My system is not decent

After entering the Sui and Tang Dynasties, there was another huge breakthrough in the production of porcelain.

At that time, due to the progress of the glaze production process, the ceramics gradually showed a variety of colors.

Such as the yellow, green, and blue colors on the Tang Sancai, and the red, green, and brown colors on the Shachang Kiln underglaze color porcelain.

The color on ceramics had a great breakthrough in the Tang Dynasty.

Especially yellow has become one of the six main colors of Tang Sancai.

The six main colors of Tang University are generally referred to as yellow, green, white, brown, blue, and black.

The successful firing of so many colored glazes wiped away the blue and quiet hues of the previous ceramics, which were mainly green.

We are most familiar with the Tang Sancai, and among the Tang Sancai glazed pottery, the most famous one must be the camel carrying music figurines.

If the firing of this piece of ceramic can be successfully completed, then the mastery of various glaze colors will definitely be able to make great strides towards the threshold.

Tang Sancai figurines of camels carrying music are not simple. This Tang Sancai is 58 cm high and 43 cm long.

It is covered with blue, green, yellow and other monochromatic glazes.

The camel stands upright on the rectangular seat with its head held high, its mouth open and neighing.

The hunchback is covered with a lace round cushion on which a platform is built and covered with a carved blanket.

There are seven figurines of male musicians sitting cross-legged and facing outwards around the platform.

They are playing with sheng, pipa, panpipe, clapper, konghou, flute and flute in their hands, and there is a plump woman singing and dancing standing in the middle.

The entire Tang Sancai wares are novel in shape, huge in shape, strong in camels, rich in expression and lifelike in character.

In addition, the pottery sculpture art is exquisite and the colors are gorgeous, so it is known as the pressed scroll among the tri-colored figurines of the Tang Dynasty.

It can be said that on this pottery figurine, whether it is the shape, decoration, or glaze color, it has reached the peak level.

This tricolor camel-carrying musical figurine of the Tang Dynasty is exquisite in conception, exaggerated in shape, and meticulous in workmanship, full of artistic imagination and romantic atmosphere.

Artists of the Tang Dynasty set the stage on a hunchback in a romantic way, which can be described as unique ingenuity.

The characters in the whole work are vivid and vivid, even the camels appear calm and steady, as if marching slowly to the rhythm of music.

The terracotta figurines have clear eyebrows, different postures and focused expressions.

In particular, the terracotta figurines holding clappers are so lifelike as if they were intoxicated by the wonderful music.

Then there is the glaze color. The glaze color of this figurine is bright and beautiful, harmonious and natural, which can be called the best among Tang Sancai.

Although the glaze color on the work has fallen off in bits and pieces, its vivid and lifelike shape and harmonious proportions are still vivid.

The slightly dull glaze color is natural and soft, and the glaze is fine and uniform.

The raised and lifted feeling of the glaze is like the fine lines on the new leaves in early spring, which is both thin and clean.

It is because of this fine work that a large number of Tang Sancai fired during this period promoted the development of glazes of various colors.

The yellow-glazed ware of this period also began to differentiate.

One is low-temperature lead-glazed yellow-glazed pottery represented by Tang Sancai, and the other is high-temperature lime-glazed yellow-glazed porcelain represented by Shouzhou Kiln.

The production process of yellow-glazed porcelain is complex and complicated, but simple, for Chen Wenzhe, it is really simple.

Taking the Shouzhou kiln as an example, a layer of white make-up soil is applied on the blank body first, and then it is fired into the kiln to become a plain body;

After covering the plain body with yellow glaze, it is fired into the kiln again to make yellow glaze porcelain.

Shouzhou kiln was a famous yellow porcelain producing area in the Tang Dynasty, and its biggest feature is the yellow color of the porcelain.

The more classic porcelains include yellow-ground famille rose white butterfly gold-shaped cover bowls, which were made during the Tongzhi period of the Qing Dynasty and are now in the National Museum.

Of course, this piece of porcelain is more beautiful than that of the Tang Dynasty, but it is also a classic masterpiece of Shouzhou Kiln.

