My system is not decent

The fourth year of Tang Jinglong was the last year of Tang Zhongzong's reign.

This year was in the turbulent era between the death of Wu Zetian and the prosperity of Tang Kaiyuan.

Many ancient temples collapsed due to various reasons, but the tower of Xingguo Temple remained.

The pagoda of Boye Xingguo Temple is a square, [-]-story solid stone pagoda with dense eaves.

The stone tower is 7.51 meters high and is divided into three parts: the tower base, the tower body and the tower brake.

The base of the tower is 1.73 meters long and consists of three layers of ashlar.

The first floor of the tower body is composed of three whole stones to form a tower chamber.

On the south side of the tower room, there is a coupon door, with a guardian god holding a sword on the left and right sides of the door.

On the north wall of the room, one Buddha and two disciples are engraved, and there are also pagoda records, with the words "Jinglong four years" inside.

There are Buddha statues on the east and west walls of the room, as well as statues of donors, and the names of the donors are engraved in the inscriptions.

The second to No.15 floors are dense eaves, and the eaves on each floor are made of stone withered into a stacked style.

Each layer is a piece of stone, the eaves are a piece of stone, overlapping each other, and the pagoda brake is a stone withered orb, which is a masterpiece of stone pagodas in the Tang Dynasty.

In addition to ancient buildings, pieces of beautiful cultural relics can also allow viewers to appreciate the legacy of the Tang Dynasty.

For example, the Xing Kiln white-glazed double-fish wearing belt pot of the Tang Dynasty. This porcelain pot is 21 cm high and 4.9 cm in diameter.

The fetus is white, delicate and dense, and the whole body is covered with white glaze. The mouth and feet are exposed, and the glaze color is white and blue.

It is shaped like a pair of fish jumping up. The head of the fish is the mouth, neck and shoulders of the bottle, the body is the body of the bottle, and the tail is the ring foot of the bottle.

The mouth of the bottle is extravagant, the abdomen is flat and round, and the ring feet are slanted outward.

The body of the bottle is decorated with fish scale patterns, double rows of fish fin patterns are piled up on both sides, and there are rings on the top and bottom, with holes in the ring feet, which is convenient for wearing and carrying.

This is the portable kettle of the Tang Dynasty!

There are still many classic porcelains like this in the Tang Dynasty.

Chen Wenzhe looked for those 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 in the Song Dynasty is the most famous, but the contemporary ones are not far behind!

Because Buddhism has become more prosperous since the Tang Dynasty.

Therefore, there must be no shortage of Buddha statues in the Tang Dynasty, and there are all kinds of Buddha statues.

It's just that this time Chen Wenzhe made porcelain sculptures, so he chose the standing statue of the Bodhisattva with white stones in Tang Dynasty.

This statue is plump and round, with a graceful figure.

The neck is decorated with silkworm knot patterns, necklaces are worn, and silk is tied to the left chest.

The lower body is dressed in a rich and close-fitting long skirt with layered folds, and the skirt is covered with exquisite and gorgeous tassels, standing barefoot on the lotus platform.

Although there is no head and arm, but the body is slender, the waist leaning slightly to the right, like a gently swinging willow branch, graceful and graceful, giving people a feeling of elegance, luxury, and elegance.

Hesitating Wenzhe's carving technique is now very advanced, so he will be more handy in making such works like sculptures and porcelain sculptures.

"It's time to change shape!"

Having made some three-color duck-shaped cups before, Chen Wenzhe was not satisfied with the monotonous image and thought about making other duck-shaped cups.

The first thing he thought of was the three-color duck-shaped cup with a handle and horn in the Tang Dynasty. There is such a cup in China.

It is a national second-class cultural relic, unearthed from the Tang tomb in Chunrong Commune, Ning County.

The Tang Dynasty three-color duck-shaped cup with a handle and horn is 13 centimeters long and 6.4 centimeters in diameter.

This utensil is in the shape of a duck. The duck's eyes are wide open and its expression is alert. The spiral feathers are spread on both sides, and the duck's tail is curled into a circle to connect with the duck's mouth.

