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Statements

Subject Item: dbr:Beeswax
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Subject Item: dbr:Bell_Memorial
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Subject Item: dbr:Bellfounding
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Subject Item: dbr:Bench_jeweler
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Subject Item: dbr:Purépecha_Empire
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Roman_withdrawal_from_Africa_(255_BC)
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Eleanor_Platt
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Subject Item: dbr:List_of_art_techniques
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Michael_Price_(sculptor)
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Meera_Mukherjee
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Metallurgy_in_pre-Columbian_Mesoamerica
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Monument_of_Gratitude_to_France
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Parlanti_Foundry
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Subject Item: dbr:The_Three_Soldiers
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Subject Item: dbr:Bassetki_Statue
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Subject Item: dbr:Battle_of_Cape_Ecnomus
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Subject Item: dbr:Battle_of_Drepana
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Subject Item: dbr:Battle_of_the_Aegates
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Subject Item: dbr:Battle_of_the_Lipari_Islands
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Subject Item: dbr:Benidorm_Fest
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Subject Item: dbr:Benin_Bronzes
rdfs:seeAlso: dbr:Lost-wax_casting
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Subject Item: dbr:Blake_Ward
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Subject Item: dbr:Bob_Winston_(jeweler)
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Subject Item: dbr:Bridge_(dentistry)
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Subject Item: dbr:Alfred_Barye
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Subject Item: dbr:Andrew_DeVries
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Subject Item: dbr:Antonio_Pujía
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Subject Item: dbr:Aquamanile
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Subject Item: dbr:Archaic_Greek_Sculpture
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Subject Item: dbr:Ardagh_Hoard
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Subject Item: dbr:History_of_jewellery_in_Ukraine
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Subject Item: dbr:History_of_metallurgy_in_the_Indian_subcontinent
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Subject Item: dbr:History_of_printing
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Subject Item: dbr:Honey_bee
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Subject Item: dbr:Human_tooth
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Subject Item: dbr:John_Silk_Deckard
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Subject Item: dbr:Joseph_Hillier
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Subject Item: dbr:Jules_Moigniez
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Subject Item: dbr:Bhutanese_art
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Subject Item: dbr:List_of_Indian_inventions_and_discoveries
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Little_Thetford_flesh-hook
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Subject Item: dbr:Paul-Edouard_Delabrierre
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Subject Item: dbr:Pennsylvania_State_Capitol
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Subject Item: dbr:Rick_Amor
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Subject Item: dbr:Victoria_and_Albert_Museum
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Subject Item: dbr:Dong_Son_culture
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Subject Item: dbr:Dong_Son_drum
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Subject Item: dbr:Indonesian_ceremonial_bronze_axes
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Subject Item: dbr:Intangible_Cultural_Property_(Japan)
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Subject Item: dbr:Joel_Walker_(sculptor)
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Subject Item: dbr:Poporo
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Subject Item: dbr:Sculpture
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Subject Item: dbr:List_of_inventions_and_discoveries_of_the_Indus_Valley_Civilisation
