Collection of detailed data of Tang Sancai in Luoyang
Chinese Name: Luoyang Tang Sancai Classification: Ceramic Region: Introduction of Luoyang, birth background, origin, origin, main producing area, characteristics, technology, characteristics, influence, development and status. Briefly describe the treasures of China ancient traditional ceramic art, which began in the Southern and Northern Dynasties and flourished in the Tang Dynasty, with Luoyang as the main producing area. Tri-colored glazed pottery in Tang Dynasty is a general term for low-temperature glazed pottery in Tang Dynasty. On the same object, yellow, green, white or yellow, green, blue, ochre, black and other basic glaze colors are used alternately at the same time, forming a colorful artistic effect. "Tricolor" means colorful, not just three colors. The Tang Dynasty was the heyday of China's feudal society, with prosperous economy and brilliant culture and art. Tang Sancai is a kind of painted pottery handicraft produced in this period, which is famous for its vivid modeling, bright colors and rich flavor of life. The hometown of Peony Stone is wulong village, Koudian Town, yanshi city, which is located under Wanan Mountain, more than ten kilometers east of the world-famous Longmen Grottoes in Luoyang. This town is named after Kou Zhun, a famous person in Song Dynasty, who stayed here. The peony stone is deeply hidden in the folds of Wanan Mountain. According to experts' research, the formation of peony stone was formed by mixing crystallized intermediate-basic volcanic lava with other magma flows during the crustal movement/kloc-0.5 billion years ago. Its basic rock has the same hardness as marble, and those dispersed or aggregated crystals have the same hardness as jade. Under the polishing of natural time, the peony stone combines the beauty of mountains and rivers with the beauty of poetry and painting, and becomes a wonderful flower in the beautiful stone. The background of the birth of Tri-color in the Tang Dynasty occupies an important historical position in China culture, and it also leaves a rich and colorful stroke in the history of China ceramics. Tang Sancai was born in the Tang Dynasty because of its cultural origin. First of all, mature ceramic technology is the material basis for the birth of Tang Sancai; Secondly, the wind of thick burial in the prosperous Tang Dynasty was the direct direction of its birth; Third, the history and culture in various fields of the Tang Dynasty are the best artistic nourishment. The birth of tri-color glaze in Tang Dynasty is also the birth of tri-color glaze decoration technology, which is a process of combining glaze decoration with carcass decoration. Brilliant tri-colored Tang Dynasty, its gorgeous artistic effect has been perfectly displayed and vividly displayed on the figurines with exquisite sculptures and vivid shapes. Mangshan, the first producing area, is located in the north of Luoyang and south of the Yellow River. It's a treasure trove of feng shui. Since the Han and Tang Dynasties, it has become a famous burial area, so there is a folk saying that "people were born in Suzhou and Hangzhou and died in Beimang". The ancient tombs of the past dynasties overlap here, and there is a "small place for lying cows". The earliest discovery of Tang Sancai was in the late Qing Dynasty. The railway project from Kaifeng to Luoyang in Qing Dynasty passed at the foot of Mangshan Mountain, destroying countless historical sites here, and Tang Sancai, a precious cultural relic unearthed in the tomb of Tang Dynasty, appeared unheard of. The word "Three Colors of the Tang Dynasty" was not recorded in historical materials, until the market of Beiping South Liulichang in the early years of the Republic of China, these brightly glazed figures, horses, camels, utensils and other pottery suddenly poured in from other places, with yellow, green and white as the most common colors, as well as red, brown, blue and purple, which were vivid in shape and gorgeous in glaze color, causing a sensation. Antique dealers privately call it Tang Sancai. "Three" is an extreme number, and it is also very appropriate to describe multi-color pottery, so this term was quickly accepted by ceramists. People named this kind of pottery after Tang Sancai, which is still in use today. At the same time, the tri-color paintings in the Tang Dynasty also attracted the research of a group of scholars such as Luo Zhenyu, which proved that these exquisite colored antiquities were really relics of the Tang Dynasty. A large number of tri-color Tang Dynasty have been unearthed in Luoyang, the main producing area, and Gongxian County, Henan Province, not far from Luoyang, is