My system is not decent

For example, a three-color horse was unearthed from Yangluo tombs, and various glaze colors were applied to different parts.

The body of the horse is black, the head, mane, tail and hooves are all 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 appliqués.

The dot-dyeing and color-melting method is to arrange, coordinate and flow various glaze colors through dots, ribbons and color blocks to form pictures of different sizes, different shades, virtual and real, mottled and mottled. Elegant hazy beauty.

There are two kinds of colored dots: shallow bottom and deep dot and deep bottom and shallow dot.

The shallow bottom and deep spots are painted with glaze spots of the same size or different sizes on the plain tire or light-colored bottom glaze, arranged neatly or scattered naturally;

The deep and shallow dots are left blank through a special process, using wax or grease. First use the wax to make dots of different sizes scattered or arranged neatly, and then hang the glaze.

When firing, the glaze color on the waxed part will smear and form white markings that seem to be empty and solid.

Colored ribbons are colored stripes drawn on objects with various glazes, or glazed on the upper part of objects, and melted at high temperature to form a strip of colored ribbons from top to bottom.

Due to the unevenness and undulation of the surface of the vessel, the thickness and thinness of the glaze color, this kind of colored ribbon can soak and flow at will, forming unpredictable and natural vertical stripes.

This method of vertical flow blending is widely used in Xishan Sancai, but it is less used in Nanhe Sancai.

The color blocks are painted in different colors on the utensils arbitrarily. Due to the flow and blending of the glaze colors, it forms a picture as bright as the sunset and as changing as the clouds.

This is the most widely used method on three-color vessels.

The method of adding color and pasting gold can be divided into two methods: partial plain tire painting and overglaze painting and pasting gold.

The heads of terracotta figurines are generally not glazed, and the facial features and hat decorations of the figures are painted on the plain bodies with colors such as vermilion, black, and ochre, and some are even pasted with gold.

Compared with glaze color, color painting can depict the male, eyebrow and facial features of characters in a nuanced manner.

It can also be treated differently according to the identity characteristics of different characters, so that the figurines have a strong personality.

Therefore, during the period when the three colors were in vogue, the method of painting was still used on the heads of figurines.

Pasting gold on glaze painting is a method of pasting gold on partial painting on glaze, which can make up for some shortcomings in the expressive ability of three-color glaze.

After painting, the costumes of the characters and the shapes of animals can be emphasized, and the gold paste adds a luxurious effect.

After the three-color technique is fully mature, some figurines still use this method.

For example, the figurines of heavenly kings or warriors are covered with a thin layer of glaze, and then the clothes, facial features are painted with colored paint, and the armor parts are pasted with gold.

Some tomb-suppressing beasts unearthed from Tang tombs are dripping in color, and gold is pasted on the flame-like wings of the beasts to enhance the effect.

【Tomb-Suppressing Beast】The mythical beast that suppresses evil and exorcises evil imagined by the ancients is placed at the entrance of the tomb.

It appeared in the Han Dynasty and became popular after the Northern and Southern Dynasties.

It combines the images of many kinds of animals with ferocious faces.

Its function is to prevent demons and ghosts from intruding on the soul of the tomb owner, and the second is to deter and intimidate tomb robbers.

To sum up, there are only a few specific methods of glazing.

For example, if you cast the spell casually, first apply a layer of white bottom glaze to the utensils.

Then use a brush to dip in other colored glazes, or point 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 firing, it flows to form an artistic picture with proper density.

The stereotyped glazing method is to draw the glaze colors of various colors into oblique lines with a brush, so that these oblique lines form a unit pattern.

Each unit has mesh, format, and diamond shapes, which divide the utensils into several sections.

Apply white glaze, red glaze, strip glaze, or green glaze and other glazes.

Composition of highly melodic eucalyptus makes it achieve a beautiful artistic effect, making its glaze bright and gorgeous.

The method of local stripes is to make full use of the fluidity of lead glaze, and add red stripes of continuous white dots to the main color, or white red hearts and plum blossom patterns.

During high-temperature firing, the glaze layer melts, and the places where the colored spots are concentrated flow from top to bottom to form colorful ribbons.

These colored ribbons are soaked and flowed at will, forming a changing and natural and incomparably gorgeous pattern.

The method of adding color to the decals is to apply white to the ground color of the utensils, and apply red hearts with blue borders, or red hearts with green borders, blue hearts with red borders, green hearts with red borders, and so on.

After high-temperature roasting, the glaze surface flows naturally, forming an artistic effect like a waterfall, which is beautiful and spectacular.

The printing 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 light colors, and the printed part is filled with color.

This kind of decoration breaks through the limitations of daily utensils, and has a profound artistic conception, which makes people daydream.

Although the plate is not big, the cranes in the plate seem to be flying in the infinite sky with colorful clouds.

In the patch glazing method, under normal circumstances, one glaze color is used for glazing the overall utensils.

Before glazing, a special glaze is used to make plaques on the surface of the utensils.

Then, in the empty spaces, fill with a tint or white.

After high-temperature roasting, the glaze color in the plaques flows fully, forming beautiful lines, which are natural, harmonious and beautiful.

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Such as the classic handed down, Piebald Howling Tianma.

Laying point method, this method of glazing is common on living utensils.

It is first to glaze the mouth and feet of the utensils with a single color.

The decals on the utensils are glazed in a very regular multi-color method.

For the rest of the space, a variety of glazes are used to glaze randomly and alternately.

This makes it form a beautiful, natural and harmonious artistic effect after roasting.

The flower fixed casting method is to use a special high temperature resistant glaze to arrange and combine the designed flower patterns on the surface of the utensils.

Because after this kind of glaze is baked at high temperature, the glaze will not flow, and then fill the blank space around the flowers with other colored glazes.

But the thickness must be moderate to reduce its fluidity as much as possible.

After roasting, the patterns are neat, exquisite and lifelike, like a green-glazed plum blossom jar.

Generally speaking, imitating Tang Sancai is not easy!

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 refer specifically to those three colors. On all kinds of pottery figurines, pottery statues, and other pottery excavated from Tang tombs, some have only single-color or two-color, and there are many utensils, but they have More complex colorful colors.

Generally speaking, in addition to the white ground of the carcass, the three colors of lead yellow, green and blue are the most common.

The three-color ware can show the utensils used in various practical lives in the Tang Dynasty.

In other words, as long as it is an item in life, it can be made into Tang Sancai.

In these utensils, the form of social life at that time has been fully presented.

From this, it is known that the shape and quantity of the sacrificial objects and other objects are determined according to the official rank and family size of the burial person.