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Subject Item: dbr:List_of_manufacturing_processes
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Subject Item: dbr:Paul_LaFarge
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Subject Item: dbr:Pejeng_drum
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Subject Item: dbr:Tumbaga
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Subject Item: dbr:Timeline_of_Indian_innovation
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Subject Item: dbr:Timeline_of_historic_inventions
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Subject Item: dbr:Water_Art
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Subject Item: dbr:10th_century
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Subject Item: dbr:Conan_the_Barbarian_(1982_film)
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Subject Item: dbr:Ancient_Greek_sculpture
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Subject Item: dbr:Andra_Ursuța
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Subject Item: dbr:Maya_civilization
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Subject Item: dbr:McGovern_Institute_for_Brain_Research
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Subject Item: dbr:Mehrgarh
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Subject Item: dbr:Ruth_Anne_Dodge_Memorial
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Subject Item: dbr:Ruth_Horsting
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Subject Item: dbr:Elke_Rehder
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Subject Item: dbr:Gayer-Anderson_cat
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:George_Danhires
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Princess_Elizabeth_Olowu
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Ritual_wine_server_(guang),_Indianapolis
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Yoruba_art
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Sculpture_in_the_Indian_subcontinent
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Wilmer_Angier_Jennings
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Cindy_Chao
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Clark's_Tree
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Clement_Renzi
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:El_Vigilante_(sculpture)
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Engraving
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Gold_teeth
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Gorky_González_Quiñones
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Graba'
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Great_Siege_Monument
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Minoan_Bull-leaper
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Mixtec
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Modern_Art_Foundry
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Mughal_Empire
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Muisca_raft
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Nancy_Genn
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Conservation_and_restoration_of_copper-based_objects
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Copper
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Copying
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Thea_Tewi
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Dancing_Girl_(sculpture)
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Equestrian_statue_of_Bartolomeo_Colleoni
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Laila_Havilio
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:André_Dekeijser
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Armillary_sphere
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Berlin_Foundry_Cup
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Bernard_Reder
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Lee_H._Letts
dbo:wikiPageWikiLink: dbr:Lost-wax_casting

Subject Item: dbr:Lost-wax_casting
rdf:type: dbo:Election yago:Know-how105616786 owl:Thing yago:WikicatSculptureTechniques yago:Abstraction100002137 yago:Ability105616246 yago:Technique105665146 yago:Cognition100023271 yago:PsychologicalFeature100023100 yago:Method105660268
rdfs:label: Cire perdue سبك بالشمع الضائع Metoda ztraceného vosku Vaksoperda gisado 失蜡法 Moldeo a la cera perdida ロストワックス Cera perdida Wachsausschmelzverfahren Cera perduda Τεχνική του χαμένου κεριού Metoda wosku traconego Verlorenwasmethode Точне лиття Teilgean na céarach caillte Lost-wax casting Argizari galduzko galdaketa Литьё по выплавляемым моделям Cera persa Cire perdue Cire perdue
