本科畢業(yè)論文-中小企業(yè)信貸籌資困境及對策研究

1、湖南交通工程學(xué)院畢業(yè)論文（設(shè)計） 題 目 塑件造型及注射模具 作者姓名 學(xué) 號 專 業(yè) 沖壓工藝與模具設(shè)計 指導(dǎo)教師 2 0 1 5年 5 月目錄摘要1. 塑件的工藝分析.()1.1塑件的材料分析.()1.2塑件的形狀尺寸精度分析.()2. 模具結(jié)構(gòu)形式 2.1分型面的確定.() 2.2型腔數(shù)目的確定分布.() 2.3澆注系統(tǒng)的設(shè)計.()3. 注塑機的選擇.()4. 成型零件的設(shè)計 4.1結(jié)構(gòu)設(shè)計.() 4.2工作尺寸計算.() 4.2.1影響塑件尺寸精度的主要因素.() 4.2.2型腔和型芯工作尺寸計算.() 4.2.3計算螺紋型芯的工作尺寸.() 4.3.4成型零件的強度、剛度計算.()5

2、.脫模推出機構(gòu)的設(shè)計 5.1推出機構(gòu)的組成.() 5.2設(shè)計原則.() 5.3脫模力的計算.() 5.4復(fù)位零件和排氣系統(tǒng).() 6.導(dǎo)柱導(dǎo)向結(jié)構(gòu)的設(shè)計 6.1導(dǎo)柱導(dǎo)向機構(gòu)的作用.() 6.2導(dǎo)柱導(dǎo)套的選擇.()7.溫度系統(tǒng)的設(shè)計 7.1注射系統(tǒng)的結(jié)構(gòu)設(shè)計.() 7.2冷卻系統(tǒng)的結(jié)構(gòu)設(shè)計.() 8.模架的確定和標準件的選用 8.1模架的選擇（定模型腔板、型芯固定板、墊板尺寸）.() 8.2校核注射機（拉桿間距、開模行程）.() 8.3選用標準件（螺釘、推桿等）.() 9.模具工程圖的繪制9.1繪制模具裝配圖.()9.2繪制模具零件圖.()結(jié)論.()致謝.()參考文獻.()摘要本次課程設(shè)計課題來

3、源于生產(chǎn)實際，應(yīng)用廣泛，但成型難度相對較難，模具結(jié)構(gòu)相對復(fù)雜，對我們初學(xué)模具設(shè)計的學(xué)生是一個很好的考驗。它能加強對塑料模具成型原理的理解，同時鍛煉對塑料成型模具的設(shè)計和制造能力。本次設(shè)計以注塑模具為主線，綜合了成型工藝分析，模具結(jié)構(gòu)分析，最后是模具的設(shè)計計算等一系列模具設(shè)計的所有過程。能很好的達到學(xué)以致用的效果。在設(shè)計該模具的同時結(jié)了以往模具設(shè)計的一般方法、步驟，模具設(shè)計中常用的公式、數(shù)據(jù)、模具結(jié)構(gòu)及零部件。把以前學(xué)過的基礎(chǔ)課程融匯到綜合應(yīng)用本次設(shè)計當中來，所謂學(xué)以致用。在設(shè)計中除使用傳統(tǒng)方法外，同時使用了 AutoCAD、ProE等軟件。 對于模具設(shè)計這個實踐性非常強的設(shè)計課題，進行了大量的

4、復(fù)習(xí)。對此我對于模具特別是塑料模具的設(shè)計步驟有了一個全新的認識，豐富了各種模具的結(jié)構(gòu)和動作過程方面的知識，而對于模具的制造工藝更是實現(xiàn)了零的突破。在指導(dǎo)老師的協(xié)助下，同時在課后查閱過一些相關(guān)資料并看過一些案例了解了一些知識補充自己的不足，明確了模具的一般工作原理、制造、加工工藝。設(shè)計中，將充分利用和查閱各種資料，并與同學(xué)進行充分討論，盡最的大努力搞好本次畢業(yè)設(shè)計。 在設(shè)計的過程中，有一定的困難，但有指導(dǎo)老師的悉心指導(dǎo)和自己的努力，相信會完滿的完成畢業(yè)設(shè)計任務(wù)。由于學(xué)生水平有限，而且缺乏經(jīng)驗，設(shè)計中不妥之處在所難免，肯請老師指正。關(guān)鍵詞：ABS、注射模、雙分型面一、 塑件的工藝分析1.1塑件的材

