# Micro Nanoengraving Technology and Aesthetic Practice of Architectural Sculpture Art

Authors: Weili Zhu; Dong Wei
Journal: Journal of Nanomaterials
 (2022)

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## Abstract

Micro nanotechnology refers to the emerging technology of material production using a single atomic or molecular structure. The structure and size of materials range from one to 100 microns or nanometers. In this paper, micro nanotechnology is used to study the aesthetic practice of sculpture technology and architectural sculpture art. This paper aims to combine traditional art ideas with science and technology to promote common development. This paper first introduces the micro nanoengraving technology and architectural sculpture art, it includes the definition of works, classification of works, and research on artistic commonalities and differences, and then summarizes the characteristics of micro nanoengraving materials. Finally, this paper will carry out aesthetic practice of sculpture works based on micro nanocreation. Finally, this paper compares with the works created by traditional technology. The results show that the recognition and creativity evaluation of sculpture works based on micro nanocreation have reached more than 8 points. It verifies the effectiveness of the technology.


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## Body

## 1. Introduction

As an important part of art career, sculpture technology and architectural sculpture art have a development history of thousands of years. For buildings in the traditional sense, it generally refers to the safe and reliable living space built with hard materials, with various styles. Famous traditional buildings include ancient Roman architecture, Gothic architecture, and classical garden architecture. It is not only a work of art but also an important medium for transmitting and preserving culture. However, the architectural sculpture discussed in this paper refers to a kind of microangle. In fact, microcarving art also has a very long history of development. This kind of microcarving cannot be clearly recognized by the naked eye and can be viewed with the help of a microscope. Since the advent of microscope in the mid-20th century, the microcarving technology has made unprecedented progress. It has a strict innovation in size. In the past, most microcarving works were in millimeters. Now it has entered the micro nanoera, so it is also called micro nanocarving technology and micro nanoarchitectural sculpture art.With the progress of the times and the innovation of science and technology, micro nanoscience and technology has become one of the focuses of market development. The main forms of its development include micro nanoprocessing, micro nanomanufacturing, micro nanomaterial application, and micro nanoengraving. At present, researchers have developed more new micro nanocarving methods that can perfectly combine the traditional carving art in the process of technological renewal, such as laser method, chemical vapor deposition method, and computer-aided design method. As one of the construction parts of micro nanoscience and technology, micro nanocarving technology and micro nanoarchitectural sculpture art have developed at a higher level in the microworld. Its journey of exploring micro nanocarving technology and the artistic charm of micro nanoarchitectural sculpture is also ongoing.At present, there is little research on the aesthetic practice of sculpture technology and architectural sculpture art. This paper puts forward a novel art research direction based on micro nanotechnology. It can provide a perfect and improved development suggestion for the engraving industry under micro nanotechnology, and it can also provide new ideas for the research of artistic aesthetics practice.


## 2. Related Work

In recent years, many scholars have studied micro nanotechnology. Shi J described the nanopore detection mechanism based on translocation. He gave specific examples of nucleic acid analysis and sequencing based on nanopores. This method identifies strategies that can improve the resolution of nanopores. Finally, he discussed the future research direction of promoting nanopore technology to practical application [1]. Tian X has successfully prepared SnO2 micro and nanostructured biscuits by ovalbumin assisted sol-gel method. His experimental results showed that with the increase of calcination temperature, the photoluminescence efficiency of micro and nano will increase [2]. Shah P explored many emerging nanotechnologies. He studied a silver nanocluster nanotechnology based on DNA encapsulation with attractive optical properties [3]. Rohini R believed that the protective characteristics of surge arresters help to reduce the cost of insulation design of electrical systems. He applied this method to micro and nanosamples to verify its effectiveness [4]. Ho C proposed an auxiliary method to overcome the difficulty of drilling sapphire. He studied the effect of adding micro and nanobubbles to the original electrolyte and confirmed that micro and nanobubbles can assist ECDM [5]. Taheri A A considered a two-dimensional transient model with tumor biological tissue. He embedded micro nanosuperparamagnetic materials in the tumor area. The results show that the use of micro nanomaterials will significantly reduce the temperature of healthy tissues around cancer cells, so as to achieve a more favorable therapeutic effect [6]. To sum up, after the exploration in recent years, the application of micro nanotechnology has been deeply studied by many scholars, but there is not much research on the aesthetic practice of architectural sculpture art. Therefore, in order to further promote the development of sculpture art industry, it is urgent to study the aesthetic practice of micro nanosculpture technology and architectural sculpture art.


## 3. Architectural Sculpture Art and Micro Nanotechnology

### 3.1. Overview of Micro Nanocarving Technology and Architectural Sculpture Art

Before studying micro nanocarving technology and architectural sculpture art, we need to understand the concept of micro nanoart. In previous studies, many scholars believe that micro nanoart is an art work with micro nanosize characteristics created based on micro nanotechnology [7].


#### 3.1.1. Definition of Micro Nanoengraving Technology and Architectural Sculpture Art

Based on the concept of micro nanoart, we can understand that a work should be called micro nanocarving technology and architectural sculpture art works. It needs to meet two conditions: one is that the work is small in size, and the other is that the work has certain ornamental and artistic value [8].


