The fourth year of Tang Jinglong's reign was the last year of Tang Zhongzong's reign.
This year was in the turbulent era between the death of Wu Zetian and the prosperous period of Tang Kaiyuan.
Many ancient temples collapsed due to various reasons, but the Xingguo Temple tower has been preserved.
The Boye Xingguo Temple pagoda is a square, fifteen-story solid stone pagoda with dense eaves.
The stone pagoda is 7.51 meters high and is divided into three parts: the pagoda base, the pagoda body and the pagoda brake.
The base of the tower is 1.73 meters long and consists of three layers of ashlar.
The first floor of the tower is composed of three whole stones to form the tower chamber.
There is a gate on the south side of the tower room, with a guardian deity holding a sword on each side of the door.
On the north wall of the room are carved a Buddha and two disciples, as well as a pagoda legend with the words "Fourth Year of Jinglong" inside.
There are Buddha statues on the east and west walls of the room, as well as images of donors, and the names of the donors are also included in the inscriptions.
The second to fifteenth floors have dense eaves, and the eaves of each floor are made of stone in a stacked style.
Each layer is made of a piece of stone, the eaves are made of a piece of stone, stacked on top of each other, and the pagoda is made of a stone carved with orbs. It is a masterpiece of the Tang Dynasty stone pagoda.
In addition to ancient buildings, each piece of beautiful cultural relics can also allow viewers to appreciate the legacy of the Tang Dynasty.
For example, the Tang Dynasty Xing kiln white-glazed double fish ewer has a height of 21 cm and a diameter of 4.9 cm.
The fetus is white, delicate and dense, and the whole body is covered with white glaze. The edges of the mouth and feet are exposed, and the glaze color is white with blue flashes.
It is shaped like a pair of leaping fishes. The fish head is the mouth, neck and shoulders of the bottle, the body is the body of the bottle, and the tail is the foot of the bottle.
The mouth of the bottle is wide, the belly is flat and round, and the feet are pointed outward.
The body of the bottle is decorated with fish scale patterns, and double rows of fish fin patterns are piled on both sides. There are ring ties on the top and bottom, and holes in the circle feet for easy wearing and carrying.
This is definitely a portable kettle from the Tang Dynasty!
There were many classic porcelains like this in the Tang Dynasty.
Chen Wenzhe looked for classic but not well-known works and made a few of them at random.
When he first came to the factory, the Shuiyue Guanyin he saw was very good.
Of course, the Shuiyue Guanyin of the Song Dynasty is the most famous, but the contemporary ones are no less famous!
Because Buddhism became more prosperous starting from the Tang Dynasty.
Therefore, there is definitely no shortage of Buddhist statues from the Tang Dynasty, and there are all kinds of Buddha statues.
However, this time Chen Wenzhe was making porcelain sculptures, so he chose a white stone statue of the Bodhisattva Bodhisattva from the Tang Dynasty.
This standing statue is plump and round, with a graceful figure.
The neck is decorated with silkworm knot patterns, and he wears a necklace and a silk tie tied at the left chest.
Wearing a gorgeous and close-fitting long skirt with layered pleats, the skirt is covered with exquisite and gorgeous tassels, and she stands barefoot on the lotus platform.
Although he has no head and no arms, his body is slender and his waist is slightly tilted to the right, like a gently swinging willow branch. He is graceful and graceful, giving people a sense of grace, luxury, and elegance.
Hesitation Wenzhe's carving skills are now very good, so he will be more comfortable in making works such as sculptures and porcelain sculptures.
"I'm going to change my form!"
Having already made some three-color duck-shaped cups before, Chen Wenzhe was not satisfied with the monotonous image and wanted to make some other duck-shaped utensils.
The first thing he thought of was the three-color duck-shaped horn cup from the Tang Dynasty. There is such a cup in China.
It is a national second-class cultural relic and was unearthed from a Tang tomb in Chunrong Commune, Ning County.
The three-color duck-shaped handle and horn cup from the Tang Dynasty is 13 centimeters long and 6.4 centimeters in diameter.
This object is in the shape of a duck. The duck's eyes are wide open and the expression is alert. The spiral feathers are spread on both sides. The duck's tail is curled into a circle and connected with the duck's bill.
The entire cup is in the shape of a trumpet, with two lively ducklings standing quietly on both sides of the cup.
It is covered with three-color glaze, and the glaze color is pure. It is definitely a good thing.