5、料分析：基本特性 ABS是由丙烯腈、丁二烯、苯乙烯共聚而成的。這三種組分的各自特性，使ABS具有良好的綜合力學(xué)性能。丙烯腈是ABS有良好的耐化學(xué)腐蝕性及表面硬度，丁二烯使ABS堅韌，苯乙烯使它有良好的加工性和染色性能。ABS無毒、無味、呈微黃色，成型的塑料件有較好的光澤。密度為1.021.05g/cm3。ABS有極好的抗沖擊強度，且在低溫下也不迅速下降。有良好的力學(xué)強度和一定的耐磨性、耐寒性、耐油性、耐水性、化學(xué)穩(wěn)定性和電氣性能。水、無機鹽、堿、酸類對ABS幾乎無影響，在酮、醛、酯、氯代烴中會溶解或形成乳濁液，不溶于大部分醇類及烴類溶劑，但與烴長期接觸會軟化溶脹。ABS塑料表面受冰醋酸、植物油

6、等化學(xué)藥品的侵蝕會引起應(yīng)力開裂。ABS有一定的硬度和尺寸穩(wěn)定性，易于成型加工。經(jīng)過調(diào)色可配成任何顏色。其缺點是耐熱性不高，連續(xù)工作溫度為70°C左右，熱變形溫度約為93°C左右。耐氣候性差，在紫外線作用下易變硬脆弱。根據(jù)ABS中三種組分之間的比例不同，其性能也略有差異，從而適應(yīng)各種不同的應(yīng)用。根據(jù)應(yīng)用不同可分為超高沖擊型。高沖擊型、中沖擊型、低沖擊型和耐熱型等。主要用途 ABS在機械工業(yè)上用來制造齒輪、泵葉輪、軸承、把手、管道、電機外殼、儀表殼、儀表盤、水箱外殼、蓄電池槽、冷藏庫和冰箱襯里等、汽車工業(yè)上用ABS制造汽車擋泥板、扶手、熱空氣調(diào)節(jié)導(dǎo)管、加熱器等，還有用ABS夾層

7、板制小轎車車身。ABS還可用來制作水殼表、紡織器材、電器零件、文教體育用品、玩具、電子琴及收錄機殼體、食品包裝容器、農(nóng)藥噴霧器及家具等。 成型特點ABS在升溫時粘度增高，所以成型壓力較高，塑料上的脫模斜度宜稍大；ABS易吸水，成型加工前應(yīng)進行干燥處理；易產(chǎn)生溶解痕，模具設(shè)計時應(yīng)注意盡量減少澆注系統(tǒng)對料流的阻力；在正常的成型條件下，壁厚、熔料溫度及收縮率影響極小。要求塑件精度高時，模具溫度可控制在5060，要求塑件光澤和耐熱時，應(yīng)控制在6080塑料的成型工藝參數(shù)的確定查 屈華昌.塑料成型工藝與模具設(shè)計第二版，表3-1、各種塑料的注射工藝參數(shù)得：結(jié)構(gòu)特點線性結(jié)構(gòu)非結(jié)晶型使用溫度小于70性能特點機械

8、強度較好，有一定耐磨性成型特點成型效果好，成型前原料要干燥適用注射機類型螺桿柱塞式均可密度(g/cm)1.021.05注射壓力(MPa)7090螺桿轉(zhuǎn)速(r/min)3060計算收縮率(%)0.30.8模具溫度()5070預(yù)熱溫度()8085時間/h35吸水率24h(%)0.3拉伸屈服強度(MPa)1800抗拉屈服強度(MPa)50噴嘴溫度()180190保壓力時間（S）1530冷卻時間（S）1530料筒溫度前段（）料筒溫度中段（）料筒溫度后段（）80200°C165180°C150170°C注射時間（S）351.2塑件的形狀尺寸精度分析： 該塑件整體結(jié)構(gòu)簡單，多

9、數(shù)為曲面特征，除了配合尺寸精度要求較高外其他尺寸精度要求相對較低，但表面粗糙度要求較高，結(jié)合其材料性能，故選精度等級：MT7級。材料為ABS，成型工藝好，可以注射成型。1.精度等級：影響塑件精度的因素有很多，塑料的收縮率的波動、注塑成型條件（時間、壓力、溫度）使用的磨損程度，塑件形狀、模具結(jié)構(gòu)（澆口、分型面的選擇）成型工藝條件的變化，飛邊、斜度、以及脫模斜度和成型制品的尺寸變化等等。在一般的生產(chǎn)設(shè)計過程中，為了降低模具的加工難度和模具的生產(chǎn)成本，在滿足塑件使用要求的條件下，選取等級公差，便于加工。結(jié)合本章設(shè)計具體情況，查參考文獻表3-8查的，該塑料件尺寸精度為MT7級，對應(yīng)的模具精度為，2.脫