The whole cup is trumpet-shaped, and there are two lively ducklings standing on both sides of the cup.

It is covered with three-color glaze, 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 of the Tang Dynasty is shaped like a plump duck.

The duck looks back and stretches its neck, holding the mouth of the lotus leaf-shaped cup.

The oval duck belly is the body of the cup, the belly is hollow, and the duck's wings are spread out, like swimming.

Good three-color porcelain must be hard and dense.

After that, the three colors of yellow, green and brown are applied.

After being made, the shape of the cup is vivid and lifelike.

The three-color duck-shaped cup of Xing Kiln, which combines fun and practicality, is still a trend-setting art top grade today.

The Xing Kiln in the Tang Dynasty was a kiln mouth that was even more famous than the Gong Kiln. To be precise, the Xing Kiln was a kiln from the Sui Dynasty to the Five Dynasties period.

The existing ruins are located in the hills and plains at the eastern foot of Taihang Mountain in the two counties of Neiqiu and Lincheng under the jurisdiction of Xt City, Beihe Province.

According to textual research, Xing Kiln started firing in the Northern Dynasties, declined in the Five Dynasties, and finally Yuan Dynasty. In the Tang Dynasty, it was one of the seven famous kilns in the porcelain industry, and it was also the earliest kiln for firing white porcelain in northern my country.

The unique porcelain making technology 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 "National History Supplement": "The white porcelain Ou in Neiqiu and the purple stone inkstone in Duanxi are common to all in the world."

The emergence of Xing kiln white porcelain products changed the situation that celadon was the mainstay in my country, and ended the situation in which celadon dominated the world since the Wei and Jin Dynasties.

In the Tang Dynasty, the scale was formed, so that the Xing kiln and the Yue kiln were evenly divided, forming two systems of southern green and northern white, which competed with each other 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 was very popular in the middle of Tang Dynasty.

The white porcelain bowls unearthed from Tang tombs have white and clean soil, as fine as clear mud, and bright and clean glaze.

Based on this, it can be proved that Xing kiln white porcelain is also the top grade of porcelain.

In addition to the Xing kiln, the white porcelain produced in Tang Dynasty was also produced in other places with better texture and workmanship. 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 for firing Tang Sancai in my country.

Tang Sancai is generally yellow, green and white (blue), and its development is from the monochromatic glaze (green) of the Han Dynasty to the yellow glaze green of the Northern Dynasty to Tang Sancai.

Three-color pottery skillfully utilizes the change of glaze color to achieve a gorgeous decorative effect.

Tang Sancai was baked mainly in Chang'an and Yangluo, and the shapes are also very colorful;

There are vivid and touching figures and animals, as well as models of house utensils.

Now we all know that the blue color in the colored glaze of Tang San is relatively rare.

There are still some blue-glazed Tang Sancai works of Xing Kiln, such as a variety of porcelain that Chen Wenzhe had always wanted to make, but never made.

The three-color lying rabbit-shaped pillow of Xing Kiln in the Tang Dynasty is also a national treasure!

A three-color lying rabbit-shaped pillow from the Xing Kiln of the Tang Dynasty, unearthed in Anxin County.

The pillow body is in the shape of a reclining rabbit, with an oval pillow surface on it.

The obese little rabbit is on all fours, with ears sticking to the back, eyes wide open, lively and cute.

The pillow surface is blue, with a blooming lotus flower engraved in the center, and the petals and flower core are painted and dyed in green, brown and blue respectively.

The whole body of the little rabbit is light green, and the glaze surface has fine and dense openings.

The fetus is white and delicate, the glaze applied to the whole body is thick and moist, and the bottom is leaking.

The excavation of this artifact has changed the industry's view on the lack of blue glaze in Xing kiln, and it has extremely high research value.

It is also because of this that Chen Wenzhe and others made Xing kiln porcelain, and it was blue-glazed Tang Sancai. Naturally, it was the first thing that came to mind.