#### 3.1.2. Classification of Micro Nanocarving Technology and Architectural Sculpture Works of Art

Micro nanocarving technology and architectural sculpture art works can be classified from four levels, as shown in Table1:
(1)
AngleTable 1
Classification of works of art.
ScopeSequenceLevelWork classification1Angle2Production process3Size4Creative inevitabilityBased on the different perspectives of micro nanoengraving technology and architectural sculpture art works, we can divide them into two-dimensional works and three-dimensional works. The two-dimensional works are mainly patterns, which are carved on the surface of special materials. This kind of work carves symbolic patterns according to the thoughts and ideas that the creator wants to convey. It can only be viewed through microscopic observation instruments (such as atomic force microscope). The three-dimensional carving works are very three-dimensional, and the length, width, and height of the works are generally in microns or nanometers. It uses electron microscope imaging, and its works using three-dimensional engraving technology are often more lifelike than two-dimensional works. And the carving is more difficult than two-dimensional.(2)
Creative craftBased on the difference of micro nanoengraving technology and the creation process of architectural sculpture art works, we can be divided into traditional works and processed works [9]. Traditional works generally follow the ancient microcarving technology, as shown in Figure 1. These two works are carved on jade and needles. It is difficult to observe the specific content only with the naked eye. It needs the help of a general microscope, and the processed works have higher eyeballs than traditional works. It is not only unrecognizable by the naked eye but also cannot be clearly viewed by even a general microscope. It needs an electron microscope with high resolution. It also has high requirements for carving tools [10].
(3)
SizeFigure 1
Ancient miniature sculptures.Based on the different creation processes of micro nanocarving technology and architectural sculpture works, we can divide the works into different levels, as shown in Table2:Table 2
Different levels of classification of the size of engravings.
Classification levelOrdinal valueRankSize of work1Micron level2Nanometer level3100 micrometer level4100 nanometer levelThe traditional carving works that follow the ancient carving technology we mentioned are usually 100 micrometers or 100 nanometers. Although the size of some traditional works exceeds the hundred micro and nanolevel, and even reaches the millimeter level, if the engraving of the nuances of the whole work conforms to the hundred micro and nanolevel, we also call it the hundred micro and nanolevel engraving works. The processing works based on micro and nanotechnology include [11].
(4)
Inevitability of creationBased on the different inevitability of micro nanocarving technology and architectural sculpture art works, we can divide them into intentional works and unintentional works. As the name suggests, intentional works refer to works produced under the guidance of purpose [12]. The creation of many microcarving masters is just the microcarving creation under the premise of purpose, while the unintentional creation refers to the accidental discovery or exploration in research and work. This kind of creation often appears in laboratories that need micro observation. And its creation is in the form of works, as shown in Figure 2. These two pictures are wonderful patterns found on the tested object.Figure 2
Unintentional micro-engraving works.


#### 3.1.3. Commonalities between Carving Technology and Architectural Sculpture Art

The emergence and development of carving technology and architectural sculpture art stem from human production activities. And it was directly influenced by religion, philosophy, and other social ideologies in various periods. These two-dimensional and three-dimensional art works are not only the crystallization of the times, thoughts, feelings, and aesthetic concepts but also an important record of the materialization of social development. To understand the relationship between the two, we must first explore the basis of their symbiotic relationship. We can elaborate from the following four aspects:(1)
Premise of functional requirementsWhen it comes to architecture or sculpture, we naturally classify them into the category of art and rarely notice that they are directly related to human survival. This starts with the essence of architecture and sculpture. In a narrow sense, the subject considered by architecture is centered on houses or buildings. Greek philosophers called architecture a shelter against wind and rain. French scholars summarized the essence and origin of architecture as the primitive man’s search for shelter, and called it the basic house.In fact, for human beings, architecture and sculpture are more important as necessities than luxury goods [13]. In other words, their emergence is inevitable. The first thing that human beings solve at birth is the problem of survival. When this problem is properly solved, they will care about spiritual things. Therefore, architecture and sculpture should not only meet human physiological needs but also meet human psychological needs [14]. First, we can produce and live as a tool, and then we can care about the beauty of the tool. The requirement from quantitative change to qualitative change is the development process of carving. Similarly, buildings first appeared in order to protect people from the wind and rain and against the dangerous nature. The first thing to solve is whether there are problems. When these basic requirements are met, people will care about the comfort and beauty of buildings, and then start to pursue things at the spiritual level [15]. People began to build spiritual dwellings and public buildings for God. It is a strange phenomenon that residential buildings have not changed much for thousands of years. The greatest contributor to the development of buildings is public buildings. It can be seen that after the basic survival requirements of mankind are met, more attention will be paid to ideology. Therefore, the basic value requirements of architecture and sculpture should be the same.
(2)
Aesthetic proposalThe understanding of geometric beauty of architectural form was described as early as the century BC. Later, influenced by the aesthetic thoughts of scholars, architects began to be particularly keen to reveal the mystery of Architectural Formal Beauty from the relationship between geometry and numbers. They use the superposition and change of geometric prototypes such as square, regular triangle, golden section ratio, and circle to shape a beautiful architectural form. The harmonious proportion of the human body is also the focus of the Greeks. Therefore, a large number of sculptures in ancient Greece are based on the beautiful human body to carve (Figure1) of gods. At the same time, they believe that the human body can be used as the measure of all things. Therefore, in their concept, in order to obtain the beauty of buildings, they must make the buildings have the proportional relationship and harmonious order in line with the beauty of human body.
(3)
Asylum in spiritual placesThrough the ages, people’s interest in nonpractical aspects and the labor paid for them have greatly exceeded the practical aspects. With the progress of human civilization and the improvement of material acquisition ability, sculpture and architecture show less and less demand for material functions. The expression of ideology, culture, and spiritual consciousness has become an important content. While sculpture and architecture have become the carrier of cultural expression, they have also become the sustenance of spiritual appeal. On the one hand, they show the materialization of human spiritual sustenance; on the other hand, they show the spiritual demand for beauty. As an important medium that leads the material world of architecture to the spiritual world of art, sculpture art with a long history has been changing people’s environment. It edifies people’s sentiment and stands there for a long time with buildings, witnessing the evolution of human material world and spiritual world.(4)
Subordinate relationship between sculpture and architectureFirst, sculptures are attached to buildings. In this case, sculpture can be regarded as a part of architecture, which cannot exist independently. Most of the time, it plays the role of decorative structure. Secondly, sculpture works can enter the architectural space environment. Sculptures in this situation can exist as independent works of art and show their own modeling beauty in the general environment of architecture.Most of the time, sculpture is the relationship between cooperation and obedience to architecture. From the perspective of practical needs, a large number of sculptures do belong to this category. However, if we only define these two majors as such a subordinate relationship, we underestimate the role of sculpture itself. It ignores the function of carving and weakens the subject consciousness of carving. In fact, the space effect that sculpture can convey is as important as architecture. Sculpture is not only the decoration and appendage of architecture but also the prototype of building space framework together with architecture. The two should have indivisible integrity. Putting aside the limitation of sculpture to talk about an architectural work is not in line with the consciousness of integration in the builder’s psychology. Architecture without carving aura is like a body without soul, which is also a kind of blasphemy to the architecture itself.In the classical period, sculpture was attached to architecture. However, in the modern landscape, it is difficult to say that some structures belong to sculpture or architecture. In the modern environment, the relationship between sculpture and architecture is complementary, interactive, and complementary. They have undoubtedly greatly enriched the form of place space. The combination of sculpture and architecture makes their design no longer isolated, and the integration of design techniques is closer. At the same time, it is of positive significance to the shaping of the whole environment.