10、模斜度：由于塑件冷卻后產(chǎn)生收縮，會緊緊地包住模具型芯、型腔中凸出的部分，使塑件脫出困難，強行取出會導(dǎo)致塑件表面擦傷、拉毛。為了方便脫模，塑件設(shè)計時必須考慮與脫模（及軸心）方向平行的內(nèi)、外表面，設(shè)計足夠的脫模斜度，本塑件沒有特殊狹窄細小的部位，可以不設(shè)計斜度。最小脫模斜與塑料性能、收縮率、塑件的幾何形狀等因素有關(guān)二模具結(jié)構(gòu)形式2.1注射機型號的選擇2.1.1模具所需塑料熔體注射量該產(chǎn)品材料為ABS，查書本得知其密度為1.03-1.05，收縮率為0.5%，計算其平均密度為1.04.一副模具所需塑料體積： V=nV1+V2=1.15nV1=8.54式中單個塑件的體積（由計算得單個塑件體積為8.54）

11、 澆注系統(tǒng)的體積（在學(xué)校設(shè)計時） n初步設(shè)定的型腔數(shù)量（取2） 質(zhì)量M=PV=8.972.1.2 分型面上的投影面積及所需鎖模力 塑件和流道凝料在分型面上的投影面積： 式中單個塑件在分型面上的投影面積； 流道凝料在分型面上的投影面積（分流道暫定為半圓形直徑為8mm，長度為60mm)。 所需鎖模力： 式中塑料熔體對型腔的平均壓力（由查表得ABS對型腔的壓力為30MPa）2.1分型面的確定分型面對制品表面質(zhì)量、尺寸精度、形位精度、脫模型腔型芯結(jié)構(gòu)和排氣系統(tǒng)以及進料澆口都有很大的影響。此外，分型面和模具的制造方便與否也有很大的關(guān)系。因此，一定要選擇合適的分型面，選擇分型面時一般要準循以下幾個原則。1

12、）分型面應(yīng)選在塑件外形最大輪廓處當已經(jīng)初步確定塑件的分型方向后分型面應(yīng)選在塑件外形最大輪廓處，即通過該方向塑件的截面積最大，否則塑件無法從形腔中脫出。2）確定有利的留模方式，便于塑件順利脫模從制件的頂出考慮分型面要盡可能地使制件留在動模邊，當制件的壁相當厚但內(nèi)孔較小時，則對型芯的包緊力很少常不能確切判斷制件中留在型芯上還是在凹模內(nèi)。這時可將型芯和凹模的主要部分都設(shè)在動模邊，利用頂管脫模，當制件的孔內(nèi)有管件（無螺紋連接）的金屬嵌中時，則不會對型芯產(chǎn)生包緊力。3）保證制件的精度和外觀要求與分型面垂直方向的高度尺寸，若精度要求較高，或同軸度要求較高的外形或內(nèi)孔，為保證其精度，應(yīng)盡可能設(shè)置在同一半模具

13、腔內(nèi)。因分型面不可避免地要在制件中留下溢料痕跡或接合縫的痕跡，故分型面最好不選在制品光亮平滑的外表面或帶圓弧的轉(zhuǎn)角處。在此處鍵入公式?；耐獗砻婊驇A弧的轉(zhuǎn)角處。4）分型面應(yīng)使模具分割成便于加工的部件，以減少機械加工的困難。5）不妨礙制品脫模和抽芯。在安排制件在型腔中的方位時，要盡量避免與開模運動相垂直方向的避側(cè)凹或側(cè)孔。6）有利于澆注系統(tǒng)的合理處置。7）盡可能與料流的末端重合，以利于排氣。根據(jù)本該塑件的具體結(jié)構(gòu)和以上確定分型面的基本原則，選擇側(cè)澆口單分型面。如圖所示：2.2型腔數(shù)目的確定及分布2.1 型腔數(shù)目的確定 為了制模具與注塑機的生產(chǎn)能力相匹配，提高生產(chǎn)效率和經(jīng)濟性，并保證塑件精度，模

