observable in the manner of rendering zoomorphic representations. In the case of two sceptres from the Carpathian Basin: found in the Sбrviz channel in eastern Transdanubia and in the Turiec Basin (i. e. in the former komitat of Tъrуc in eastern Slovakia), we are undoubtedly dealing with naturalistic representations of horse heads set on arching necks, with species characteristics clearly discernible. In the approach to stylistic analysis of zoomorphic representations formulated by A. R Kantorovich (2016), these two representations were inspired by the «natural prototype» («природный прототип»), an actual existing animal «model», whose characteristics were imitated by the artist-metallurgist to an extent determined by limitations imposed by the bronze casting technology on the one hand and the artist’s own skills on the other. They are the result of reproducing in bronze either a visual impression elicited by observation of characteristic features of a specific animal, or an image of these animals engrained in common consciousness. The realism of representation is emphasised by elements of harness (straps or perhaps reins) depicted on the necks of both figurines. This is particularly evident when we look en face at the horse head adorning the sceptre from Sбrviz. In contrast, there are absolutely no elements there that would depict in the same realistic manner the head or beak of a bird. The important element in the rendering of the horse head, one which I noted some time ago (Chochorowski 1993), is the clearly marked imitation of the short, stiff mane running along the arching neck. The diversity of forms among the remaining sceptres known from the Carpathian Basin and adjacent areas is also very telling, in particular with respect to the modelling of the horse head. Relatively similar to each other, the specimens from Prьgy and Sоnmihai de Pădure show simplification and certain reduction of species characteristics in the head itself, although the mane crowning the massive neck is still well-discernible. As in the pair of sceptres discussed above, they also have clearly marked pointed ears. In the sceptres from Batina and Předměřice, the head is almost undiscernible from the neck in outline, and the mane modelling is all but vestigial. In the artefact from Batina it is only marked as a narrow ridge running along the curved neck all the way from the shaft hole to the end of the «head», with the ears (?) marked by two small knobs, one on each side. If we follow Т. Kemenczei (2005) in including to this group a stray find from Bйkйs-Hagymбsi, we have an example which, while maintaining the overall morphological form of a sceptre with a «blunt» head, shows total disappearance of the zoomorphic motif. Apart from the mushroom-shaped butt and a similar termination of the curved «socket», the only similarity between this artefact and the naturalistically modelled examples discussed above is the fact that the «base» of the neck or mane (?) seems to be distinguished by mouldings. As a result, at the end of the process the original idea becomes represented by the very shape of a sceptre, and it expresses the same symbolism as the naturalistic artefacts. The above analysis seems to prove that the collection of bronze sceptres from the Carpathian Basin represents an autonomous phenomenon, revealing internal changeability consistent with logical principles of a «typological sequence / line». Gradual departure from the naturalistic manner in representing the «natural prototype» of a horse head was probably due to the trivialisation of the motif which, initially innovative, with time became common and lost its «communicative freshness» in social narration. The owners of sceptres maintained their status by the very fact of their ownership, without a need for manifesting the iconographic symbol of the role and social function attached to the sceptre. Thus, the bronze sceptres from the Carpathian Basin are a fully autonomous phenomenon, one which emerged at some point point at the second half or end of the 10th century as a sort of indicator of the new social-cultural order. The main characteristics of this new order included a pastoral economy with an important role (important enough to influence the European system of distribution of goods — Sherratt 1993) of selective breeding of horse breeds of steppe origins, and hierarchic social structures with distinct status markers. These characteristics are rooted in the cultural identity of Great Steppe communities, shaped by specific environmental conditions and a long — sometimes reaching as far back as the Eneolithic — accumulation of existential experience. As a result of migrations of aggressive groups of steppe shepherd-warriors looking for ecological niches advantageous to their pastoral economy, these characteristics were «implanted» into the Carpathian Basin in the second half of the 10th century. With time, the newcomers became integrated with local populations, contributing to the integration process with their own package of social-cultural behaviours. Their contribution was particularly evident in the sphere of specialised horse breeding and outstanding skills in using these animals, both for riding and traction (Chochorowski 1987). This package of achievements and cultural experience was an important innovation in the European spectrum of economic strategies and, in a short time (maximum two generations), allowed for full integration of the «steppe people», and for the adoption of a significant portion of their civilisational package in the local environment.

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Liu, Siran. "Metalworking in Bronze Age China: The Lost-Wax Process by Peng Peng." Asian Perspectives 61, no. 1 (2022): 177–79. http://dx.doi.org/10.1353/asi.2022.0009.

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Robitaille, Anne-Julie. "Metalworking in Bronze Age China: The Lost-Wax Process by Peng Peng." Technology and Culture 63, no. 3 (July 2022): 918–19. http://dx.doi.org/10.1353/tech.2022.0146.

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Kolczyk, J., Ł. Jamrozowicz, and N. Kaźnica. "Rheological Properties of Typical Ceramic Slurries Used in the Lost Wax Technology." Archives of Foundry Engineering 17, no. 1 (March 1, 2017): 197–201. http://dx.doi.org/10.1515/afe-2017-0035.

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Abstract The results of investigations of the rheological properties of typical ceramic slurries used in the investment casting technology - the lost wax technology are presented in the paper. Flow curves in the wide range of shear velocity were made. Moreover, viscosity of ceramic slurries depending on shearing stresses was specified. Tests were performed under conditions of three different temperatures 25, 30 and 35°C, which are typical and important in the viewpoint of making ceramic slurries in the investment casting technology. In the light of the performed investigations can be said that the belonging in group of Newtonian or Non - Newtonian fluid is dependent on content of solid phase (addition of aluminum oxide) in the whole composition of liquid ceramic slurries.