#### 3.1.4. Differences between Carving Technology and Architectural Sculpture Art

As two similar disciplines, architecture and sculpture have many similarities in characteristic forms and many differences in essential characteristics. It is these differences that lead to the independence of the two disciplines. In short, architecture is often restricted by function, science, technology, and other factors. Sculpture works can express space more freely. Their differences can be summarized as follows:(1)
Functional differencesArchitecture is a high unity of material and spirit, which is in the critical state of pragmatic beauty and artistic beauty. The consideration of function, beauty, and meaning of architecture covers a wide range. In architectural design, the layout of space streamline is very important. The layout of architectural functions has a great impact on the shape of buildings and even the internal space form. Therefore, the design of buildings must first comply with the functions they should have. This consideration is reflected in all stages of the design process. Whether it is the coordination with the base environment, the relationship between space or the organization of streamline, it directly affects the final form of expression of the building. Sculpture seems to be the opposite. The sculptor’s pursuit of higher cultural purity and beauty is a kind of sculptural work. It has a strong expressive force, highlighting the artist’s self-awareness and emotional expression. It is an effective supplement to the spatial framework on the premise of ensuring that its own has the most basic aesthetic effect. Its attention to beauty greatly exceeds its practicability.(2)
Spatial performance differenceSculpted space refers to the sculpted shape, while architectural space mainly refers to the internal use space of the building. It is closely related to the use function of the building. Although the form language of architecture seems more abstract and geometric, it aims to separate or contain the practicability of space. The spatial form of architecture must first meet the functional needs, in addition to meeting people’s aesthetic requirements. Engineering structure, technology, and materials will also more or less affect the form of architectural space.(3)
Differences in internal structureDue to the different sizes of sculptures and buildings, their internal structures are very different. The small scale and no internal space of the sculpture determine its flexibility. Most of the artist’s energy is spent on how to mount and carve the outside, and it can build the internal construction of carving at will. As long as it can support the work, it is enough. But buildings are much more complex. Although small-scale building models can also be simulated in the scheme deliberation and creation stage, due to mechanical and engineering factors, we cannot treat real buildings in the way of building models. For example, when building a model, the overhang of a cantilever beam may only depend on the strength of the model material itself, but its equal overhang in a real project needs much more complex calculation and node support.


### 3.2. Characteristics of Engraving Materials Based on Micro Nanotechnology

Micro nanotechnology has a wide range of applications. At present, it has given full play to its application value in many valuable fields, especially its optical properties have always been paid attention to by the research community. This paper mainly studies the optical properties of engraving materials for nanotechnology according to the principle of optical properties.Previous studies have shown that there are [16] in a wide range of light intensity:
(1)−dI=αIdx.The definitions of parameters in Formula (1) are shown in Table 3:Table 3
Interpretation of each parameter in the formula.
SequenceFormula parametersParaphrase1dIIncrement of light intensity2dxThickness of light passing vertically3αThe absorption coefficient of a substance4dThickness of light passing throughBy integrating with this formula, the light intensity after passing through the medium with thickness is obtained [17]:
(2)I=I0e−ad.I0 is the initial light intensity, which is called Lambert’s law.As an electromagnetic wave, the energy flux density of light is expressed by Poynting vector. Light intensity is the time average of energy flow density. For the convenience of calculation, the electric field and magnetic field are expressed as [18]:
(3)E⃑=12E⃑me−iωt+12E⃑m∗eiωt,H⃑=12H⃑me−iωt+12H⃑m∗eiωt.Plane simple harmonic wave [19]:
(4)H⃑mE⃑m=cε0ε¯.If it is taken, then [20]:
(5)I=1T∫0TE⃑×H⃑dt=14cε0ε∗−εE⃑2.It can also be expressed as [21]:
(6)I=12cε0nE⃑mE⃑m∗=12cε0nE⃑m2.If the wave vector direction is along thex axis, then [22]:
(7)E⃑m2=E⃑02e−2ωKx/c=E⃑02e−αx.So,(8)I=12cε0nE⃑02e−αx=I0e−αx.This is the law of solid light absorption, visible absorption coefficient [23]:
(9)α=2ωKc=4πKλ.Formula (9) shows that the free light coefficient also represents the absorption of light by a solid.After the semiconductor absorbs photons, it causes the planter excitation and increases the conductivity. The increased conductivity is called photoconductivity. This additional photoconductivity comes from the inter band transition of carriers or the excitation of impurities. The work done by light to photocurrent in unit time and unit volume is called optical power density, which is equal to:(10)W=J⃑×E⃑.<> means averaging the time. Using the complex forms of and above, we can get [24]:
(11)W=12ε0ωεiE⃑m2=12ε0ωxE⃑m2.It can be seen here that the imaginary part of the dielectric constant or the imaginary part of the polarizability is related to the free current.The absorptivity is defined as the ratio of absorbed energy to incident energy. When the light is vertically incident on a solid surface, the incident light intensity (i.e., average energy flow density) is, and the absorbed energy flow density is equal to the optical power density multiplied by the thickness, then [25]:
(12)A=ε0ωεidε0cnE⃑m2E⃑02=ωεidcne−αd.In air, when the film thickness is very small, ignoring the attenuation of amplitude after light flux, we get:(13)A≈ωεicnd=αd.The optical power and optical absorptivity can also be expressed as:(14)W=12σrE⃑m2.A≈σrdε0cn.α≈σrε0cn.When light shines on a solid, according to the conservation of energy, the relationship between absorptivity, reflectivity, and transmittance is:(15)A+R+T=1.From Michaelis formula:(16)H⃑=n¯ε0/μ0s⃑0×E⃑μ.s⃑0 is the unit vector of the wave vector. It defines the optical admittance of the medium as:
(17)Y=H⃑s⃑0×E⃑=n¯ε0/μ0μ.For medium, its optical admittance is:(18)Y=H⃑s⃑0×E⃑=n¯.The unit of optical admittance in formula (18) adopts free space admittance.The more common carving materials are zinc oxide and titanium dioxide, which are often used by carving artists because of their unique comprehensive properties, such as good chemical stability, low cost, nontoxic, high quantum efficiency, and redox ability. Titanium dioxide exists in many forms in nature. Its crystal structure is shown in Figure3:Figure 3
Carbon dioxide crystal structure.Zinc oxide also has a variety of morphologies, such as nanocomb, nanorod, nanohelix, nanobelt, nanowire, and nanocrystal. Its crystal structure is shown in Figure4:Figure 4
Zinc oxide crystal structure.The visible light absorption after doping two materials is shown in Figures5 and 6:Figure 5
Visible light absorption of doped zinc oxide.Figure 6
Visible light absorption of doped titanium dioxide.