rdfs:comment: Cera perdida ou microfundição é um método de escultura de peças metálicas por moldagem. Consiste em fazer um modelo em cera que é revestido com refratário para formar um molde e então aquecido até a cera derreter e sair do molde. Na sequência, se derrama o metal líquido no molde vazio. O exemplar mais conhecido de peça produzida por esse método é um amuleto do Calcolítico de 6 000 anos encontrado em Mergar, no Paquistão. Точне лиття — це лиття, під час якого одержують дрібні (вагою менше за 10кг) деталі із сталі чи твердих металів, які важко обробляти, та сплавів, які мають високу температуру плавлення (близько 1600°С). Metoda ztraceného vosku (nebo ztracené formy) je metoda odlévání. Jmenuje se tak, protože se po odlití forma zničí. Opak je odlévání do pevné formy. Cire perdue atau lost-wax adalah teknik yang dipakai untuk membuat seni pahat dari logam (perak, emas, atau perunggu) dengan cara mengecor model yang terbuat dari lilin. Model ini kemudian akan "hilang" akibat panas selama proses pengecoran Berdasarkan temuan-temuan yang ada saat ini, benda pertama yang dibuat dengan menggunakan teknik ini adalah sebuah jimat yang berusia sekitar 6.000 tahun dari peradaban lembah Indus. El moldeo a la cera perdida, fundición a la cera perdida o vaciado a la cera perdida es un procedimiento escultórico que permite obtener figuras de metal (generalmente bronce y oro) por medio de un molde que se elabora a partir de un prototipo tradicionalmente modelado en cera de abeja, escayola u otro material. Esta tecnología fue desarrollada en la Antigüedad de manera independiente y paralela por los sumerios, indios, chinos, mesoamericanos e incas, la cual fue adoptada por civilizaciones contemporáneas o posteriores. La cire perdue est un procédé de moulage de précision, pour obtenir une sculpture en métal (tel que argent, or, bronze, cuivre, aluminium) à partir d'un modèle en cire. Ce modèle en cire sera ensuite éliminé par chauffage pendant l'opération. Il faut donc l'envelopper dans une matière réfractaire et permettre au métal ou au verre de prendre la place de la cire, par des entonnoirs et des conduits, après qu'elle s'est écoulée par d'autres conduits. Il est nécessaire, en conséquence de placer sur la sculpture en cire des éléments coniques qui serviront d'entonnoirs et appelés « jets », et des filaments qui serviront de conduits aux matières et à l'air, et appelés « évents ». Cônes et filaments sont donc réalisés en cire, comme la sculpture. L'ensemble est alors revêtu d'un moule fait de cimen 脫蠟鑄造，又稱脫蠟法（英語：Lost-wax casting），是鑄造的一種方法，一般用於鑄造立體結構相當複雜和常見的模具（模具组合法）所不能勝任的製品。古代已使用這種方法鑄造青铜器和，現代的精密鑄造中稱為熔模精密鑄造。 De verlorenwasmethode is een techniek om metalen en glazen voorwerpen te gieten. Ze is ook bekend onder de Franse benaming cire perdue. السَّبْكُ بالشمع الضائع أو السبك بالشمع المفقود هي عملية لسبك المعدن (فضة، أو ذهب، أو نحاس أصفر، أو برونز) لصناعة منحوتة مطابقة لمنحوتة أصلية لفنان ما. تُصنّع الأشكال المعقدة بهذة الطريقة. في المجال الصناعي تسمى العملية . الطريقة قديمة جدًا وتختلف اليوم بين معمل وآخر ولكن الخطوات الأساسية تبقى نفسها. يمكن العثور على دلائل استخدام هذه الطريقة في الهند منذ حوالي 5000 سنة. Литьё по выплавляемым моделям — один из способов литья, известный с глубокой древности. Он применяется для изготовления деталей высокой точности и сложной конфигурации, невыполнимых другими методами литья (например, лопатки турбин и т. п.) После сушки и вытопки блок прокаливают при температуре примерно 1000 °С для удаления из оболочковой формы веществ способных к газообразованию. В силу большого расхода металла и дороговизны процесса, этот способ применяют только для ответственных деталей. Процесс литья по выплавляемым моделям базируется на следующем основном принципе: * * * Metoda wosku traconego (również cire perdue, na wosk tracony), obecnie też zwana metodą wytapianych modeli – znana od czasów starożytnych metoda odlewnicza stosowana ok. 3000 lat p.n.e. w starożytnym Egipcie. Technika ta została udoskonalona ok. 570 p.n.e. na greckiej wyspie Samos. Odlewy metodą traconego wosku wytwarzane są do dzisiaj, szczególnie w jubilerstwie. Vaksoperda gisado estas procezo uzata en la gisado de metalo aŭ vitro. La modelo estas unue skulptita en vakso kaj de tiu oni kreas la muldilon. En la procezo kaj la modelo kaj la muldilo estas detruitaj, kaj tial oni fojfoje nomas tiun procezon “perdita muldilo”. ロストワックス鋳造（ロストワックスちゅうぞう、英語：lost-wax casting）とは、ロウ（ワックス）を利用した鋳造方法の一種である。ロウで原型を作り、周りを鋳物砂や石膏で覆い固め、加熱により中のロウを溶かし出して除去することによってできた空洞に溶かした金属を流し込むと原型と同じ形をした鋳物が出来上がる。抜き勾配やアンダーカットを考慮する必要がない等の特徴を有する。また、あらかじめ収縮率を考慮して原型を作れば、複雑な形状のものを一体化して鋳造することができるため、加工の工程を減らすことができる利点がある。原型がロウ以外の材質で作られている場合はシリコーンゴムなどで型取りしてロウに置き換える必要があるが、この方法でロウ原型を多数作る事で量産が可能である。 