the hometown of firing tri-color Tang Dynasty. Huangye Village, about 10 km away from Gongxian County, is called Huangye (porcelain) because of its yellow glaze in the Tang Dynasty. From the analysis of specimens unearthed from the kiln site, the characteristics of Gongxian tricolor kiln are: except for a few red pottery tires fired with ordinary clay, most of them are relatively pure white kaolin, which is white or pink due to different firing temperatures. The firing temperature is slightly lower than that of porcelain, ranging from 800℃~ 1000℃, in which the firing temperature of three-color figurines is about 900℃ and that of three-color vessels is about 1000℃. Huangye Village is the earliest kiln site for firing tri-colored Tang Dynasty. The tri-colors of Luoyang Tang Dynasty are mostly concentrated in the suburbs of the eastern capital of Sui and Tang Dynasties, that is, Mangshan Mountain in the north, Guanlin and Longmen in the south and Shui Gu in the west. There are also many unearthed tombs in Yanshi, Jin Meng and Yichuan. From the comprehensive study of excavation data, it can be seen that the three colors of Tang Dynasty in Luoyang appeared in the tombs from Wu Zetian to Zhongzong (AD 684-709), and were rarely seen in the tombs of Tang Dynasty after the early days of Xuanzong Kaiyuan Tianbao. During this period, the national strength of the Tang Dynasty was the strongest, and the government was clear, the society was stable and the economy was prosperous. Tang Sancai Luoyang Tang Sancai has many varieties and rich contents, covering all aspects of social life at that time. Characteristics The tri-colored pottery in Tang Dynasty is mainly used as a funerary ware, including figurines and household utensils. These figurines mainly include figures and animals. Figures and figurines have a wide range of subjects, including women, literati figurines, warriors and kings, tomb animals and so on. These terracotta figures have both form and spirit, and their different personalities and characteristics are portrayed by their themes. A lady, with a chubby face and full muscles, is wearing all kinds of steamed stuffed buns and colorful clothes. Civil servants are polite, warriors are brave and handsome, Hu figurines have high noses and deep eyes, and the king is fierce. When making these figures, in order to enhance the texture of the figures, the "lighting" process was adopted: the heads of the figures were coated with white powder without glazing; Apply cinnabar to lips and cheeks; Used for eyes, eyes, beards, towels, hats or flowers. Draw with ink or color to enhance the realistic effect. The tri-colored female figurines in Tang Dynasty are based on the female images in Tang life, including standing figurines, sitting figurines, dancing figurines, singing figurines, riding figurines, dressing figurines in front of the mirror and so on. It mainly shows the images of free posture, plump face, delicate skin and rich hands and feet of women in Tang Dynasty. Women in the Tang Dynasty like to decorate. There are many decorative methods for tri-color female figurines in Tang Dynasty, such as forehead yellow, eyebrow black, cinnabar, oral fat, flower head, makeup roller and so on. Hairstyles are also novel and varied, including single high bun, double egg bun, Japanese pendant bun, two ya bun, knife bun, bun, vertebral bun, spiral bun, parrot bun and so on. The costumes of these female figurines are simple and bright, with narrow sleeves and narrow skirts, bare breasts, nepotism, round, square, oblique, straight collar and chicken heart, which shows the diversified fashion of women's decoration at that time and the spiritual outlook of women in Tang Dynasty. The modeling of female figurines is in the transitional period of Tang Zhongzong, which is delicate in the early stage and plump in the later stage. Literati figurines are the images of social officials in the Tang Dynasty, with high social status and comfortable living conditions. But "companions are like tigers", so these characters are quiet and dignified, with profound thoughts and extraordinary styles. Although their clothes and hats are neat and elegant, they still can't hide their fears. Warrior figurines are the epitome of the Tang army. Most of them are young and handsome soldiers, some standing and some riding horses, mostly in the early Tang Dynasty. In the Wu Zetian period, the King Kong figurines in Buddhism appeared. During the period of Wu Zetian and Tang Zhongzong, warriors and heavenly kings appeared side by side, and later only the heavenly kings were seen. The tomb animals in Sancai Town in Tang Dynasty originated from Fang Xiang Shen in ancient legends. This is a strange