## 3.1. Overview of Micro Nanocarving Technology and Architectural Sculpture Art

Before studying micro nanocarving technology and architectural sculpture art, we need to understand the concept of micro nanoart. In previous studies, many scholars believe that micro nanoart is an art work with micro nanosize characteristics created based on micro nanotechnology [7].


### 3.1.1. Definition of Micro Nanoengraving Technology and Architectural Sculpture Art

Based on the concept of micro nanoart, we can understand that a work should be called micro nanocarving technology and architectural sculpture art works. It needs to meet two conditions: one is that the work is small in size, and the other is that the work has certain ornamental and artistic value [8].


### 3.1.2. Classification of Micro Nanocarving Technology and Architectural Sculpture Works of Art

Micro nanocarving technology and architectural sculpture art works can be classified from four levels, as shown in Table1:
(1)
AngleTable 1
Classification of works of art.
ScopeSequenceLevelWork classification1Angle2Production process3Size4Creative inevitabilityBased on the different perspectives of micro nanoengraving technology and architectural sculpture art works, we can divide them into two-dimensional works and three-dimensional works. The two-dimensional works are mainly patterns, which are carved on the surface of special materials. This kind of work carves symbolic patterns according to the thoughts and ideas that the creator wants to convey. It can only be viewed through microscopic observation instruments (such as atomic force microscope). The three-dimensional carving works are very three-dimensional, and the length, width, and height of the works are generally in microns or nanometers. It uses electron microscope imaging, and its works using three-dimensional engraving technology are often more lifelike than two-dimensional works. And the carving is more difficult than two-dimensional.(2)
Creative craftBased on the difference of micro nanoengraving technology and the creation process of architectural sculpture art works, we can be divided into traditional works and processed works [9]. Traditional works generally follow the ancient microcarving technology, as shown in Figure 1. These two works are carved on jade and needles. It is difficult to observe the specific content only with the naked eye. It needs the help of a general microscope, and the processed works have higher eyeballs than traditional works. It is not only unrecognizable by the naked eye but also cannot be clearly viewed by even a general microscope. It needs an electron microscope with high resolution. It also has high requirements for carving tools [10].
(3)
SizeFigure 1
Ancient miniature sculptures.Based on the different creation processes of micro nanocarving technology and architectural sculpture works, we can divide the works into different levels, as shown in Table2:Table 2
Different levels of classification of the size of engravings.
Classification levelOrdinal valueRankSize of work1Micron level2Nanometer level3100 micrometer level4100 nanometer levelThe traditional carving works that follow the ancient carving technology we mentioned are usually 100 micrometers or 100 nanometers. Although the size of some traditional works exceeds the hundred micro and nanolevel, and even reaches the millimeter level, if the engraving of the nuances of the whole work conforms to the hundred micro and nanolevel, we also call it the hundred micro and nanolevel engraving works. The processing works based on micro and nanotechnology include [11].
(4)
Inevitability of creationBased on the different inevitability of micro nanocarving technology and architectural sculpture art works, we can divide them into intentional works and unintentional works. As the name suggests, intentional works refer to works produced under the guidance of purpose [12]. The creation of many microcarving masters is just the microcarving creation under the premise of purpose, while the unintentional creation refers to the accidental discovery or exploration in research and work. This kind of creation often appears in laboratories that need micro observation. And its creation is in the form of works, as shown in Figure 2. These two pictures are wonderful patterns found on the tested object.Figure 2
Unintentional micro-engraving works.


### 3.1.3. Commonalities between Carving Technology and Architectural Sculpture Art

The emergence and development of carving technology and architectural sculpture art stem from human production activities. And it was directly influenced by religion, philosophy, and other social ideologies in various periods. These two-dimensional and three-dimensional art works are not only the crystallization of the times, thoughts, feelings, and aesthetic concepts but also an important record of the materialization of social development. To understand the relationship between the two, we must first explore the basis of their symbiotic relationship. We can elaborate from the following four aspects:(1)
Premise of functional requirementsWhen it comes to architecture or sculpture, we naturally classify them into the category of art and rarely notice that they are directly related to human survival. This starts with the essence of architecture and sculpture. In a narrow sense, the subject considered by architecture is centered on houses or buildings. Greek philosophers called architecture a shelter against wind and rain. French scholars summarized the essence and origin of architecture as the primitive man’s search for shelter, and called it the basic house.In fact, for human beings, architecture and sculpture are more important as necessities than luxury goods [13]. In other words, their emergence is inevitable. The first thing that human beings solve at birth is the problem of survival. When this problem is properly solved, they will care about spiritual things. Therefore, architecture and sculpture should not only meet human physiological needs but also meet human psychological needs [14]. First, we can produce and live as a tool, and then we can care about the beauty of the tool. The requirement from quantitative change to qualitative change is the development process of carving. Similarly, buildings first appeared in order to protect people from the wind and rain and against the dangerous nature. The first thing to solve is whether there are problems. When these basic requirements are met, people will care about the comfort and beauty of buildings, and then start to pursue things at the spiritual level [15]. People began to build spiritual dwellings and public buildings for God. It is a strange phenomenon that residential buildings have not changed much for thousands of years. The greatest contributor to the development of buildings is public buildings. It can be seen that after the basic survival requirements of mankind are met, more attention will be paid to ideology. Therefore, the basic value requirements of architecture and sculpture should be the same.
(2)
Aesthetic proposalThe understanding of geometric beauty of architectural form was described as early as the century BC. Later, influenced by the aesthetic thoughts of scholars, architects began to be particularly keen to reveal the mystery of Architectural Formal Beauty from the relationship between geometry and numbers. They use the superposition and change of geometric prototypes such as square, regular triangle, golden section ratio, and circle to shape a beautiful architectural form. The harmonious proportion of the human body is also the focus of the Greeks. Therefore, a large number of sculptures in ancient Greece are based on the beautiful human body to carve (Figure1) of gods. At the same time, they believe that the human body can be used as the measure of all things. Therefore, in their concept, in order to obtain the beauty of buildings, they must make the buildings have the proportional relationship and harmonious order in line with the beauty of human body.
(3)
Asylum in spiritual placesThrough the ages, people’s interest in nonpractical aspects and the labor paid for them have greatly exceeded the practical aspects. With the progress of human civilization and the improvement of material acquisition ability, sculpture and architecture show less and less demand for material functions. The expression of ideology, culture, and spiritual consciousness has become an important content. While sculpture and architecture have become the carrier of cultural expression, they have also become the sustenance of spiritual appeal. On the one hand, they show the materialization of human spiritual sustenance; on the other hand, they show the spiritual demand for beauty. As an important medium that leads the material world of architecture to the spiritual world of art, sculpture art with a long history has been changing people’s environment. It edifies people’s sentiment and stands there for a long time with buildings, witnessing the evolution of human material world and spiritual world.(4)
Subordinate relationship between sculpture and architectureFirst, sculptures are attached to buildings. In this case, sculpture can be regarded as a part of architecture, which cannot exist independently. Most of the time, it plays the role of decorative structure. Secondly, sculpture works can enter the architectural space environment. Sculptures in this situation can exist as independent works of art and show their own modeling beauty in the general environment of architecture.Most of the time, sculpture is the relationship between cooperation and obedience to architecture. From the perspective of practical needs, a large number of sculptures do belong to this category. However, if we only define these two majors as such a subordinate relationship, we underestimate the role of sculpture itself. It ignores the function of carving and weakens the subject consciousness of carving. In fact, the space effect that sculpture can convey is as important as architecture. Sculpture is not only the decoration and appendage of architecture but also the prototype of building space framework together with architecture. The two should have indivisible integrity. Putting aside the limitation of sculpture to talk about an architectural work is not in line with the consciousness of integration in the builder’s psychology. Architecture without carving aura is like a body without soul, which is also a kind of blasphemy to the architecture itself.In the classical period, sculpture was attached to architecture. However, in the modern landscape, it is difficult to say that some structures belong to sculpture or architecture. In the modern environment, the relationship between sculpture and architecture is complementary, interactive, and complementary. They have undoubtedly greatly enriched the form of place space. The combination of sculpture and architecture makes their design no longer isolated, and the integration of design techniques is closer. At the same time, it is of positive significance to the shaping of the whole environment.