Das Wachsausschmelzverfahren ist ein Formverfahren für den Metall- und Glasguss. Es werden oft einteilige Formen hergestellt. Die Modelle werden meist aus Wachs hergestellt. Im Verlauf des Verfahrens wird sowohl das Modell als auch die Form zerstört. Daher wird es auch als Verfahren mit verlorenem Modell bezeichnet, gelegentlich auch als Verfahren mit verlorener Form. Da aber noch andere, gänzlich verschiedene Formverfahren mit verlorener Form existieren, sollte letztere Bezeichnung vermieden werden. La fusione a cera persa è una tecnica scultorea diffusa già nel III millennio a.C., che nei secoli ha conosciuto una notevole fioritura, soprattutto nella scultura greca e romana. Gli orefici precolombiani, la cui tecnica raggiunse il massimo sviluppo della manifattura dell'oro nella regione «che oggi corrisponde alla Colombia e alla repubblica di Panama», sapevano « trafilare, laminare, dorare il rame, lavorare a sbalzo, fondere le forme, anche con la tecnica della cera perduta, (...)». La manifattura precolombiana dell'oro è stata fatta risalire all'incirca al secondo secolo della nostra era da Max Uhle, tenendo presente comunque che questa datazione rimane a titolo di indicazione. La cera perduda és una tècnica de modelatge de figures i peces en principi de vidre o de metall que es fa servir a la indústria per a peces de precisió o de vegades també per artesans, per exemple joiers o escultors. Aquesta tècnica, d'origen antic, permet reproduir detalls petits i subtils però no sempre funciona bé amb certs volums. A més és arriscada, ja que es pot trencar la figura i el motlle, i una de les tècniques metal·lúrgiques més cares, ja que no només cal fer motllos -que sempre resulta el més car- sinó que aquests són usualment d'un sol ús. Argizari galduzko galdaketa (frantsesetik hartutako cire perdue) eskultura original batetik metalezko eskultura (askotan zilarra, urrea, letoia edo brontzea) lortzeko prozesua da. Teknika horren adibiderik zaharrena, orain dela 6000 urteko Indus Haraneko Kulturaren amuletoa da. Garai berantiarragoen beste adibide batzuk hauek dira: Mesopotamia K.a. hirugarren milurtekoan eta Palestinako hegoaldean Kalkolito garaikoak (K.a. 4500 – 3500) aurkitutako objektuak. Argizari galduzkoa teknika oso zabaldua izan zen Europan. Era berdintsuan egiten zen XVIII. mendera arte, orduan pieza-moldearen teknika nagusitzen hasi zenean. Teicníocht an-ársa é teilgean na céarach caillte a úsáidtear chun figiúir nó struchtúir chasta mhiotalacha a theilgean. Déantar an cruth atá le teilgean as céir, agus imchlúdaítear é sin le hábhar teasdíonach, cosúil le gaineamh, taobh istigh de bhosca. Déantar cainéal isteach sa mhúnla seo don chruth céiriúil chomh maith le cainéil chaola eile chun gás a ligean amach as. Ansin téitear an múnla, rud a ghalaíonn an chéir chun cuas den chruth cuí a fhágáil sa mhúnla. Teilgtear an cóimhiotal leáite isteach sa mhúnla folamh seo go bhfeictear cuid de ag teacht amach trí na cainéil sceite. Tar éis an múnla uile a fhuarú, bristear amach an obair, gearrtar na píosaí breise ionchuir is sceite, agus críochnaítear an struchtúr. Η τεχνική του χαμένου κεριού (cire perdue) είναι μία μέθοδος χύτευσης σε καλούπι, κατά την οποία η επιθυμητή μορφή σκαλίζεται σε κηρόμαζα, καλύπτεται με πηλό και ψήνεται σε φούρνο. Το κερί διαφεύγει από ειδικά διαμορφωμένες οπές και τη θέση του παίρνει λιωμένο μέταλλο, συνήθως ορείχαλκος. Μετά την ψύξη του μετάλου ο πηλός θραύεται και αποκαλύπτει το χυμένο μέταλλο, κάτι που σημαίνει ότι το συγκεκριμένο καλούπι στη συγκεκριμένη συμπαγή χύτευση μπορεί να χρησιμοποιηθεί μόνο μία φορά. Η συγκεκριμένη τεχνική είναι γνωστή από την αρχαιότητα και αναπτύχθηκε κατά την 2η χιλιετία ΠΚΕ στην Άπω Ανατολή από τους τεχνίτες του ορείχαλκου της δυναστείας Σανγκ στην Κίνα. Η τεχνική εξαπλώθηκε στην Εγγύς Ανατολή και αναφέρεται τόσο στην αρχαιοελληνική όσο και τη ρωμαϊκή αγαλματοποιία και μικροτεχνία και ήτ Lost-wax casting (also called "investment casting", "precision casting", or cire perdue which has been adopted into English from the French, pronounced [siʁ pɛʁdy]) is the process by which a duplicate metal sculpture (often silver, gold, brass, or bronze) is cast from an original sculpture. Intricate works can be achieved by this method. Cire perdue, franska "förlorat vax", är en gjutteknik där en vaxmodell går förlorad vid gjutning av ett föremål i metall. Den har använts sedan bronsåldern. En vaxmodell av det önskade föremålet gjuts in i lera eller gips. När formen stelnat hettas den upp så att vaxet smälter och rinner ut, leran hårdnar till keramik eller gipsen härdar (kristallvattnet avgår). Vaxet lämnar efter sig en hålighet som förses med en mynnigstratt. Därefter hälls metallsmältan i formens hålighet. När metallen svalnat slår man sönder gjutformen, som alltså inte går att återanvända. Inom arkeologin betraktas fynd av sådana gjutformsfragment som en viktig fingervisning om var metallhantverk ägt rum.
foaf:homepage: n59:chhattisgarh.blogspot.com