mountain, which has the power to exorcise evil spirits. In the early Tang Dynasty, tomb animals were molded into human bodies, hooves and feet. Wu Zetian arrived, with animal carcasses, bird wings, hooves, feet, animal faces and human faces. Because of its strange and terrible shape and strange glaze color, it will make people feel terrible in the specific environment of grave robbery. On the other hand, the tri-colored pottery figurines of the Tang Dynasty show the diversity and richness of the life of the Tang people, which can be described as varied and colorful. It reproduces the scene of friendly coexistence between the Central Plains and the people of all ethnic groups in the border areas and frequent exchanges between China and foreign countries during the prosperous Tang Dynasty. This process is to select and process tire materials first. Most of the Tang Sancai unearthed in Luoyang are made of relatively pure kaolin, which is produced around Luoyang. This kind of soil is delicate and has strong plasticity, and it is not easy to crack and deform after molding. It is an excellent material for making all kinds of pottery. The selected mineral soil needs to be processed into spare clay through a series of processes such as selection, tamping, grinding, elutriation, precipitation, kneading, kneading and aging before it can be used. Judging from the unearthed carcass, the craftsmen in the Tang Dynasty did not choose the tire material very carefully, and the tire material contained mineral impurities such as timely particles. There are three common modeling methods of tri-color in Tang Dynasty, namely sculpture, molding and wheel system. There are usually more than two methods to make an object. Artisans must first carry out detailed conceptual design, and then use special sculpture tools to create sculptures with clay, which are revised repeatedly and finally shaped. Molding is to divide and turn over the molded works. Simple modeling has less segmentation, even as few as one or two molds. Complex shapes such as heavenly king figurines, tomb animals, horses with different shapes, architectural models, etc. It is often necessary to copy more molds. For irregular parts, it is necessary to have a set of molds, so there are often as many as a dozen such molds. There are two kinds of molds: single mode and clamping. Single mode is suitable for small attached files, such as decals and plastic sculptures used to decorate objects. Clamping is formed by molding two halves together and butting and bonding, which is suitable for all kinds of people, animals and some household appliances. The craftsman first puts the kneaded stale clay with moderate hardness into the mold and presses it by hand. The thickness can be flexibly controlled according to the size of the object to be made. Then, they glue the mold with mud, and when the mud in the mold has a certain strength, they take it out and glue it together, smooth the bonded part with special tools, clean it with their fingers, and decorate it with a brush or a brush dipped in water. Skillful craftsmen can make the carcass uniform, moderately thick, and the bonded parts are seamless, just like a whole. Wheel system is suitable for making round utensils, such as cups, plates, bowls, dishes, beans, bottles, stoves, pots, cans and so on. In daily utensils, some oblate, oval, irregular and other utensils adopt the mode of clamping. A molded object of Tang Sancai needs to be thoroughly dried in the shade before it can be fired, so as to avoid the deformation and cracking of the carcass during high-temperature firing. Tang Sancai usually needs to be baked twice. The first hardening temperature of the carcass is about1000℃ ~1100℃. Take it out and glaze it. After glazing in the kiln at the temperature of 800℃~900℃, the glaze on the carcass began to melt, and the glaze juice melted and flowed to penetrate each other, forming colorful colors. There are two commonly used glazing methods for tri-color painting in Tang Dynasty, namely, zone glazing method and stippling glazing method. Zone glazing method is to coat different glaze colors on different parts, and several glaze colors are applied to an object at the same time. The combination and blending of glaze colors will produce a brand-new effect. The method of stippling and glazing is to use a brush to point the same or different sizes, or points, or blocks, or lines on some parts of the utensils. Some are neatly arranged, and some are natural and casual. After high temperature melting, the glaze color flows and blends, forming a dreamy picture, which is illusory and mottled, such as the sunset glow, forming a natural artistic style. The most successful place