### 3.1.4. Differences between Carving Technology and Architectural Sculpture Art

As two similar disciplines, architecture and sculpture have many similarities in characteristic forms and many differences in essential characteristics. It is these differences that lead to the independence of the two disciplines. In short, architecture is often restricted by function, science, technology, and other factors. Sculpture works can express space more freely. Their differences can be summarized as follows:(1)
Functional differencesArchitecture is a high unity of material and spirit, which is in the critical state of pragmatic beauty and artistic beauty. The consideration of function, beauty, and meaning of architecture covers a wide range. In architectural design, the layout of space streamline is very important. The layout of architectural functions has a great impact on the shape of buildings and even the internal space form. Therefore, the design of buildings must first comply with the functions they should have. This consideration is reflected in all stages of the design process. Whether it is the coordination with the base environment, the relationship between space or the organization of streamline, it directly affects the final form of expression of the building. Sculpture seems to be the opposite. The sculptor’s pursuit of higher cultural purity and beauty is a kind of sculptural work. It has a strong expressive force, highlighting the artist’s self-awareness and emotional expression. It is an effective supplement to the spatial framework on the premise of ensuring that its own has the most basic aesthetic effect. Its attention to beauty greatly exceeds its practicability.(2)
Spatial performance differenceSculpted space refers to the sculpted shape, while architectural space mainly refers to the internal use space of the building. It is closely related to the use function of the building. Although the form language of architecture seems more abstract and geometric, it aims to separate or contain the practicability of space. The spatial form of architecture must first meet the functional needs, in addition to meeting people’s aesthetic requirements. Engineering structure, technology, and materials will also more or less affect the form of architectural space.(3)
Differences in internal structureDue to the different sizes of sculptures and buildings, their internal structures are very different. The small scale and no internal space of the sculpture determine its flexibility. Most of the artist’s energy is spent on how to mount and carve the outside, and it can build the internal construction of carving at will. As long as it can support the work, it is enough. But buildings are much more complex. Although small-scale building models can also be simulated in the scheme deliberation and creation stage, due to mechanical and engineering factors, we cannot treat real buildings in the way of building models. For example, when building a model, the overhang of a cantilever beam may only depend on the strength of the model material itself, but its equal overhang in a real project needs much more complex calculation and node support.


## 3.1.1. Definition of Micro Nanoengraving Technology and Architectural Sculpture Art

Based on the concept of micro nanoart, we can understand that a work should be called micro nanocarving technology and architectural sculpture art works. It needs to meet two conditions: one is that the work is small in size, and the other is that the work has certain ornamental and artistic value [8].


## 3.1.2. Classification of Micro Nanocarving Technology and Architectural Sculpture Works of Art

Micro nanocarving technology and architectural sculpture art works can be classified from four levels, as shown in Table1:
(1)
AngleTable 1
Classification of works of art.
ScopeSequenceLevelWork classification1Angle2Production process3Size4Creative inevitabilityBased on the different perspectives of micro nanoengraving technology and architectural sculpture art works, we can divide them into two-dimensional works and three-dimensional works. The two-dimensional works are mainly patterns, which are carved on the surface of special materials. This kind of work carves symbolic patterns according to the thoughts and ideas that the creator wants to convey. It can only be viewed through microscopic observation instruments (such as atomic force microscope). The three-dimensional carving works are very three-dimensional, and the length, width, and height of the works are generally in microns or nanometers. It uses electron microscope imaging, and its works using three-dimensional engraving technology are often more lifelike than two-dimensional works. And the carving is more difficult than two-dimensional.(2)
Creative craftBased on the difference of micro nanoengraving technology and the creation process of architectural sculpture art works, we can be divided into traditional works and processed works [9]. Traditional works generally follow the ancient microcarving technology, as shown in Figure 1. These two works are carved on jade and needles. It is difficult to observe the specific content only with the naked eye. It needs the help of a general microscope, and the processed works have higher eyeballs than traditional works. It is not only unrecognizable by the naked eye but also cannot be clearly viewed by even a general microscope. It needs an electron microscope with high resolution. It also has high requirements for carving tools [10].
(3)
SizeFigure 1
Ancient miniature sculptures.Based on the different creation processes of micro nanocarving technology and architectural sculpture works, we can divide the works into different levels, as shown in Table2:Table 2
Different levels of classification of the size of engravings.
Classification levelOrdinal valueRankSize of work1Micron level2Nanometer level3100 micrometer level4100 nanometer levelThe traditional carving works that follow the ancient carving technology we mentioned are usually 100 micrometers or 100 nanometers. Although the size of some traditional works exceeds the hundred micro and nanolevel, and even reaches the millimeter level, if the engraving of the nuances of the whole work conforms to the hundred micro and nanolevel, we also call it the hundred micro and nanolevel engraving works. The processing works based on micro and nanotechnology include [11].
(4)
Inevitability of creationBased on the different inevitability of micro nanocarving technology and architectural sculpture art works, we can divide them into intentional works and unintentional works. As the name suggests, intentional works refer to works produced under the guidance of purpose [12]. The creation of many microcarving masters is just the microcarving creation under the premise of purpose, while the unintentional creation refers to the accidental discovery or exploration in research and work. This kind of creation often appears in laboratories that need micro observation. And its creation is in the form of works, as shown in Figure 2. These two pictures are wonderful patterns found on the tested object.Figure 2
Unintentional micro-engraving works.