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Jagošová, Klára, Jan Jílek, Pavel Fojtík, Ivan Čižmář, Miroslav Popelka, Ondřej Kurka, and Lukáš Kučera. "First Evidence of “Earth Wax” Inside the Casting Molds from the Roman Era." Molecules 26, no. 14 (July 13, 2021): 4259. http://dx.doi.org/10.3390/molecules26144259.

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This research was focused on the analysis of material composition and organic residues present in three molds found in the Moravian region (Czech Republic) belonging to the Roman era. X-ray fluorescence spectroscopy pointed out the possible remelting of Roman objects in Barbarian territory. The analysis of organic residues retrieved from the internal part of mold #2 by pyrolysis-gas chromatography/mass spectrometry proved the presence of ozokerite wax (“earth wax”). Consequent analysis of this organic residue by Atmospheric Solids Analysis Probe–ion mobility spectrometry–high-resolution mass spectrometry (ASAP-IMS-HRMS) confirmed the presence of ceresin, the main component of ozokerite. Ceresin was also detected in a sample of the organic residue from mold #1. Note that this is the first application of ASAP-IMS-HRMS in archaeological research. The remains of earth wax in molds suggest the production of wax models as an intermediate stage for the production of lost-wax ceramic casting molds.

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46

Sapchenko, Igor G., Sergey G. Zhilin, and Oleg N. Komarov. "Novel Techniques of Ceramic Shell Molds Production with Lost-Wax Method." Advanced Materials Research 1040 (September 2014): 686–89. http://dx.doi.org/10.4028/www.scientific.net/amr.1040.686.

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In this paper we propose novel techniques of ceramic shell mold production with lost-wax method of cast as well as technological methods aimed at fracture strength improvement. The distinguishing characteristic of application of these molds is the possibility to use them without buckling agent resulting in decrease of prime cost in casting.

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Pellizzer1, Eduardo Piza, Caroline Cantieri de Mello, Jéssica Marcela de Luna Gomes, Joel Ferreira Santiago Júnior, Cleidiel Aparecido Araújo Lemos, and Fellippo Ramos Verri. "Vertical and Horizontal Misfit Analysis of 3-unit FDP Fabricated with Different Techniques and CAD/CAM Systems." Brazilian Dental Journal 29, no. 4 (August 2018): 342–46. http://dx.doi.org/10.1590/0103-6440201801916.

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Abstract The aim of this is was evaluate the vertical and horizontal marginal adaptation of 3-unit fixed partial denture frameworks fabricated using different techniques and CAD/CAM systems. A total of 40 framework specimens were fabricated and divided into four groups as follows: lost-wax casting (G1); lost-wax casting with welding (G2); extraoral optical scanning of models (3S/DWOS) (G3); intraoral optical scanning (Cerec Bluecam/Sirona) (G4). A reference model was used to simulate a fixed partial denture with three elements (with a central pontic). The frameworks of G1 and G2 were cast in nickel-chromium (NiCr) alloy, whereas those of G3 and G4 were milled in zirconia. In all groups, vertical and horizontal marginal adaptation (over-contour and under-contour) was evaluated using a three-dimensional optical microscope (Quick Scope, Mitutoyo). The results showed higher vertical marginal misfit in G1 than in the other groups (p<0.001). Regarding horizontal marginal misfit, higher over-contour values occurred in G3 than in the other groups (p<0.001). G3 did not show under-contour at all, whereas the other groups did not differ from each other in this regard (p>0.05). Within the limitations of this study, it can be concluded that lost-wax casting with welding is a viable alternative to the use of CAD/CAM systems to fabricate frameworks of three-unit FPDs, since the techniques yielded similar vertical misfit values. Extra-oral CAD/CAM systems showed the highest horizontal misfit (over-contour) compared to other groups.

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Lee, Wei-Hao, Yi-Fong Wu, Yung-Chin Ding, and Ta-Wui Cheng. "Fabrication of Ceramic Moulds Using Recycled Shell Powder and Sand with Geopolymer Technology in Investment Casting." Applied Sciences 10, no. 13 (July 1, 2020): 4577. http://dx.doi.org/10.3390/app10134577.

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Lost-wax casting, also called precision casting, is the process of casting a duplicate metal sculpture cast an original sculpture. The ceramic shell mould used in lost-wax casting usually consists of several layers formed with fine zircon and granular mullite particles using silica gel as a binder. However, it is a complicated and time-consuming process. Large amounts of waste moulds that need to be disposed and recycled become an environmental concern. In this study, waste shell sand from the recycled mould and calcium carbonate/metakaolin were used as raw materials to prepare geopolymer slurry and coating. The influence of mixing ratio and the SiO2/K2O modulus of the alkali solution on the setting time and green/fired strength were evaluated. Ceramic shells with one to four layers of geopolymer slurry and waste sand sprinkling were fabricated and tested for their permeability and green/fired strength. It was found that geopolymer shells had higher green/fired strength and better permeability than the original zircon/mullite shell. For foundry practice, metal casts were fabricated using recycled ceramic shell moulds with one to four layers of geopolymer coating. All cast results have their dimensions all within tolerance limitation and up to 13 h can be saved for the preparation of shell moulds.

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Aziz, Moh N. A., Rusnaldy, Patrick Munyensanga, Susilo A. Widyanto, and Paryanto. "Application of lost wax casting for manufacturing of orthopedic screw: a review." Procedia CIRP 78 (2018): 149–54. http://dx.doi.org/10.1016/j.procir.2018.08.304.

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50

Levy, Dana L. "Improving yield and enhancing environmental performance in the lost wax casting industry." Environmental Quality Management 16, no. 1 (2006): 91–96. http://dx.doi.org/10.1002/tqem.20115.

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