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dbo:abstract: Lost-wax casting (also called "investment casting", "precision casting", or cire perdue which has been adopted into English from the French, pronounced [siʁ pɛʁdy]) is the process by which a duplicate metal sculpture (often silver, gold, brass, or bronze) is cast from an original sculpture. Intricate works can be achieved by this method. The oldest known examples of this technique are approximately 6,500-year-old (4550–4450 BC) and attributed to gold artefacts found at Bulgaria's Varna Necropolis. A copper amulet from Mehrgarh, Indus Valley civilization, in Pakistan, is dated to circa 4,000 BC. Cast copper objects, found in the Nahal Mishmar hoard in southern Israel, which belong to the Chalcolithic period (4500–3500 BC), are estimated, from carbon-14 dating, to date to circa 3500 BC. Other examples from somewhat later periods are from Mesopotamia in the third millennium BC. Lost-wax casting was widespread in Europe until the 18th century, when a piece-moulding process came to predominate. The steps used in casting small bronze sculptures are fairly standardized, though the process today varies from foundry to foundry. (In modern industrial use, the process is called investment casting.) Variations of the process include: "lost mould", which recognizes that materials other than wax can be used (such as tallow, resin, tar, and textile); and "waste wax process" (or "waste mould casting"), because the mould is destroyed to remove the cast item. Cire perdue atau lost-wax adalah teknik yang dipakai untuk membuat seni pahat dari logam (perak, emas, atau perunggu) dengan cara mengecor model yang terbuat dari lilin. Model ini kemudian akan "hilang" akibat panas selama proses pengecoran Berdasarkan temuan-temuan yang ada saat ini, benda pertama yang dibuat dengan menggunakan teknik ini adalah sebuah jimat yang berusia sekitar 6.000 tahun dari peradaban lembah Indus. Η τεχνική του χαμένου κεριού (cire perdue) είναι μία μέθοδος χύτευσης σε καλούπι, κατά την οποία η επιθυμητή μορφή σκαλίζεται σε κηρόμαζα, καλύπτεται με πηλό και ψήνεται σε φούρνο. Το κερί διαφεύγει από ειδικά διαμορφωμένες οπές και τη θέση του παίρνει λιωμένο μέταλλο, συνήθως ορείχαλκος. Μετά την ψύξη του μετάλου ο πηλός θραύεται και αποκαλύπτει το χυμένο μέταλλο, κάτι που σημαίνει ότι το συγκεκριμένο καλούπι στη συγκεκριμένη συμπαγή χύτευση μπορεί να χρησιμοποιηθεί μόνο μία φορά. Η συγκεκριμένη τεχνική είναι γνωστή από την αρχαιότητα και αναπτύχθηκε κατά την 2η χιλιετία ΠΚΕ στην Άπω Ανατολή από τους τεχνίτες του ορείχαλκου της δυναστείας Σανγκ στην Κίνα. Η τεχνική εξαπλώθηκε στην Εγγύς Ανατολή και αναφέρεται τόσο στην αρχαιοελληνική όσο και τη ρωμαϊκή αγαλματοποιία και μικροτεχνία και ήταν επίσης γνωστή στην Κεντρική και Βόρεια Αμερική, αλλά για τον χρυσό. Точне лиття — це лиття, під час якого одержують дрібні (вагою менше за 10кг) деталі із сталі чи твердих металів, які важко обробляти, та сплавів, які мають високу температуру плавлення (близько 1600°С). Metoda wosku traconego (również cire perdue, na wosk tracony), obecnie też zwana metodą wytapianych modeli – znana od czasów starożytnych metoda odlewnicza stosowana ok. 3000 lat p.n.e. w starożytnym Egipcie. Technika ta została udoskonalona ok. 570 p.n.e. na greckiej wyspie Samos. Odlewy metodą traconego wosku wytwarzane są do dzisiaj, szczególnie w jubilerstwie. Polega na wykonaniu woskowego prototypu zamierzonego przedmiotu. Dla odlania przedmiotu o przekroju okrągłym, np. korona, wosk osadzony jest na glinianym rdzeniu. Następnie na rzeźbiony wosk w zaplanowane elementy nakładano warstwę gliny wypełniając wszystkie szczegóły wzoru. Na górze i dole pozostawiano otwory. Po wysuszeniu gliny całość umieszczano w piasku, w którym ją wypalano. W czasie wypalania wosk się spalał, albo wyciekał przez pozostawione otwory na górze i dole. Obecnie prototyp okleja się specjalnie spreparowanym gipsem lub masą ogniotrwałą, a następnie usuwa się wosk (np. gorącą wodą). Odzyskany wosk może zostać użyty kolejny raz. Do pustej formy wlewa się płynny metal. Po rozbiciu formy przedmiot zazwyczaj poddaje się szlifowaniu. 脫蠟鑄造，又稱脫蠟法（英語：Lost-wax casting），是鑄造的一種方法，一般用於鑄造立體結構相當複雜和常見的模具（模具组合法）所不能勝任的製品。古代已使用這種方法鑄造青铜器和，現代的精密鑄造中稱為熔模精密鑄造。 