14、具設(shè)計時應(yīng)確定型腔數(shù)目。型腔數(shù)目的確定一般可以根據(jù)經(jīng)濟性、注射機的額定鎖模力、注射機的最大注射量、制品的精度等。一般來說，大中型塑件和精度要求高的小型塑件優(yōu)先采用一模一腔的結(jié)構(gòu)，但對于精度要求不高的小型塑件（沒有配合精度要求），形狀簡單，又是大批量生產(chǎn)時，若采用多型腔模具可提供獨特的優(yōu)越條件，使生產(chǎn)效率大為提高。根據(jù)塑件的結(jié)構(gòu)及尺寸精度要求,該塑件在注射時采用一模二腔。2.2.2.型腔數(shù)目的分布如圖所示：2.2澆注系統(tǒng)的設(shè)計澆注系統(tǒng)是指注射模中從主流道的始端到型腔之間的熔體進料通道，它的作用是將塑料熔體順利的充滿型腔的各個部位。正確設(shè)計澆注系統(tǒng)對獲得優(yōu)質(zhì)的塑料制品極為重要。注射成型的基本要求是

15、在合適的溫度和壓力下使足量的塑料熔體盡快充滿型腔，影響順利充模的關(guān)鍵之一就是澆注系統(tǒng)的設(shè)計。5.1主流道設(shè)計 主流道通常位于模具中心塑料熔體的入口處，形狀一般為圓錐形，便于熔體的流動和開模時主流道凝料的順利拔出。由于主流道和高溫塑料熔體以及注射機噴嘴反復(fù)接觸，故再設(shè)計時常設(shè)計為可拆卸更換的澆口套。5.1.1主流道的作用主流道（也叫進料口），它是連接注射機料筒噴嘴和注射模具的橋梁，也是熔融的塑料進入模具型腔時最先經(jīng)過的地方。主流道的大小和塑料進入型腔的速度及充模時間長短有著密切關(guān)系。若主流道太大，其主流道塑料體積增大，回收冷料多，冷卻時間增長，使包藏的空氣增多，如果排氣不良，易在塑料制品內(nèi)造成氣

16、泡或組織松散等缺陷，影響塑料制品質(zhì)量，同時也易造成進料時形成旋渦及冷卻不足，主流道外脫模困難；若主流道太小，則塑料在流動過程中的冷卻面積相應(yīng)增加，熱量損失增大，粘度提高，流動性降低，注射壓力增大，易造成塑料制品成形困難。主流道部分在成型過程中，其小端入口與注射機噴嘴及一定溫度、壓力的塑料熔要冷熱交替地反復(fù)接觸，屬易損件，對材料的要求較高因而模具的主流道部分常設(shè)計成可拆卸更換的主流道襯套式（俗稱澆口套），以便有效地選用鋼材單獨進行加工和熱處理。一般采用碳素工具鋼T8A、T10A等，熱處理要求淬火5357HRC。在一般情況下，主流道不直接開設(shè)在定模板上，而是制造成單獨的澆口套，鑲定在模板上。小型注

17、射模具，批量生產(chǎn)不大，或者主流道方向與鎖模方向垂直的模具，一般不用澆口套，而直接開設(shè)在定模板上。澆口套是注射機噴嘴在注射模具上的座墊，在注射時它承受很大的注射機噴嘴端部的壓力同時由于澆口套末端通過流道澆口與型腔相連接，所以也承受模具型腔壓力的反作用力。為了防止?jié)部谔滓驀娮於瞬繅毫Χ粔喝肽＞邇?nèi)，澆口套的結(jié)構(gòu)上要增加臺肩，并用螺釘緊固在模板上，這樣亦可防止模腔壓力的反作用力而把澆口套頂出。5.1.2主流道設(shè)計要點(1) 澆口套的內(nèi)孔（主流道）呈圓錐形，錐度2°6°。若錐度過大會造成壓力減弱，流速減慢，塑料形成渦流，熔體前進時易混進空氣，產(chǎn)生氣孔；錐度過小，會使阻力增大，熱量損

18、耗大，表面黏度上升，造成注射困難。(2) 澆口套進口的直徑d應(yīng)比注射機噴嘴孔直徑d大0.5mm。若等于或小于注射機噴嘴直徑，在注射成型時會造成死角，并積存塑料，注射壓力下降，塑料冷凝后，脫模困難。由注塑機的型號里面得知13 d = ，所以得 3.5 4.0 d= : mm。本設(shè)計取4.0mm。(3) 澆口套內(nèi)孔出料口處（大端）應(yīng)設(shè)計成圓角r，一般為0.53mm。(4) 澆口套與注射機噴在接觸處球面的圓弧度必須吻合。設(shè)球面澆口套球面半徑為SR，注射機球面半徑為r，其關(guān)系式如下：SRr0.51mm 澆口套球面半徑比注射機噴嘴球面半徑大，接觸時圓弧度吻合的好.三、 注射機的選擇四、 成型零件的設(shè)計1