## 3.1.3. Commonalities between Carving Technology and Architectural Sculpture Art

The emergence and development of carving technology and architectural sculpture art stem from human production activities. And it was directly influenced by religion, philosophy, and other social ideologies in various periods. These two-dimensional and three-dimensional art works are not only the crystallization of the times, thoughts, feelings, and aesthetic concepts but also an important record of the materialization of social development. To understand the relationship between the two, we must first explore the basis of their symbiotic relationship. We can elaborate from the following four aspects:(1)
Premise of functional requirementsWhen it comes to architecture or sculpture, we naturally classify them into the category of art and rarely notice that they are directly related to human survival. This starts with the essence of architecture and sculpture. In a narrow sense, the subject considered by architecture is centered on houses or buildings. Greek philosophers called architecture a shelter against wind and rain. French scholars summarized the essence and origin of architecture as the primitive man’s search for shelter, and called it the basic house.In fact, for human beings, architecture and sculpture are more important as necessities than luxury goods [13]. In other words, their emergence is inevitable. The first thing that human beings solve at birth is the problem of survival. When this problem is properly solved, they will care about spiritual things. Therefore, architecture and sculpture should not only meet human physiological needs but also meet human psychological needs [14]. First, we can produce and live as a tool, and then we can care about the beauty of the tool. The requirement from quantitative change to qualitative change is the development process of carving. Similarly, buildings first appeared in order to protect people from the wind and rain and against the dangerous nature. The first thing to solve is whether there are problems. When these basic requirements are met, people will care about the comfort and beauty of buildings, and then start to pursue things at the spiritual level [15]. People began to build spiritual dwellings and public buildings for God. It is a strange phenomenon that residential buildings have not changed much for thousands of years. The greatest contributor to the development of buildings is public buildings. It can be seen that after the basic survival requirements of mankind are met, more attention will be paid to ideology. Therefore, the basic value requirements of architecture and sculpture should be the same.
(2)
Aesthetic proposalThe understanding of geometric beauty of architectural form was described as early as the century BC. Later, influenced by the aesthetic thoughts of scholars, architects began to be particularly keen to reveal the mystery of Architectural Formal Beauty from the relationship between geometry and numbers. They use the superposition and change of geometric prototypes such as square, regular triangle, golden section ratio, and circle to shape a beautiful architectural form. The harmonious proportion of the human body is also the focus of the Greeks. Therefore, a large number of sculptures in ancient Greece are based on the beautiful human body to carve (Figure1) of gods. At the same time, they believe that the human body can be used as the measure of all things. Therefore, in their concept, in order to obtain the beauty of buildings, they must make the buildings have the proportional relationship and harmonious order in line with the beauty of human body.
(3)
Asylum in spiritual placesThrough the ages, people’s interest in nonpractical aspects and the labor paid for them have greatly exceeded the practical aspects. With the progress of human civilization and the improvement of material acquisition ability, sculpture and architecture show less and less demand for material functions. The expression of ideology, culture, and spiritual consciousness has become an important content. While sculpture and architecture have become the carrier of cultural expression, they have also become the sustenance of spiritual appeal. On the one hand, they show the materialization of human spiritual sustenance; on the other hand, they show the spiritual demand for beauty. As an important medium that leads the material world of architecture to the spiritual world of art, sculpture art with a long history has been changing people’s environment. It edifies people’s sentiment and stands there for a long time with buildings, witnessing the evolution of human material world and spiritual world.(4)
Subordinate relationship between sculpture and architectureFirst, sculptures are attached to buildings. In this case, sculpture can be regarded as a part of architecture, which cannot exist independently. Most of the time, it plays the role of decorative structure. Secondly, sculpture works can enter the architectural space environment. Sculptures in this situation can exist as independent works of art and show their own modeling beauty in the general environment of architecture.Most of the time, sculpture is the relationship between cooperation and obedience to architecture. From the perspective of practical needs, a large number of sculptures do belong to this category. However, if we only define these two majors as such a subordinate relationship, we underestimate the role of sculpture itself. It ignores the function of carving and weakens the subject consciousness of carving. In fact, the space effect that sculpture can convey is as important as architecture. Sculpture is not only the decoration and appendage of architecture but also the prototype of building space framework together with architecture. The two should have indivisible integrity. Putting aside the limitation of sculpture to talk about an architectural work is not in line with the consciousness of integration in the builder’s psychology. Architecture without carving aura is like a body without soul, which is also a kind of blasphemy to the architecture itself.In the classical period, sculpture was attached to architecture. However, in the modern landscape, it is difficult to say that some structures belong to sculpture or architecture. In the modern environment, the relationship between sculpture and architecture is complementary, interactive, and complementary. They have undoubtedly greatly enriched the form of place space. The combination of sculpture and architecture makes their design no longer isolated, and the integration of design techniques is closer. At the same time, it is of positive significance to the shaping of the whole environment.