السَّبْكُ بالشمع الضائع أو السبك بالشمع المفقود هي عملية لسبك المعدن (فضة، أو ذهب، أو نحاس أصفر، أو برونز) لصناعة منحوتة مطابقة لمنحوتة أصلية لفنان ما. تُصنّع الأشكال المعقدة بهذة الطريقة. في المجال الصناعي تسمى العملية . الطريقة قديمة جدًا وتختلف اليوم بين معمل وآخر ولكن الخطوات الأساسية تبقى نفسها. يمكن العثور على دلائل استخدام هذه الطريقة في الهند منذ حوالي 5000 سنة. تعد عملية السبك بالشمع الضائع مثل عملية سبك في القوالب الرملية ولكن بدلًا من وضع نموذج خشبي أو بلاستيكي يوضع هنا النموذج من الشمع وعند عملية الصب ينصهر الشمع ويدخل في المسافات البينية للمسبوك، هذه العملية تتم عن طريق عدة خطوات أولها عمل نموذج من الشمع، ثم تكوين شجرة على 40 أو 100 أو 150 نموذج وتغمر الشجرة في مادة سيراميكية لتكوين قشرة عليها، ثم تغطى الشجرة بعجينة حرارية، وتدخل الفرن وترفع درجة الحرارة إلى 150 أو 200 درجة حتى ينصهر الشمع وترفع درجة الحرارة الكلية إلى 900 درجة لتحسين الخواص الميكانيكية للقشرة، ثم تقلب الشجرة ويصب المعدن المنصهر، وأخيرًا تكسير القشرة وتهذيب المنتجات. La fusione a cera persa è una tecnica scultorea diffusa già nel III millennio a.C., che nei secoli ha conosciuto una notevole fioritura, soprattutto nella scultura greca e romana. Gli orefici precolombiani, la cui tecnica raggiunse il massimo sviluppo della manifattura dell'oro nella regione «che oggi corrisponde alla Colombia e alla repubblica di Panama», sapevano « trafilare, laminare, dorare il rame, lavorare a sbalzo, fondere le forme, anche con la tecnica della cera perduta, (...)». La manifattura precolombiana dell'oro è stata fatta risalire all'incirca al secondo secolo della nostra era da Max Uhle, tenendo presente comunque che questa datazione rimane a titolo di indicazione. Esistono due modi di servirsi di questa tecnica: * Modo indiretto - Consiste nel creare un modello di cera e utilizzarlo per farne uno stampo di argilla. Praticando due fori sullo stampo, uno in alto e uno in basso si fa uscire la cera scaldandola e si versa del bronzo fuso al suo posto. Se ne ricava un modello identico a quello di cera. * Modo diretto - Assomiglia al primo metodo, ma il modello di cera è realizzato su di un altro in creta in modo che la statua finale sia vuota all'interno (o meglio, contenga solamente argilla per limitare il peso e la quantità di metallo usata). Metoda ztraceného vosku (nebo ztracené formy) je metoda odlévání. Jmenuje se tak, protože se po odlití forma zničí. Opak je odlévání do pevné formy. Vaksoperda gisado estas procezo uzata en la gisado de metalo aŭ vitro. La modelo estas unue skulptita en vakso kaj de tiu oni kreas la muldilon. En la procezo kaj la modelo kaj la muldilo estas detruitaj, kaj tial oni fojfoje nomas tiun procezon “perdita muldilo”. De verlorenwasmethode is een techniek om metalen en glazen voorwerpen te gieten. Ze is ook bekend onder de Franse benaming cire perdue. Cera perdida ou microfundição é um método de escultura de peças metálicas por moldagem. Consiste em fazer um modelo em cera que é revestido com refratário para formar um molde e então aquecido até a cera derreter e sair do molde. Na sequência, se derrama o metal líquido no molde vazio. O exemplar mais conhecido de peça produzida por esse método é um amuleto do Calcolítico de 6 000 anos encontrado em Mergar, no Paquistão. Embora o processo hoje possa variar, as etapas utilizadas para criar esculturas pequenas em bronze é sobretudo estandardizada (no uso industrial atual, adquiriu o nome de fundição por investimento). Variações do processo incluem: molde perdido, que utiliza outros materiais além da cera (resina, tecido, sebo, alcatrão); e processo de perda de cera (ou fundição por perda de molde), pois o molde é destruído para remover o item moldado. La cire perdue est un procédé de moulage de précision, pour obtenir une sculpture en métal (tel que argent, or, bronze, cuivre, aluminium) à partir d'un modèle en cire. Ce modèle en cire sera ensuite éliminé par chauffage pendant l'opération. Il faut donc l'envelopper dans une matière réfractaire et permettre au métal ou au verre de prendre la place de la cire, par des entonnoirs et des conduits, après qu'elle s'est écoulée par d'autres conduits. Il est nécessaire, en conséquence de placer sur la sculpture en cire des éléments coniques qui serviront d'entonnoirs et appelés « jets », et des filaments qui serviront de conduits aux matières et à l'air, et appelés « évents ». Cônes et filaments sont donc réalisés en cire, comme la sculpture. L'ensemble est alors revêtu d'un moule fait de ciment réfractaire, en veillant à laisser émerger la base des cônes. Après solidification du revêtement, la cire sera évacuée par la chaleur, laissant un creux qui sera rempli via les jets. Les évents permettent à la fois l'évacuation de l'air et une bonne répartition de la matière dans les détails du moule. Ce moule doit ensuite être détruit par voie mécanique ou chimique pour récupérer l'exemplaire réalisé. Celui-ci devra alors être débarrassé des traces des jets et des évents. Cette technique est utilisée pour la réalisation de pièces uniques en verre ou en métal. Il est cependant possible de réaliser plusieurs cires à partir de la en utilisant un moule souple, autrefois en gélatine, et aujourd'hui en silicone. Cette technique est également utilisée dans l'industrie pour l'obtention de pièces de grande précision. Il ne faut pas confondre la technique du « moulage à la cire perdue » avec la technique de sculpture du modelage à la cire. ロストワックス鋳造（ロストワックスちゅうぞう、英語：lost-wax casting）とは、ロウ（ワックス）を利用した鋳造方法の一種である。