For example, the three-colored horses unearthed from Yangluo tombs have various glaze colors applied to different parts.
The body of the horse is black, the head, mane, tail and hooves are white, the saddle is green, yellow and white, and the leather belt is white.
The whole horse is decorated with noble and gorgeous glazes and decals, and is full of energy.
The dot dyeing and melting color method is to use dots, ribbons and color blocks to configure, coordinate and flow various glaze colors to form a picture of different sizes, different shades, empty and solid, and mottled, which is bright and rich.
Elegant and hazy beauty.
There are two types of colored dots: shallow bottom, deep dots, and dark bottom, shallow dots.
Light base and deep dots are applied on plain or light-colored base glaze with glaze dots of the same size or different sizes, arranged neatly or scattered naturally;
The dark base and shallow dots are left blank through a special process, using the method of applying wax or grease. First, use wax to make scattered or neatly arranged dots of different sizes, and then hang the glaze.
During firing, the glaze on the wax-coated area spreads to form ethereal white patterns.
Colored ribbons are made by using various glazes to draw colored strips on the utensils, or dotting the upper part of the utensils with glaze color, and then melting them at high temperature to form strips of colored ribbons from top to bottom.
Due to the unevenness and ups and downs of the surface of the vessel, as well as the thickness and thinness of the glaze, this kind of colored ribbon can saturate and flow at will, forming unpredictable and natural vertical stripes.
This method of vertical flow blending is widely used in Xishan Sancai, but less commonly used in Nanhe Sancai.
Color blocks are arbitrarily painted on the utensils in different colors. Due to the flow and blending of glaze colors, a picture is formed that is as bright as sunset and as changing as clouds and mist.
This is the most commonly used method on tricolor vessels.
The method of adding color and gilding can be divided into two methods: partial plain painting and overglaze painting and gilding.
Generally, the heads of the figurines are not glazed. The figures' facial features and hats are painted on the plain body with colors such as vermilion, black, and ocher, and some are also gilded. This is the partial painting of the plain body and gilding.
Compared with glaze, color painting can depict the character's facial features in detail.
Different treatments can also be done according to the identities and characteristics of different characters to make the figurines have strong personalities.
Therefore, during the period when Sancai was popular, the method of painting was still used on the heads of figurines.
Overglaze painting and gilding is a method of partially painting and gilding on the glaze, which can make up for some deficiencies in the expressive ability of the three-color glaze.
After painting, the characters' clothing and animal shapes are emphasized, and the gold gilding adds a luxurious effect.
After the three-color technology was fully mature, some figurines still used this method.
For example, for the figurines of heavenly kings or warriors, a thin layer of glaze is applied all over the body, and then the clothes, facial features, and armor parts are painted with gold.
Some of the tomb-suppressing beasts unearthed from Tang tombs are dripping with color, and their flame-like wings are covered with gold to enhance the effect.
[Tomb Suppressing Beast] A mythical beast imagined by the ancients to suppress evil and exorcise evil, placed at the entrance to the tomb.
It appeared in the Han Dynasty and became popular after the Southern and Northern Dynasties.
It combines the images of various animals with a ferocious appearance.
Its function is to prevent demons and ghosts from intruding the soul of the tomb owner, and to deter and intimidate tomb robbers.
To sum up, there are only a few specific methods of glazing.
For example, if you want to cast the method randomly, first apply a layer of white base glaze to the object.
Then dip the brush into other colored glazes or dot on the white glaze.
Or sprinkle it on the white glaze like raindrops, or apply it intermittently from top to bottom, like broken pearls flowing freely.
After roasting, it is flowed to form an artistic picture with appropriate density.
In the fixed glazing method, each color of glaze is drawn into diagonal lines with a brush, so that these diagonal lines form a unit pattern.
There are mesh, format, and diamond shapes in each unit, which divide the utensils into several sections.
Apply a variety of glazes such as white glaze, red glaze, strip glaze, or green glaze.
It forms a very melodic pattern to achieve a beautiful artistic effect, making the glaze color bright and gorgeous.
The local stripe fixed application method makes full use of the fluidity of lead glaze, and adds continuous red stripes of white dot strip glaze to the main color, and occasionally white red heart plum blossom patterns.
During the high-temperature firing, the glaze layer melts and the colored dots flow from top to bottom into strips of colored ribbons.
These colorful ribbons are immersed and flowed at will, forming naturally changing and extremely gorgeous patterns.
The method of adding color to the decal is to add white to the ground color of the object, and apply the decal part with a blue border and a red heart, or a green border and a red heart, a red border and a blue heart, a red border and a green heart, etc.
After high-temperature baking, the glaze flows naturally, forming a waterfall-like artistic effect, which is beautiful and spectacular.
The printing and filling method is to depict flowing clouds, lotus leaves, and cranes in the middle of the plate.
Generally speaking, the ground glaze is applied with white or other dull colors, and the printed part is filled with color.
This kind of decorative technique breaks through the limitations of daily utensils, and has profound artistic conception and makes people daydream.
Although the plate is not big, the crane in the plate seems to be flying in the infinite sky with colorful clouds.
In the patch glazing method, generally, one glaze color is used for glazing the entire vessel.
Before applying the glaze, a special glaze is used to create patches on the surface of the object.
Then fill in the empty space with a light color or white.
After high-temperature baking, the glaze color in the plaques fully flows, forming beautiful lines, which are natural, harmonious, and beautiful.
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Such as the classic work passed down, the piebald whistling horse.
This glaze application method is commonly used on daily utensils.
First, the mouth and feet of the utensil are glazed with a single color.
The decals on the objects are glazed using a very regular multi-color method.
The rest of the open space is glazed with a variety of glazes randomly staggered.
In this way, it will form a beautiful, natural and harmonious artistic effect after roasting.
The flower customization method uses a special high-temperature-resistant glaze to arrange and combine floral patterns on the surface of the object.
Because this kind of glaze is fired at high temperature, the glaze surface will not flow, and then the blank space around the flowers is filled with other colored glazes.
But the thickness must be moderate and its fluidity should be reduced as much as possible.
After baking, the patterns are neat, exquisite and lifelike, like a green glazed plum blossom jar.
Generally speaking, it is not easy to imitate Tang Sancai!
After all, there are too many types of Tang Sancai. Tang Sancai is a general term for pottery excavated from Tang tombs. Later, scholars regarded it as a term for ceramic classification.
Tang Sancai does not specifically refer to those three colors. On the various pottery figurines, pottery statues, and other pottery excavated from Tang tombs, some only have a single color or two colors. There are many utensils, but they have unique characteristics. More complex colorful colors.
Generally speaking, in addition to the white ground of the carcass, the three colors of lead, yellow, green and cyan are the most common.
Three-color ware can represent various utensils used in practical life in the Tang Dynasty.
In other words, any item in daily life can be made into Tang Sancai.
Among these artifacts, the form of social life at that time has been completely presented.
From this, it is known that the shape and quantity of the burial vessels and other objects were determined according to the official rank and family status of the person buried in the tomb.
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Please remember the domain name of this book:.The Moral Record of the Mortician