## 3.1.4. Differences between Carving Technology and Architectural Sculpture Art

As two similar disciplines, architecture and sculpture have many similarities in characteristic forms and many differences in essential characteristics. It is these differences that lead to the independence of the two disciplines. In short, architecture is often restricted by function, science, technology, and other factors. Sculpture works can express space more freely. Their differences can be summarized as follows:(1)
Functional differencesArchitecture is a high unity of material and spirit, which is in the critical state of pragmatic beauty and artistic beauty. The consideration of function, beauty, and meaning of architecture covers a wide range. In architectural design, the layout of space streamline is very important. The layout of architectural functions has a great impact on the shape of buildings and even the internal space form. Therefore, the design of buildings must first comply with the functions they should have. This consideration is reflected in all stages of the design process. Whether it is the coordination with the base environment, the relationship between space or the organization of streamline, it directly affects the final form of expression of the building. Sculpture seems to be the opposite. The sculptor’s pursuit of higher cultural purity and beauty is a kind of sculptural work. It has a strong expressive force, highlighting the artist’s self-awareness and emotional expression. It is an effective supplement to the spatial framework on the premise of ensuring that its own has the most basic aesthetic effect. Its attention to beauty greatly exceeds its practicability.(2)
Spatial performance differenceSculpted space refers to the sculpted shape, while architectural space mainly refers to the internal use space of the building. It is closely related to the use function of the building. Although the form language of architecture seems more abstract and geometric, it aims to separate or contain the practicability of space. The spatial form of architecture must first meet the functional needs, in addition to meeting people’s aesthetic requirements. Engineering structure, technology, and materials will also more or less affect the form of architectural space.(3)
Differences in internal structureDue to the different sizes of sculptures and buildings, their internal structures are very different. The small scale and no internal space of the sculpture determine its flexibility. Most of the artist’s energy is spent on how to mount and carve the outside, and it can build the internal construction of carving at will. As long as it can support the work, it is enough. But buildings are much more complex. Although small-scale building models can also be simulated in the scheme deliberation and creation stage, due to mechanical and engineering factors, we cannot treat real buildings in the way of building models. For example, when building a model, the overhang of a cantilever beam may only depend on the strength of the model material itself, but its equal overhang in a real project needs much more complex calculation and node support.


## 3.2. Characteristics of Engraving Materials Based on Micro Nanotechnology

Micro nanotechnology has a wide range of applications. At present, it has given full play to its application value in many valuable fields, especially its optical properties have always been paid attention to by the research community. This paper mainly studies the optical properties of engraving materials for nanotechnology according to the principle of optical properties.Previous studies have shown that there are [16] in a wide range of light intensity:
(1)−dI=αIdx.The definitions of parameters in Formula (1) are shown in Table 3:Table 3
Interpretation of each parameter in the formula.
SequenceFormula parametersParaphrase1dIIncrement of light intensity2dxThickness of light passing vertically3αThe absorption coefficient of a substance4dThickness of light passing throughBy integrating with this formula, the light intensity after passing through the medium with thickness is obtained [17]:
(2)I=I0e−ad.I0 is the initial light intensity, which is called Lambert’s law.As an electromagnetic wave, the energy flux density of light is expressed by Poynting vector. Light intensity is the time average of energy flow density. For the convenience of calculation, the electric field and magnetic field are expressed as [18]:
(3)E⃑=12E⃑me−iωt+12E⃑m∗eiωt,H⃑=12H⃑me−iωt+12H⃑m∗eiωt.Plane simple harmonic wave [19]:
(4)H⃑mE⃑m=cε0ε¯.If it is taken, then [20]:
(5)I=1T∫0TE⃑×H⃑dt=14cε0ε∗−εE⃑2.It can also be expressed as [21]:
(6)I=12cε0nE⃑mE⃑m∗=12cε0nE⃑m2.If the wave vector direction is along thex axis, then [22]:
(7)E⃑m2=E⃑02e−2ωKx/c=E⃑02e−αx.So,(8)I=12cε0nE⃑02e−αx=I0e−αx.This is the law of solid light absorption, visible absorption coefficient [23]:
(9)α=2ωKc=4πKλ.Formula (9) shows that the free light coefficient also represents the absorption of light by a solid.After the semiconductor absorbs photons, it causes the planter excitation and increases the conductivity. The increased conductivity is called photoconductivity. This additional photoconductivity comes from the inter band transition of carriers or the excitation of impurities. The work done by light to photocurrent in unit time and unit volume is called optical power density, which is equal to:(10)W=J⃑×E⃑.<> means averaging the time. Using the complex forms of and above, we can get [24]:
(11)W=12ε0ωεiE⃑m2=12ε0ωxE⃑m2.It can be seen here that the imaginary part of the dielectric constant or the imaginary part of the polarizability is related to the free current.The absorptivity is defined as the ratio of absorbed energy to incident energy. When the light is vertically incident on a solid surface, the incident light intensity (i.e., average energy flow density) is, and the absorbed energy flow density is equal to the optical power density multiplied by the thickness, then [25]:
(12)A=ε0ωεidε0cnE⃑m2E⃑02=ωεidcne−αd.In air, when the film thickness is very small, ignoring the attenuation of amplitude after light flux, we get:(13)A≈ωεicnd=αd.The optical power and optical absorptivity can also be expressed as:(14)W=12σrE⃑m2.A≈σrdε0cn.α≈σrε0cn.When light shines on a solid, according to the conservation of energy, the relationship between absorptivity, reflectivity, and transmittance is:(15)A+R+T=1.From Michaelis formula:(16)H⃑=n¯ε0/μ0s⃑0×E⃑μ.s⃑0 is the unit vector of the wave vector. It defines the optical admittance of the medium as:
(17)Y=H⃑s⃑0×E⃑=n¯ε0/μ0μ.For medium, its optical admittance is:(18)Y=H⃑s⃑0×E⃑=n¯.The unit of optical admittance in formula (18) adopts free space admittance.The more common carving materials are zinc oxide and titanium dioxide, which are often used by carving artists because of their unique comprehensive properties, such as good chemical stability, low cost, nontoxic, high quantum efficiency, and redox ability. Titanium dioxide exists in many forms in nature. Its crystal structure is shown in Figure3:Figure 3
Carbon dioxide crystal structure.Zinc oxide also has a variety of morphologies, such as nanocomb, nanorod, nanohelix, nanobelt, nanowire, and nanocrystal. Its crystal structure is shown in Figure4:Figure 4
Zinc oxide crystal structure.The visible light absorption after doping two materials is shown in Figures5 and 6:Figure 5
Visible light absorption of doped zinc oxide.Figure 6
Visible light absorption of doped titanium dioxide.


