My system is not decent

Chapter 1102

Up to now, it has been more than a hundred years since Yangluo imitated Tang Sancai in China.

Therefore, they have a complete industrial chain. If you want to make Tang Sancai, you can't go wrong to buy raw materials from them.

The reason why Chen Wenzhe still has to buy some necessary tools now is just because of the production process.

Therefore, he also needs the pottery carts used in ancient times to pull, sharpen and repair embryos, as well as some carving tools, molds, etc.

Because the production of Tang Sancai generally adopts sculpture first, then turn over the mold, then press the blank, and finally glue and assemble.

So, some tools are essential.

Of course, using tools, not all tools can be used.

Modern people imitate ancient ceramics, often in order to save costs, or save time and effort, the processes that can use modern tools are all replaced by machines.

And the antique porcelain produced in this way will not have the charm of ancient times, and there will even be some obvious traces of modern machines.

The ancient Tang Sancai makers were different. In many cases, they could not use the machines at all, so many specific traces were left on the works.

For example, because of the use of wheel making and kneading methods at the time of production, both figurines and utensils have left traces of these techniques.

Most of the figures and animals are molded in sections, and the blanks are pressed by hand and glued with clay.

The traces left by these processes are very obvious. If you carefully observe the treads inside the body of ancient three-color pottery, many of them have the fingerprints of Tang Dynasty craftsmen.

For example, oblate three-color utensils, such as flat pots, basically have butt joints and knife cut marks on the sides.

Another example is that bowls, jars, bottles, water injections, plates, bowls, etc. are made by the wheel method, and the small strings left in the production process are clearly visible.

The imitation products are different. Some of them adopt the grouting process, and there is no kneading and wheel system on the carcass of the utensils, as well as the molding mud sticking process.

This kind of production method is completely different from the real product, and the finished product feels lighter.

Of course, there are still many things to pay attention to.

For example, some round utensils are placed on the turntable after grouting or molding, and the rotation of the turntable is used to draw a series of wheel traces with tools.

But the string pattern looks unnatural.

Some of them are made by molding blanks similar to those in the Tang Dynasty, but after the combination, whether it is figures, animals or utensils, they all appear clumsy, with uncoordinated proportions and stiff lines.

Some are too meticulously crafted, superfluous, so that people can't feel the charm of the three-color painting in the Tang Dynasty.

Usually, the Tang Sancai figurines do not apply glaze to the skin that is not covered by clothing.

For example, the face, neck, and hands of the characters are generally painted.

Use black for hair, eyebrows, eyes, beards, scarves, etc., and vermilion for lips and cheeks.

The facial features and eyebrows of the characters are depicted in detail.

These paintings have gone through thousands of years, and the colors have become lighter and thinner, and have penetrated into the carcass.

The painted color of the imitation is bright and clear, it looks more floating, the lines drawn are not clean and neat, the expressions of the characters appear dull, and the brushwork used is often not in place, which is somewhat different from the real product.

Therefore, no matter what kind of Tang Sancai you make, you need to study and understand these details.

For example, to be a horse, one must understand the horses of the Tang Dynasty.

The three-colored horses of the Tang Dynasty were all tall and tall, with gorgeous Syandanas, and the ponytails were short and combed. They were known to be high-quality war horses at a glance.

During the Tang Dynasty, the countries in the Western Regions, Tupan, Turks, etc. all paid tribute to the Tang Dynasty or presented foreign horses of good breeds.

In 733 AD, a Uighur envoy drove back 1 prairie horses at one time.

At that time, Tang Taizong still bought 6000 horses when the country's finances were tight.

Due to the influx of foreign horses, the breeds of Tang Dynasty horses have been improved, so that we can see the legacy of Tang horses from the unearthed Yang Sancai horses.

He has a healthy body and strong bones. The horse mane is trimmed into the "official look" popular at that time, and the horse ornaments are also very beautiful.

The craftsmen vividly depicted the majestic momentum of the horse and the posture before galloping away. Such a three-color horse can also be said to be the embodiment of the national strength of the Tang Dynasty.

In the Tang Dynasty, especially in the heyday of the Tang Dynasty, people at that time regarded fat as beautiful.

Therefore, when shaping the figurines of characters, we also need to pay attention.

Concubine Yang Gui, who once made the "six palaces of pink and black colorless", is a fat beauty.

The female figurines in Tang Sancai are a reflection of the humanistic spirit in the heyday of Tang Dynasty.

The maids made in this period have faces like a full moon, plump and chubby, but still delicate inside.

The ancients described the beauties of the Tang Dynasty as having abundant muscles and delicate bones, which is more appropriate.

Wearing a long yellow dress was a popular fashion during the Kaiyuan Tianbao period.

To make terracotta figurines, by the way, make some female figurines on horseback, that is, by the way.

In addition, there are female figurines holding dogs and female figurines playing music. These are undoubtedly a true portrayal of the humanistic life and women's status in the Tang Dynasty.

The pictures were drawn, and several pictures were drawn at one time. There were pictures of horses and camels, and others were horse riding, hugging dogs, playing maids and so on.

After the design drawing is completed, the mud needs to be processed first.

The production process of Tang Sancai begins with the selection and processing of tire materials.

And the best mud must be the ore from Yangluo.

Most of the Tang Sancai unearthed there are made of relatively pure kaolin, which is produced around Yangluo.

This kind of soil is relatively delicate, has strong plasticity, and is not easy to crack and deform after forming. It is an excellent material for making various pottery.

Naturally, Chen Wenzhe would not let go of this kind of material. You must know that imitating Tang Sancai is not a matter of a day or two.

Recently, he has started to make Ru kiln porcelain, then monochrome glazed chrysanthemum petal dish, and then enamel color and green glazed porcelain. The production of this series of porcelain is very labor-intensive.

Therefore, when all kinds of raw materials are collected, Chen Wenzhe's imitation work can almost officially start.

The carefully mined pottery clay has to be carefully screened before being made.

After washing, settling, and drying, the clay will reveal its original appearance.

Next, there are more technical things.

The tongue is the most sensitive organ of the human sense of touch, and if you want to judge whether the soil is fine enough, tasting it may be the best way.

This is not unconventional, but a real need.

High-end porcelain and pottery require very fine soil.

In ancient times, if it was not crushed by modern machines, fine tire mud was difficult to obtain.

When making Ru kiln celadon before, one of the important reasons why there were no large vessels was that the Ru kiln clay could not reach a certain degree of fineness and purity.

Therefore, many modern technologies can already save us a lot of time.

The most important thing is that we can easily make things that were difficult to make in ancient crafts.

(End of this chapter)