ロウで原型を作り、周りを鋳物砂や石膏で覆い固め、加熱により中のロウを溶かし出して除去することによってできた空洞に溶かした金属を流し込むと原型と同じ形をした鋳物が出来上がる。抜き勾配やアンダーカットを考慮する必要がない等の特徴を有する。また、あらかじめ収縮率を考慮して原型を作れば、複雑な形状のものを一体化して鋳造することができるため、加工の工程を減らすことができる利点がある。原型がロウ以外の材質で作られている場合はシリコーンゴムなどで型取りしてロウに置き換える必要があるが、この方法でロウ原型を多数作る事で量産が可能である。 Cire perdue, franska "förlorat vax", är en gjutteknik där en vaxmodell går förlorad vid gjutning av ett föremål i metall. Den har använts sedan bronsåldern. En vaxmodell av det önskade föremålet gjuts in i lera eller gips. När formen stelnat hettas den upp så att vaxet smälter och rinner ut, leran hårdnar till keramik eller gipsen härdar (kristallvattnet avgår). Vaxet lämnar efter sig en hålighet som förses med en mynnigstratt. Därefter hälls metallsmältan i formens hålighet. När metallen svalnat slår man sönder gjutformen, som alltså inte går att återanvända. Inom arkeologin betraktas fynd av sådana gjutformsfragment som en viktig fingervisning om var metallhantverk ägt rum. Gipsformar av detta slag används endast för gjutning av metallegeringar med relativt låg smälttemperatur, exempelvis guld[källa behövs], brons och aluminium. Under 1930-talet utvecklades en industriell metod för precisionsgjutning av stål samt varmhållfasta legeringar med kobolt eller nickel som bas. Denna metod innebär att vaxmodellen påförs en keramisk beläggning som sintras till porslin sedan vaxet smälts ur. Gjutformen hålls vid en temperatur 900–1.000 grader då smältan hälls i formen.[källa behövs] Argizari galduzko galdaketa (frantsesetik hartutako cire perdue) eskultura original batetik metalezko eskultura (askotan zilarra, urrea, letoia edo brontzea) lortzeko prozesua da. Teknika horren adibiderik zaharrena, orain dela 6000 urteko Indus Haraneko Kulturaren amuletoa da. Garai berantiarragoen beste adibide batzuk hauek dira: Mesopotamia K.a. hirugarren milurtekoan eta Palestinako hegoaldean Kalkolito garaikoak (K.a. 4500 – 3500) aurkitutako objektuak. Argizari galduzkoa teknika oso zabaldua izan zen Europan. Era berdintsuan egiten zen XVIII. mendera arte, orduan pieza-moldearen teknika nagusitzen hasi zenean. Brontzezko eskultura txikiak galdaketan erabiltzen diren urratsak nahiko estandarizatuak daude, nahiz eta gaur egun prozesua ezberdina den galdategi batetik bestera. (Erabilera industrial modernoan, prozesuari inbertsio galdaketa deitzen zaio). Das Wachsausschmelzverfahren ist ein Formverfahren für den Metall- und Glasguss. Es werden oft einteilige Formen hergestellt. Die Modelle werden meist aus Wachs hergestellt. Im Verlauf des Verfahrens wird sowohl das Modell als auch die Form zerstört. Daher wird es auch als Verfahren mit verlorenem Modell bezeichnet, gelegentlich auch als Verfahren mit verlorener Form. Da aber noch andere, gänzlich verschiedene Formverfahren mit verlorener Form existieren, sollte letztere Bezeichnung vermieden werden. Eine andere Bezeichnung für das Verfahren ist der französische Begriff cire perdue („verlorenes Wachs“). Литьё по выплавляемым моделям — один из способов литья, известный с глубокой древности. Он применяется для изготовления деталей высокой точности и сложной конфигурации, невыполнимых другими методами литья (например, лопатки турбин и т. п.) Из легкоплавкого материала: парафин, стеарин и др., (в простейшем случае — из воска), путём его запрессовки в пресс-форму, изготавливается точная модель изделия и литниковая система. Наиболее широкое применение нашёл модельный состав П50С50, состоящий из 50 % стеарина и 50 % парафина. Для крупногабаритных изделий применяются солевые составы, менее склонные к короблению. Затем модель окунается в жидкую суспензию пылевидного огнеупорного наполнителя в связующем. В качестве связующего применяют гидролизованный этилсиликат марок ЭТС 32 и ЭТС 40, гидролиз ведут в растворе кислоты, воды и органического растворителя (спирт, ацетон). В настоящее время в ЛВМ нашли применения кремнезоли, не нуждающиеся в гидролизе в цеховых условиях и являющиеся экологически безопасными. В качестве огнеупорного наполнителя применяют: электрокорунд, дистенсилиманит, кварц, шамот и т. д. На модельный блок (модель и ЛПС) наносят суспензию и производят обсыпку, так наносят от 6 до 10 слоёв. С каждым последующим слоем фракция зерна обсыпки меняются для формирования плотной поверхности оболочковой формы.