## 4. Artistic Aesthetic Practice

This paper uses micro nanotechnology to create a sculpture sample and test its aesthetic practice. The general evaluation of works of art comes from two aspects: the general evaluation of works of art. That is the external evaluation and internal evaluation of the work. External evaluation includes whether the structural proportion of the work is uniform and whether the appearance is aesthetic. This is the most intuitive and basic evaluation index in aesthetic practice. In addition, it also includes the richness and unity of works. The external evaluation of works includes whether the works realize the unity of identification and creativity, practicability, and artistry. As the evaluation of aesthetic practice is affected by many factors, the evaluation method of this paper adopts the subjective evaluation method. Five sculpture artists were invited to evaluate the works of this article. The personal information of the five artists is shown in Table4. Then, this paper compares the evaluation results with the evaluation results of traditional sculpture works. The evaluation system is bit score system. The full score of each evaluation index is 10. The higher the score, the better the evaluation of the work. The evaluation results are shown in Figures 7–10.
(1)
Proportion and aesthetic evaluation of worksTable 4
Artist personal information.
SequenceAgeWorking timeartist 1215 yearsartist 23312 yearsartist 34521 yearsartist 43818 yearsartist 52710 yearsFigure 7
Proportion and aesthetic evaluation of works. (a) Proportion and aesthetic evaluation of the work in this article. (b) Proportion and aesthetic evaluation of traditional works.
(a)(b)Figure 8
Evaluation of the richness and unity of work. (a) The evaluation of the richness and unity of this work. (b) The evaluation of the richness and unity of traditional works.
(a)(b)Figure 9
Work recognition and creativity evaluation. (a) The identification and creativity evaluation of this work. (b) The identification and creativity evaluation of traditional works.
(a)(b)Figure 10
Practicality and artistic evaluation of works. (a) The practical and artistic evaluation of this work. (b) The practical and artistic evaluation of traditional works.
(a)(b)As can be seen from Figure7, the average overall score of the proportion of sculpture works created based on micro nanotechnology in the evaluation of six artists is about 8.46 points, and the average overall score of aesthetic feeling of works is 8.25 points. The average score of the proportion of works created in traditional crafts in the evaluation of six artists is about 8.20 points, and the average score of the overall aesthetic feeling of works is 8.11 points.
(2)
Evaluation of richness and unity of worksIt can be seen from Figure8 that the average overall score of the richness of the sculpture works created based on micro nanotechnology in the evaluation of six artists is about 7.79 points, and the average overall score of the unity of the works is 8.05 points. The average overall score of the richness of works created in traditional crafts in the evaluation of six artists is about 7.87 points, and the average overall score of the unity of works is 8.04 points.
(3)
Work identification and creative evaluationAs can be seen from Figure9, the average overall score of work identification of sculpture works created based on micro nanotechnology in the evaluation of six artists is about 8.44 points, and the average overall score of work creativity is 8.48 points. The average overall score of works created in traditional crafts in the evaluation of six artists is about 8.45 points, and the average overall score of works’ creativity is 8.30 points.
(4)
Practical and artistic evaluation of worksAs can be seen from Figure10, the sculpture works created based on micro nanotechnology in this paper have an average overall score of about 7.57 points for practicability and 8.25 points for artistry in the evaluation of six artists. The average value of the overall practical score of the works created in the traditional craft in the evaluation of the six artists is about 7.56 points, and the average value of the overall artistic score of the works is 8.17 points.


## 5. Discussion

By comparing the scores of micro nanosculpture works with traditional craft sculpture works, the following conclusions can be drawn:(1)
In terms of the proportion and aesthetic feeling of works, the overall average score of the proportion of sculpture works created based on micro nanotechnology is 0.26 points higher than that of sculpture works created under traditional technology. The overall average aesthetic score of the works in this paper is 0.14 points higher than that of the sculpture works created under the traditional technology. It shows that the sculpture works created in this paper are symmetrical in structure, uniform in proportion, and in line with public aesthetics(2)
At the level of richness and unity of works, the overall mean value of the richness score of sculpture works created based on micro nanotechnology is 0.08 points lower than that of sculpture works created under traditional technology. The overall average score of the unity of works in this paper is 0.01 higher than that of sculpture works created under traditional technology. It shows that the richness of the works created in this paper is weaker than the traditional craft works, but it has advantages in the overall unity of the works(3)
At the level of work identification and creativity, the difference between the overall average of the identification score of sculpture works created based on micro nanotechnology and the overall average of the identification score of sculpture works created under traditional technology is 0.01. The overall average score of the creativity of the works in this paper is 0.18 points higher than that of the sculpture works created under the traditional technology, which shows that the works created in this paper are generally recognizable. But it has high creativity(4)
At the level of practicability and artistry, the overall average score of the practicability of sculpture works created based on micro nanotechnology in this paper is 0.01 points higher than that of sculpture works created under traditional technology. The average score of traditional sculpture works is 0.08. It shows that the works created in this paper have high practicability and artistryThe whole comparative aesthetic practice data show that under the same conditions of other experiments, through the evaluation and test of different projects, the sculpture works created based on micro nanotechnology are superior in terms of proportion, beauty, unity, creativity, practicability, and artistry. And in terms of the richness and identification of the works, there is little gap between them and the works created based on traditional technology. It shows that the carving technology and architectural sculpture art based on micro nanotechnology have good application value and artistic value, which can promote the diversified development of the art market.


## 6. Conclusion

Since ancient times, sculpture technology and architectural sculpture art have been an indispensable part of art and culture in the process of human history. In order to make it sustainable, it needs to meet the characteristics of the times and innovate. Micro nanocarving technology and architectural sculpture art are the products of traditional art in the development of the times. Micro nanoengraving technology and architectural sculpture art are a composite creation process. It not only involves the subjective art field and art concept but also includes objective scientific theoretical knowledge, although the current stage of micro nanoart is not yet mature, and there are many inherent defects. With the diversified development of the art field and the continuous renewal of science and technology, especially under the background of the improvement and progress of nanoscience and technology, micro nanocarving technology and architectural sculpture art are bound to usher in a considerable future.Although this paper uses micro nanotechnology to deeply study the carving technology and the aesthetic practice of architectural sculpture, there are still many deficiencies. In the process of this study, the acquisition of aesthetic practice evaluation data is carried out under absolutely ideal conditions, and the integrity and effectiveness are not enough. It does not take into account some interference factors involved in the evaluation process. The depth and breadth of this research are not enough, the author’s academic level research is also limited, and the research on micro and nanotechnology is still in the preliminary stage. In the future work, it will study appropriate research translation methods and means from more angles according to the existing technology and level for the purpose of improving the research quality.



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