By the time of the Song Dynasty, yellow porcelain was obviously not favored by the mainstream of society.

Because the emperor's heart is elegant and he prefers beautiful and pure colors, there are Ru kiln and official kiln porcelain with colors such as "after the rain, the blue clouds break the place".

And similar colors like this kind of bright yellow and fried green are all regarded as vulgar by literati and doctors.

Therefore, although yellow porcelain did not disappear in the Song Dynasty, at best it was a song and dance show in the Spring Festival Gala, which belonged to the variety that supported the scene, and the main coffee and mainstream were not enough.

In the Yuan Dynasty, the fate of yellow-glazed porcelain was no better than that in the Song Dynasty, and the reason was also because of the goodness of the emperor.

Emperor Yuan Meng was born in a nomadic people, advocating the blue sky and white clouds, so in the Yuan Dynasty, blue and white porcelain skyrocketed and became the mainstream of porcelain color.

The yellow glazed porcelain still has no sense of existence.

Even so, yellow glazed porcelain did not give up on itself, but waited for the opportunity to erupt in obscurity.

Entering the Ming Dynasty, yellow-glazed porcelain finally ushered in the opportunity for a small universe to explode.

In the Yongle, Xuande, and Chenghua dynasties of the Ming Dynasty, yellow-glazed porcelain was fired, but the best quality is Hongzhi yellow-glazed porcelain.

The Hongzhi yellow glaze is pure in tone, just like the color of a newly bloomed sunflower, bright and delicate, and has reached the highest level of yellow glaze in history.

There are many representative works handed down from generation to generation, such as the plate with yellow ground and green color cloud and dragon pattern, which was produced during the Zhengde period of the Ming Dynasty and is now hidden in the National Museum.

There is also a yellow-glazed dish made during the Hongzhi period of the Ming Dynasty, which is now in the Capital Museum.

From this plate, we can see its firing level. This period is definitely the peak period of yellow glazed porcelain.

The shapes of Hongzhi yellow glaze are very rich, and bowls, plates, statues, and jars are common shapes.

Among them, the animal head statue is a representative utensil, and the shoulders of the statue are usually decorated with two animal heads.

The whole body of the utensils is covered with yellow glaze, and the glaze color is very pure.

This is a very famous sacrificial vessel in the Hongzhi period, and it was fired even in the Qing Dynasty.

Or the delicate yellow glaze plate handed down from the Hongzhi period of the Ming Dynasty is a typical utensil.

Its glaze color is delicate and lovely, yellow and bright like chicken oil, elegant and pleasant.

In addition to the transparent glaze on the bottom, the whole body is covered with yellow glaze, showing the highest production level of low-temperature yellow-glazed porcelain.

Judging from the large number of handed down products, the glaze color of the yellow glazed porcelain in Hongzhi Dynasty is almost the same, which shows that the firing process of yellow glazed porcelain was quite mature at that time.

Now that we are talking about the yellow-glazed porcelain of the Ming Dynasty, it is natural to mention Chenghua.

After all, yellow-glazed porcelain is the exclusive porcelain of ancient kings, and it is also the most strictly controlled glaze color.

When it comes to yellow glaze, one cannot fail to mention Shouzhou Kiln.

The earliest low-temperature yellow glaze appeared as early as the Han Dynasty, and the earliest high-temperature yellow glaze appeared as early as the Tang Dynasty.

The main workshops of these yellow-glazed porcelains are the porcelain kilns represented by Shouzhou kiln.

Shouzhou kiln, located in Huainan, my country, is a very famous ancient porcelain kiln in Tang Dynasty.

In Lu Yu's "The Classic of Tea", Shouzhou Kiln was also mentioned.

Shouzhou kiln is known for its yellow glazed porcelain.

The porcelain fired in this kiln has a thick carcass and a fine texture.

Especially yellow-glazed porcelain, the color is very elegant and transparent and smooth.

The glaze has small openings, the shape is dignified and magnificent, and the craftsmanship is exquisite.

This kind of glaze color, as the color used by emperors, is precisely because of its true yellow color.