Сушка каждого слоя занимает не менее получаса, для ускорения процесса используют специальные сушильные шкафы, в которые закачивается аммиачный газ. Из сформировавшейся оболочки выплавляют модельный состав: в воде, в модельном составе, выжиганием, паром высокого давления. После сушки и вытопки блок прокаливают при температуре примерно 1000 °С для удаления из оболочковой формы веществ способных к газообразованию. После чего оболочки поступают на заливку. Перед заливкой блоки нагревают в печах до 1000 °С. Нагретый блок устанавливают в печь и разогретый металл заливают в оболочку. Залитый блок охлаждают в термостате или на воздухе. Когда блок полностью охладится его отправляют на выбивку. Ударами молота по литниковой чаше производится отбивка керамики, далее отрезка ЛПС. Таким образом получаем отливку. Преимущества этого способа: возможность изготовления деталей из сплавов, не поддающихся механической обработке; получение отливок с точностью размеров до 11 — 13 квалитета и шероховатостью поверхности Ra 2,5—1,25 мкм, что в ряде случаев устраняет обработку резанием; возможность получения узлов машин, которые при обычных способах литья пришлось бы собирать из отдельных деталей. Литье по выплавляемым моделям используют в условиях единичного (опытного), серийного и массового производства. В силу большого расхода металла и дороговизны процесса, этот способ применяют только для ответственных деталей. Процесс литья по выплавляемым моделям базируется на следующем основном принципе: * Копия или модель конечного изделия изготавливаются из легкоплавкого материала. * Эта модель окружается керамической массой, которая затвердевает и образует форму. * При последующем нагревании (прокалке) формы модель отливки расплавляется и удаляется. * Затем в оставшуюся на месте удалённого воска полость заливается металл, который точно воспроизводит исходную модель отливки. * Восковая фигурка, сделанная в силиконовой форме * Одноразовая керамическая форма для заливки металла, сделанная вокруг восковой модели и восковых деталей литниковой системы (в разрезе) * Металлическая отливка с литниковой системой * Готовая металлическая фигурка Репях С. И. Технологические основы литья по выплавляемым моделям //Днепропетровск: Лира. – 2006. – Т. 1056. El moldeo a la cera perdida, fundición a la cera perdida o vaciado a la cera perdida es un procedimiento escultórico que permite obtener figuras de metal (generalmente bronce y oro) por medio de un molde que se elabora a partir de un prototipo tradicionalmente modelado en cera de abeja, escayola u otro material. Esta tecnología fue desarrollada en la Antigüedad de manera independiente y paralela por los sumerios, indios, chinos, mesoamericanos e incas, la cual fue adoptada por civilizaciones contemporáneas o posteriores. Para la fabricación de objetos con la técnica de moldeo a la cera perdida, se utiliza un modelo en cera. Este modelo previo es rodeado de una gruesa capa de material refractario que se solidifica; una vez endurecido, se mete en un horno, que derrite la figura de cera, saliendo esta por unos orificios creados al efecto (de ahí su denominación) y, en su lugar, posteriormente, se inyecta el metal fundido, que adopta la forma exacta del modelo. Para extraer la figura es necesario retirar el molde. La principal ventaja de este procedimiento es la estrecha tolerancia dimensional, que no puede conseguirse mediante otros procesos. Es posible conseguir dimensiones ajustadas de 0,002 mm por mm. Es un proceso en el que tenemos que controlar numerosas variables, pero obtenemos un acabado superficial excelente. Es un proceso caro, por lo que se utiliza para la fabricación de preseries, prototipos y reproducciones artísticas, pudiendo ser utilizado en volúmenes de producción bajos. Esta forma de trabajar el metal (bronce), requiere un largo, costoso y complicado proceso junto con una perfecta y adecuada combinación de diversos oficios: para el proyecto general y la coordinación, los escultores; para los primeros pasos, los ; para la labor de horneado, los y para el acabado, los cinceladores y patinadores. Teicníocht an-ársa é teilgean na céarach caillte a úsáidtear chun figiúir nó struchtúir chasta mhiotalacha a theilgean. Déantar an cruth atá le teilgean as céir, agus imchlúdaítear é sin le hábhar teasdíonach, cosúil le gaineamh, taobh istigh de bhosca. Déantar cainéal isteach sa mhúnla seo don chruth céiriúil chomh maith le cainéil chaola eile chun gás a ligean amach as. Ansin téitear an múnla, rud a ghalaíonn an chéir chun cuas den chruth cuí a fhágáil sa mhúnla. Teilgtear an cóimhiotal leáite isteach sa mhúnla folamh seo go bhfeictear cuid de ag teacht amach trí na cainéil sceite. Tar éis an múnla uile a fhuarú, bristear amach an obair, gearrtar na píosaí breise ionchuir is sceite, agus críochnaítear an struchtúr. La cera perduda és una tècnica de modelatge de figures i peces en principi de vidre o de metall que es fa servir a la indústria per a peces de precisió o de vegades també per artesans, per exemple joiers o escultors. Aquesta tècnica, d'origen antic, permet reproduir detalls petits i subtils però no sempre funciona bé amb certs volums. A més és arriscada, ja que es pot trencar la figura i el motlle, i una de les tècniques metal·lúrgiques més cares, ja que no només cal fer motllos -que sempre resulta el més car- sinó que aquests són usualment d'un sol ús.
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