19、. 結(jié)構(gòu)設(shè)計模具中決定塑件幾何形狀和尺寸的零件稱為成型零件，包括凹模、型芯、鑲塊、成型桿和成型環(huán)等。成型零件工作時，直接與塑件接觸，承受塑件熔體的高壓、料流的沖刷、脫模時與塑件的摩擦。因此，成型零件要有正確的幾何形狀，較高的尺寸精度，較低的表面粗糙度值，還要求結(jié)構(gòu)合理，較高的強度、剛度、較好的耐磨性。設(shè)計成型零件時，應(yīng)根據(jù)塑件的特性和塑件的結(jié)構(gòu)及使用要求，確定型腔的總體結(jié)構(gòu)，選擇分型面和澆口位置，確定脫模方式、排氣部位等，根據(jù)成型零件的加工、熱處理、裝配等要求進行成型零件結(jié)構(gòu)設(shè)計，計算成型零件工作尺寸，進行強度和剛度校核。2.工作尺寸計算1.型腔徑向尺寸3.影響塑件尺寸的主要因素 1.塑件收縮

20、率的影響 塑件成型后的收縮率與塑料的品種，塑件的形狀、尺寸、壁厚，模具的結(jié)構(gòu)，成型的工藝條件等因素有關(guān)。其尺寸變化值為： s=（Smax-Smin）Ls 式中 s為塑件收縮率波動所引起的塑件尺寸誤差 Smax為塑件的最大收縮率 Smin為塑件的最小收縮率 Ls為塑件的基本尺寸 2.模具成型零件的制造誤差 成型零件工作尺寸公差可取塑件公差的1/31/4或取IT78級作為模具制造公差。 3.模具成型零件的磨損 對于中小型塑件，最大磨損量可取塑件公差的1/6，對于大型塑件可取1/6以下。4.模具安裝配合的誤差 綜上所述，塑件在成型過程中產(chǎn)生的最大尺寸誤差是上述誤差的總和。即： =z+c+s+j+a

21、式中為塑件的成型誤差 z為模具成型零件制造誤差 C為模具成型零件在使用中最大磨損量 S為塑件收縮率波動所引起的塑件尺寸誤差 J為模具成型零件因配合間隙變化而引起塑件尺寸的誤差 A為因安裝固定成型零件而引起的塑件尺寸誤差您好，為你提供優(yōu)秀的畢業(yè)論文參考資料，請您刪除以下內(nèi)容，O(_)O謝謝！A large group of tea merchants on camels and horses from Northwest China's Shaanxi province pass through a stop on the ancient Silk Road, Gansu's Z

22、hangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous re

23、gion, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will

24、 come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed trad

25、itional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. "I can still reca

26、ll the days when I toured with the troupe in the early '80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldn't help but sing the folk songs," Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made the

27、ir lives lonely. "The nomadic people were very excited about our visits," Nasun recalls. "We didn't have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in." For him, the rewarding part about touring i

28、sn't just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as "red burgeon", and today's performers of the troupe still tour the region's villages and entertain nomadic families, but their fame h

29、as spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijing's Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. "Being from the region allowed me to embrace the culture

30、of Inner Mongolia and being a member of the troupe showed me where I belonged," Nasun, the art troupe's president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a soli

31、der from Shenyang, capital of Northeast China's Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young

32、singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a loc

33、al variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle."Although I learned the piano since childhood and grew up listening to various kinds of music, to m

34、e, the folk music of Inner Mongolia is the root," he says. "Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled." The first round of spring auction season in Beijing ended last week, but it failed to c

35、reate much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous repr

36、esentative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year

37、 before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock mark

38、et and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. "The successful transaction of two works with a hammer price of more than 100 million yuan once again confirm

39、s that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president

40、 of China Guardians Hu Yanyan. "Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market h

41、as walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal wit

42、h total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions

43、 also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese f

44、ans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Tw

45、o years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. Th

46、is version, highly anticipated as a milestone in China's cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing t

47、hrew off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. What's lost, I believe, are the

48、 interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting

49、at what's to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. The

50、y were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and gre

51、etings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an ef

52、fort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?