of Tang Sancai is the changeable glaze color and exquisite modeling. After testing the composition of the unearthed tricolor glaze, it is found that the main components of tricolor glaze are lead silicate and metal colorant. After hundreds of experiments, craftsmen in the Tang Dynasty successfully mastered the coloring of different metal oxides and prepared different colors of glazes. Adding timely lead powder, lead oxide as cosolvent, and adding proper amount of copper, iron, cobalt, manganese, antimony, chromium and other components into the glaze. After the temperature of 800℃~900℃, the glaze reverts to various colors. For example, copper oxide is green, iron oxide is yellow or yellowish brown, cobalt oxide is blue, and manganese oxide is purple or black. In order to achieve a special effect and produce a special color, craftsmen successfully fired brown red, orange yellow, light green, green, dark green, sky blue, purple, eggplant purple and other colors on the basis of these glaze colors. Glaze color flows and blends with each other, creating a brilliant and gorgeous era style of tri-color art in Tang Dynasty. Second, the identification of Luoyang Tang Sancai In recent years, with the continuous warming of the collection fever, Tang Sancai has become more and more popular among people. As the source of tri-color in Tang Dynasty gradually dried up and the market value rose, many fakes appeared. As for when Tang Sancai fakes began to appear, it is generally considered to be the Republic of China. The predecessor of Luoyang Cultural Relics Exchange Center where the author works is Luoyang Museum Cultural Relics Reproduction Factory, so I have the opportunity to conduct in-depth and detailed research on the production technology and identification of Tang Sancai. As early as the early 1990s, Luoyang Cultural Relics Exchange Center had collected some imitations of Tang Tri-color in the Republic of China. Except that the carcass is slightly different from Tang Sancai, it is difficult to distinguish it from Tang Sancai in terms of shape and glaze color. Since the 1980s, the imitation of Tang Tri-colors in Luoyang has been mainly concentrated in the area from Chaoyang in Mengjin County to Nanshishan Village in Mangshan, north of the city. The three colors produced here are mainly handicrafts, and some are imitations, but very few of them are genuine. The main reason for the difficulty in identification is that people have too few opportunities to get in touch with authentic Tang tricolor. Through long-term practice, the author thinks that the identification of Tang Sancai mainly starts from four aspects: modeling, glaze color, carcass and technology. Tang Sancai (1) Modeling Tang Sancai was created by craftsmen in a specific historical period, which was closely related to social customs, living environment, aesthetic consciousness, production materials and technological level at that time, so both people and animals could show vivid expressions and rich life breath. From the unearthed tri-color sculptures of the Tang Dynasty, it can be seen that the level of sculptures by craftsmen in the Tang Dynasty is very high, with exquisite skills, harmonious proportion of figures and animals and vivid images. People's faces, facial features, expressions, postures and gestures change, and all kinds of animals are still or moving, and their shapes are natural and vivid. The production of imitations is based on the original, the second is based on pictures, the third is the innovation of prototypes, and the fourth is fabrication. Although the producer has made great efforts in modeling, some of them are similar to the original, but due to the lack of basic skills of sculptors and the different living environment between the producer and craftsmen in the Tang Dynasty, the products produced can only be similar in shape but not in spirit, often with stiff modeling and lack of change. For example, the proportion of figurines is often uncoordinated, the face is dull, the lines are stiff, and some lines are too regular. In the Tang Dynasty, the bottom foot of tricolor round vessels was generally in the shape of "flying edge", and a knife was repaired outside the edge, which was more common in bowls, plates, bottles, pots and other utensils, but imitations often lacked this technology. (2) Glazed Tang Sancai has been buried underground for more than 1000 years, and has been eroded by soil environment and chemical substances in soil, such as acid and alkali. The bright luster becomes soft and bright, the glaze is even and small, and the four sides of the glaze are slightly upturned. Careful observation with a magnifying glass shows that there is corroded silver