For example, for the Ming Dynasty ritual utensils, there are ninety things for the third grade and above, sixty things for the fifth grade and above, and forty things for the ninth grade and above. The tall horse puppet is one foot tall.
The other music groups, servants, and other members of the group, as well as their dignity and uniforms, are also determined by their rank during their lifetime.
At the end of the early Tang Dynasty, the trend of lavish burials began to flourish.
From the prosperous Tang Dynasty to the middle and late Tang Dynasty, the trend of lavish burials became even more prevalent.
They carried Ming vessels through the streets, displayed at the tombs, played songs, dances, and music, stretched curtains, set up beds, made flowers and human figures, and offered food and drink to passers-by, almost like offering sacrifices.
Because the Tang Dynasty paid attention to the use of three-color ware as funerary objects, since the construction of the Nanhe-Bianluo Railway in the late Qing Dynasty, a large number of three-color ware and figurines have been excavated in Tang tombs in Mangshan and other places in the northern suburbs of Yangluo. .
Regardless of its shape and color application, Tang Sancai has a very high level of artistic craftsmanship. From material selection, shaping to mold turning and firing, it requires 72 processes.
Just talking about the selection of materials is very particular.
Tang Sancai was fired twice. The carcass before the first firing was made of crushed stone mixed with clay.
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If the stone is good, the fired body will be white and pure;
After glazing, it is fired a second time to make the color brighter.
Shaping is the ultimate test of craftsmanship.
For example, the three-color horse must be slightly longer than its height so that the overall lines are smooth;
The tail should be short to express muscle and strength.
The most important thing is the horse's head. The degree of crookedness of the neck and the angle of opening and closing of the mouth are all very particular.
If the difference is even a millimeter, the shape and spirit will be wrong.
A perfect Tang Sancai piece often comes from thousands of fragments.
The production process of Tang Sancai is very complex. First, the mined soil must be selected, spring pounded, washed, precipitated, dried, and then molded into a kiln for firing.
The firing adopts the secondary firing method. From the raw material point of view, its carcass is made of white clay.
After C bisque firing in the kiln, the baked bisque body is cooled, and then various prepared glazes are applied to the kiln for glaze firing.
Its firing temperature is about 800c.
In the glaze color, various oxidized metals are used as colorants, and various colors appear after calcining.
After the glaze is fired, some characters need to re-open their faces.
The so-called face opening means that the head of the character is not glazed. It has to go through the process of drawing eyebrows, dotting lips, and drawing hair, and then this Tang Sancai product is completed.
The production of Tang Sancai has a history of more than 1,300 years, and it draws on the characteristics of our country's traditional Chinese paintings, sculptures and other arts and crafts.
Therefore, the production process is complicated.
Finely processed kaolin is used as the body, and minerals containing copper, iron, cobalt, manganese, gold, etc. are used as colorants of the glaze, and an appropriate amount of lead smelting slag and lead ash are added to the glaze as additives.
The blank is first fired in a kiln. After the pottery is fired, it is then glazed and fired again in the kiln to about 800c.
Due to the strong fluidity of lead glaze, the glaze spreads and flows around during the firing process.
In this way, the various glazes infiltrate and blend with each other, forming natural, mottled and gorgeous colors.
It is important to note that Tang Sancai is a type of low-temperature lead-glazed pottery.
Different metal oxides are added to the 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 most of them are yellow, white, and green.
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It is mainly a colored glaze applied on the ceramic body, which undergoes chemical changes during the baking process.
The color glaze changes in intensity, infiltrates into each other, and is mottled. The colors are naturally coordinated and the patterns are smooth.
In the mutual reflection of colors, it shows its magnificent artistic charm.
Tang Sancai was used in burials and as underworld utensils because its texture was brittle and its waterproof performance was poor. Its practicality was far inferior to the celadon and white porcelain that had appeared at that time.
The basic forming methods of Tang Sancai include wheel making, molding, and sculpture.
On an object, several methods are often used in combination.
Wheel making is a method of making pottery using a wheeled cart.
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 there is a hub at the upper end to facilitate the rotation of the round wheel.
During operation, turn the round wheel to rotate smoothly, and use the rotation force of the wheel to pull the clay into the required shape with both hands.
The wheel-making method began in the late Dawenkou Culture of the Neolithic Age, and the utensils produced are regular in shape.
Daily utensils such as cups, plates, bowls, saucers, bottles, stoves, pots, cans, etc. are mostly wheel-shaped.
Molding is similar to the 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 closed mold.
The single mold is made by putting mud into a mold and then extruding it. This single mold is suitable for decorative decals and other small accessories on utensils.
The double mold is formed by pressing two half molds and then butting them together. The closed mold is suitable for daily utensils, household utensils, animals and more complex utensil components.
Sculpture molding is mostly suitable for large-scale vessels and complex vessels.
The production of a relatively complex three-color ware requires a variety of molding methods.
The characteristics of Tang Sancai can be summarized into three aspects, namely shape, glaze color, and texture. The place of origin is also one of the influencing factors. The first is shape.
In terms of shape, its shape is different from that of ordinary handicrafts, and it is also different from horses unearthed in other eras.
The shapes of Tang Sancai are rich and colorful, and can generally be divided into four categories: daily utensils, models, figures, and animals.
Most of them are animals, which may be related to the historical background at that time.
Especially horses, camels, etc., Chen Wenzhe had specially studied this before when he made Tang Sancai.
This time, he specialized in glaze color.
Because he made Doucai porcelain of the Ming Dynasty, he had an in-depth understanding of glaze colors.
In addition, he has made various single-color glaze porcelain before, so now he has made new discoveries about various glaze colors.
Tang Sancai can be said to be the work of art that uses the most glaze colors, besides the doucai porcelain of the later Ming Dynasty.
Therefore, one of the most special features of Tang Sancai is the glaze color.
What's so special about it? It can be said that no one has ever played with glazes in this way throughout the ages.
It can also be said that it is unprecedented and unprecedented!
It was the first time in the Tang Dynasty that three glaze colors of yellow, green and white were used simultaneously on a single utensil.
However, the craftsmen cleverly used the glazing method to interlace the three colors of yellow, green and white.
Then after firing at high temperature, the glaze color is poured and flowed to form a unique flow process.
After coming out of the kiln, the tricolor has changed into many colors.
It has primary colors, compound colors, and secondary colors.
What you can see in the finished product is a variety of mottled colors, which is the characteristic of Tang Sancai glaze.
The three-color tricolor objects of the Tang Dynasty are round and full in shape, which is consistent with the plump, healthy and broad characteristics of Tang Dynasty art.
The proportions of the three-color figures and animals are moderate, the shapes are natural, the lines are smooth, and they are lively.
Among the figurines, the warriors are muscular, with angry eyes and swords drawn;
The female figurines have high buns and wide sleeves. They stand slim, leisurely and elegant, and are very plump.
Most of the animals are horses and camels.
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Please remember the domain name of this book:.The Moral Record of the Mortician