My system is not decent

Chapter 1599
For example, in the making of Ming ware in the Tang Dynasty, there are ninety things above the third grade, sixty things above the fifth grade, and forty things above the ninth grade.The horse puppet is one foot tall.

Other music groups, the genus of the servants, and the prestige uniforms are also determined according to their ranks during their lifetime.

At the end of the early Tang Dynasty, the style of thick burials began to flourish.

Later, from the heyday of the Tang Dynasty to the middle and late Tang Dynasty, the trend of lavish burials became more and more serious.

Walking along the streets with bright utensils, at Chen's tomb, singing, dancing and music are played, curtains are drawn, beds are set up, flowers, human figures, and food are given to passers-by, almost like sacrifices.

Because the Tang Dynasty paid attention to the use of three-color Mingware as funerary objects, so since the construction of the Nanhe Bianluo Railway in the late Qing Dynasty, a large number of three-colored wares and figurines have been excavated in Tang tombs in Mangshan, the northern suburb of Yangluo, and other places. .

Regardless of its shape and color, Tang Sancai has a very high level of artistic craftsmanship. From material selection, shaping to mold turning and firing, there are 72 processes.

Just talking about the selection of materials is very particular.

Tang Sancai is fired twice, and the carcass before the first firing is made of crushed stone mixed with clay.

If the stone material is good, the fired plain tire will be white and clean;

After glazing, a second firing is carried out to brighten the color.

Shaping, the most test of craftsmanship.

For example, a three-color horse should be slightly longer than its height so that the overall lines are smooth;

The tail should be short to reflect the sense of muscle and strength.

The most important thing is the horse's head, the degree of crooked neck, and the angle of opening and closing of the mouth.

If it's a hair's breadth away, the form and spirit will be wrong.

A perfect Tang Sancai often comes from thousands of fragments.

The production process of Tang Sancai is very complicated. First of all, the mined ore soil must be selected, pounded, washed, precipitated, and dried, and then it will be made into a mold and fired in a kiln.

The firing method is the double firing method. From the perspective of raw materials, its carcass is made of white clay.

After biscuit firing at 1000-1100°C in the kiln, the baked plain tire is cooled, and then various prepared glazes are applied to the kiln for glaze firing.

Its firing temperature is about 800°C.

In the glaze color, various oxidized metals are used as coloring agents, and various colors are presented after calcination.

After the glaze is fired, some characters need to open their faces again.

The so-called open face means that the head of the character is not glazed. It has to go through the process of thrush, lip and hair, and then this product of Tang Sancai is completed.

The production of Tang Sancai has a history of more than 1300 years. It has absorbed the characteristics of Chinese traditional arts and crafts such as painting and sculpture.

Therefore, the manufacturing process is complicated.

Finely processed kaolin is used as the green body, copper, iron, cobalt, manganese, gold and other minerals are used as the colorant of the glaze, and an appropriate amount of lead smelting slag and lead ash are added to the glaze as additives.

Firstly, the biscuit is baked in the kiln, and after the pottery is fired, it is then glazed, and it is fired in the kiln again to about 800°C.

Due to the strong fluidity of lead glaze, the glaze spreads and flows around during the firing process.

In this way, the glazes of various colors infiltrate and blend with each other to form natural and mottled brilliant colors.

It is worth noting that Tang Sancai is a low-temperature lead-glazed pottery.

Different metal oxides are added to the colored glaze, and after roasting, various colors such as light yellow, ocher yellow, light green, dark green, sky blue, brown red, eggplant purple, etc. are formed, but yellow, white and green are mostly used as the main colors. host.

It is mainly the colored glaze coated on the pottery blank, which undergoes chemical changes during the baking process.

The color glaze changes in shade, infiltrates each other, mottled and dripping, the colors are naturally coordinated, and the patterns are smooth.

In the mutual reflection of colors, it shows a magnificent and magnificent artistic charm.

Tang Sancai was used for burial, as a ghost vessel, because of its brittle texture and poor waterproof performance, its practicability was far inferior to that of celadon and white porcelain that had appeared at that time.

The basic forming methods of Tang Sancai include wheel making, molding and sculpture.

On a utensil, several methods are often used in combination.

Wheel making is a method of making ceramics with wheeled carts.

The main component is a wooden round wheel with a vertical shaft under the wheel. The lower end of the vertical shaft is buried in the soil, and the upper end has a hinge to facilitate the rotation of the round wheel.

During operation, turn the round wheel to make it rotate smoothly, and use the rotating force of the wheel car to pull the mud into the desired shape with both hands.

The wheel-making method began in the late Dawenkou Culture of the Neolithic Age, and the utensils produced were regular in shape.

Cups, plates, bowls, saucers, bottles, stoves, pots, cans, etc. in daily utensils are mostly made of wheels.

Molding is similar to the manual extrusion method in modern ceramic manufacturing.

It is mostly used to make small items with simple shapes.

Molding is divided into two types: single mold and combined mold.

The single mold is made by putting the mud into the mold and extruding it. This single mold is suitable for decorative decals and other small accessories on the utensils.

The double mold is formed by pressing two half molds and then butting them. The mold clamping is suitable for living utensils, servants, animals and more complicated utensil components.

Sculpture molding is mostly suitable for large servants and complicated utensils.

The production of a relatively complicated three-color ware requires the use of various molding methods.

The characteristics of Tang Sancai can be summarized into three aspects, namely, shape, glaze color, tire quality, and place of origin are also one of the influencing factors. The first is shape.

In terms of shape, its shape is different from that of general handicrafts, and also different from horses unearthed in other eras.

The shapes of Tang Sancai are rich and colorful, which can be generally divided into four categories: living utensils, models, figures, and animals.

Among them, most of them are animals, which may be related to the background of the times at that time.

Especially horses, camels, etc., which Chen Wenzhe specially studied when he was making Tang Sancai.

This time, he specialized in glaze color.

Because of making Ming Dynasty fighting color porcelain, he has a deep understanding of glaze color.

In addition, he has made various monochromatic glazed porcelains before, so now he has new discoveries about various glazed colors.

The Tang Sancai can be said to be the artwork that uses the most glazes besides the fighting color porcelain of the Ming Dynasty in later generations.

Therefore, one of the most special characteristics of Tang Sancai is the glaze color.

Where is it special?It can be said that in the past dynasties, no one has ever played with glazes like this.

It can also be said that there is no one before and no one after!
As a utensil, three glaze colors of yellow, green and white were used at the same time, which was the first time in the Tang Dynasty.

However, the craftsmen cleverly used the method of glazing to make the three colors of yellow, green and white used alternately and intermittently.

Then after high-temperature firing, the glaze color is poured and melted to form a unique flowing process.

After leaving the kiln, the three-colored pottery becomes many colors.

It has primary color, double color and mixed color.

What can be seen in the finished product is a variety of mottled colors, which are the characteristics of the glaze color of Tang Sancai.

Tang Sancai utensils are round and plump in shape, which is consistent with the plump, healthy and broad features of Tang Dynasty art.

The three-color characters and animals have a moderate proportion, natural shape, smooth lines, and lively.

Among the terracotta figures, the warriors are muscular, with angry eyes and swords drawn;
The female figurines are tall and wide-sleeved, slim, leisurely and elegant, and very plump.

Most animals are horses and camels.

(End of this chapter)