mud in the gap between pieces, which is similar to the lead flooding phenomenon of blue glazed pottery pots in Han Dynasty. Directly observed with naked eyes, the surface layer of glaze is seen from the side, forming a thin layer like a fly's wing, and the lines between pieces are like protruding lines, which is the "patina" of Tang Sancai. In order to remove the dazzling luster of glaze, imitations often use hydrofluoric acid to remove the light and then use alkali to neutralize it, so they look rough. In recent years, producers have also studied the firing method of small pieces of glaze, but the porcelain pieces are hard, some are too thin, some lines are chaotic, and some lines are often too long, and there is no flying wing "patina" on the glaze. Although some have also made a layer of silver or five-color iridescence, it is as shallow and unstable as a mist floating on the glaze. Tang Sancai Tang Sancai (3) The body of Tang Sancai unearthed in Luoyang contains trace amounts of iron. Due to the different firing temperature and atmosphere in the furnace, the color of the fired carcass is white, light pink or light yellow, and the tire quality is not very fine. Fetal mass contains tiny particles like chronotropic and other mineral impurities. Judging from the firmness of the carcass, some are hard because of high firing temperature; Some of them have low sintering temperature, low hardness, loose carcass and easy peeling of glaze layer. One way to make imitations is to use pure kaolin, that is, the matrix material of modern tricolor handicrafts, which contains no special ingredients. After firing, the carcass is white and delicate, relatively hard, with few impurities, loud knocking sound and heavy hand feeling, which is very different from the tri-color handicrafts in Tang Dynasty. Another material is kaolin. The processing technology of tire material is similar to that of ancient times. Manufacturers strive to add a small amount of quartz powder and other substances to tire materials. After careful production, the hardness, tire color and density of sintered tires are close to those of the Tang Dynasty, so it is difficult to distinguish them. (IV) Craft The production of tri-colored Tang Dynasty generally adopts carving first, then turning over the mold, then pressing the blank, and finally gluing. At the same time, the method of wheel system and kneading was adopted, leaving these technological traces on the figurines and utensils. People and animals are mostly molded in sections, pressed by hand and bonded with clay. Judging from the unearthed objects, these traces are very obvious. If we carefully observe the treads inside these three-color corpses, many of them have the fingerprints of craftsmen in the Tang Dynasty. Flat circular tricolor objects, such as flat pots, basically have butt joints and knife marks on their sides. Such as bowls, cans, bottles, sprinklers, plates, bowls, etc. They are all made by wheel method, and the small chords left in the production process are clearly visible. Some imitations adopt grouting technology, but there is no kneading, wheel making, mold closing and mud sticking technology on the carcass of the object. Its manufacturing method is very different from the real one, and the finished product feels lighter. Some round objects are placed on the turntable after grouting or molding, and a series of wheel marks are drawn by the rotation of the turntable, but the chords look unnatural. Some of them are made by a molding process similar to that of the Tang Dynasty, but after the combination, no matter the figures, animals or utensils, they all look clumsy, with uncoordinated proportions and stiff lines. Others are too elaborate and gild the lily, which makes people feel the charm of Tang tricolor. Under normal circumstances, the skin of Tang Sancai figurines that is not covered by clothes is not glazed, such as the face, neck and hands of the figures, which are generally painted. Hair, eyebrows, eyes, beard, towel and hat are black, and lips and cheeks are scarlet. The facial features and beards of the characters are described in detail. After thousands of years, the colors of these paintings are getting lighter and lighter, and they have penetrated into the carcass. The imitation painting is bright and clear, looks floating, the sketch lines are not clean and neat, and the characters' expressions are dull. The brushwork used to describe is often not in place and is different from the original. Tri-colored glazed pottery in Tang Dynasty is the general name of colored lead glazed pottery products that flourished in the early Tang Dynasty. Its glaze colors are yellow, green, brown, blue, black and