After finishing this piece, Chen Wenzhe collected the materials and made a three-color duck-shaped cup imitating the Xing kiln.
This three-color duck-shaped cup from Xing kiln in the Tang Dynasty is shaped like a plump duck.
The duck looks back and stretches its neck, holding the lotus leaf-shaped cup in its mouth.
The oval duck belly is the cup body, and the inside of the belly is hollow. The duck's wings are spread out, like swimming.
Good three-color porcelain must have a hard and dense texture.
Then the three colors of yellow, green and brown are applied.
After it is made, the shape of the cup will be vivid and lifelike.
The Xing kiln three-color duck-shaped cup, which combines fun and practicality, is still a trend-setting artistic masterpiece today.
The Xing Kiln in the Tang Dynasty was a kiln that was more famous than the Gong Kiln. To be precise, the Xing Kiln was a kiln from the Sui Dynasty to the Five Dynasties period.
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The existing ruins are located in the hills and plains of the eastern foothills of Taihang Mountain within the jurisdiction of Xt City, Beihe Province and Lincheng County.
According to research, Xing kiln was first fired in the Northern Dynasties, declined in the Five Dynasties, and finally in the Yuan Dynasty. In the Tang Dynasty, it was one of the seven famous kilns in the porcelain industry and the earliest kiln to produce white porcelain in northern my country.
The unique porcelain making process and advanced firing technology pioneered by Xing Kiln are also important milestones in the history of Chinese ceramics.
Li Zhao of the Tang Dynasty wrote in the "Supplement to the History of the Country": "The white porcelain Ou in Neiqiu and the purple stone inkstone in Duanxi are used by everyone in the world, regardless of high or low."
The emergence of Xing kiln white porcelain products changed the situation in which celadon had always been the main product in my country, and ended the situation in which celadon had dominated the world since the Wei and Jin Dynasties.
In the Tang Dynasty, the scale of the kilns was so large that Xing kilns and Yue kilns were evenly matched, forming two major systems with southern green and northern white competing for beauty.
This laid the foundation for the rise of white porcelain and the development of colored porcelain after the Tang Dynasty.
The development of white porcelain started relatively late, but Xing kiln white porcelain had become very popular by the middle of the Tang Dynasty.
The white porcelain bowls unearthed from Tang tombs have white soil, as fine as pure mud, and a bright and clean glaze.
This can prove that Xing kiln white porcelain is also the top quality porcelain.
In addition to the Xing Kiln, the white porcelain produced in the Tang Dynasty was also produced in other producing areas with excellent texture and workmanship. The Xijiangzhou Kiln was also the center of white porcelain at that time.
The excavation of Tang Sancai made the Xing kiln site the third kiln site in my country where Tang Sancai was fired.
The tri-color glaze of the Tang Dynasty is generally yellow, green, and white (blue). Its development is from the single-color glaze (green) of the Han Dynasty to the yellow-green glaze of the Northern Dynasty and then to the tri-color glaze of the Tang Dynasty.
Three-color pottery makes clever use of changes in glaze color to achieve a rich and gorgeous decorative effect.
Tang Sancai was mainly made in Chang'an and Yangluo, and its shapes are also very colorful;
There are vivid and touching figures and animal figures, as well as models of houses and utensils.
Now we all know that blue color is rare among the Tang San colored glazes.
There are still some blue-glazed Tang Sancai works from Xing Kiln, such as a type of porcelain that Chen Wenzhe had always wanted to make but never made.
The three-color lying rabbit-shaped pillow from Xing kiln in the Tang Dynasty can also be regarded as a national treasure!
A three-color lying rabbit-shaped pillow from the Xing kiln of the Tang Dynasty was unearthed from Anxin County.
The pillow body is in the shape of a lying rabbit, with an oval pillow top supporting it.
The fat little rabbit lies on all fours on the ground, with its ears on its back and its eyes wide open. It is lively and cute.
The pillow surface is made of blue, with a blooming lotus carved in the center. The petals and flower core are painted in green, brown and blue respectively.
The whole body of the little rabbit is light green, and the glaze has fine openings.
The texture of the fetus is white and delicate, the glaze applied on the whole body is thick and moist, and the bottom of the fetus is leaky.
The discovery of this artifact has changed the industry's view on the blue-free glaze of Xing kiln, and has extremely high research value.
It is also because of this that Chen Wenzhe and others made Xing kiln porcelain, and it was also blue-glazed Tang Sancai. Naturally, it was the first thing that came to mind.