white. Therefore, its exact and practical name should be "Tang Dynasty glazed pottery". However, because this kind of glazed pottery is dominated by white, green and Huang San, people are used to calling it Tri-color in Tang Dynasty. In ancient China, 35 was the majority, so tricolor also had rich and colorful meanings. Its treasures were unearthed in Luoyang, the ancient capital of the Nine Dynasties, so it is also called "Three Colors of Luoyang Tang Dynasty". At that time, in addition to some daily necessities and furnishings, tricolor glaze was also widely used for funerary objects such as pottery figurines and pottery horses. The artistic features of "Three Colors in Tang Dynasty" are not only manifested in sculpture art, but also in gorgeous colors. "Three Colors of Tang Dynasty" adopted China's unique string-flowing technique in glaze color. In the process of calcination, ceramic workers use the characteristics of strong fluidity of lead glaze and downward flow during firing, and combine glaze application skills and decorative techniques to create elegant and rich artistic effects. Pottery artists use yellow and brown glazes to represent the mane of horses and camels, and blue and green glazes to represent the muscles of characters ... This is the application of "color matching" in China's paintings in sculpture. Lifelike sculptures, together with these natural and colorful colors, finally constitute a kind of Tang colored glaze with strong national style. The production of tri-colored Tang Dynasty has a history of 1300 years. It absorbs the characteristics of traditional Chinese painting, sculpture and other arts and crafts in China. The production process of Tang Sancai is complicated, with finely processed kaolin as the blank, minerals containing copper, iron, cobalt, manganese and gold as the glaze colorant, and appropriate lead smelting slag and lead ash as additives. First, the green body is fired in the kiln, then the ceramic body is glazed, and then fired in the kiln to about 800℃. Due to the strong fluidity of lead glaze, in the firing process, the glaze surface diffuses and flows around, and various glazes penetrate and blend with each other to form a natural mottled color, which is a unique traditional handicraft in China. The influence of tri-color in Tang Dynasty lies not only in the rich and magnificent glaze color, but also in the vivid shapes of camels, horses and figures, which are full of life breath. At that time, Tang Sancai was very famous in the international market and became one of the important projects of economic and cultural exchanges between China and foreign countries. During the period of 1928, when the Longhai Railway was built to Mangshan, Luoyang, a large number of Tang Sancai were unearthed and transported to Beijing by antique dealers, which attracted the attention of antique researchers at home and abroad and also attracted the attention of antique dealers. Later, the tri-colored Tang Dynasty was unearthed in Luoyang, and the quantity and quality were amazing. Luoyang Tang tri-color reproduction and imitation technology has a history of one hundred years. Through the development of artists in past dynasties, the technology of Tang Sancai was gradually improved and the firing level was constantly improved, which made the technology and artistic level of Luoyang Tang Sancai reach a certain height. In the international market, Tang Sancai has become an extremely precious work of art, and has been rated as an excellent tourism product at the international tourism conference attended by more than 80 countries and regions, and is known as the "treasure of oriental art". Tri-colored horses and camels in the Tang Dynasty were presented as national gifts to heads of state and leaders of more than 50 countries. Tang Sancai is a brilliant flower in the treasure house of ancient traditional ceramic art in China. Tri-colored glazed pottery in Tang Dynasty is the general name of lead glazed pottery in Tang Dynasty. It is named because it is mainly composed of yellow, green and brown (or red, green and white) glaze colors. In the firing process, due to the flow of lead glaze, each color presents a gradation or all colors are skillfully intertwined to form an intricate multi-color glaze. Tri-colored Tang Dynasty can best reflect the prosperous style of Tang Dynasty and Tang Wenhua's magnanimity. Whether it is modeling, decoration or firing technology, it shines with the artistic brilliance of the heyday of ancient China society. Tang Sancai was first discovered in Luoyang in the early years of last century, and most of the unearthed Tang Sancai were concentrated in two capitals of the Tang Dynasty: Chang 'an and Luoyang.