Horses in art

Tri-colored pottery in Tang Dynasty is a popular pottery in Tang Dynasty, with yellow, brown and green as the basic glaze colors. Later, people used to call this kind of pottery "Three Colors of Tang Dynasty". 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 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, and displays decorative patterns in the form of overlapping painting, with rough and powerful lines.

Tang Sancai is a kind of low-temperature glazed pottery. Adding different metal oxides into the colored glaze, after firing, various colors such as light yellow, ochre yellow, light green, dark green, sky blue, brown red and eggplant purple are formed, but most of them are yellow, brown and green. It is a traditional handicraft with China's unique style, mainly the colored glaze coated on the ceramic body. During the firing process, chemical changes occur, the depth of the colored glaze changes, mutual penetration, mottled dripping, natural color coordination and smooth patterns. In the mutual reflection of colors, the three colors of Tang Dynasty show magnificent artistic charm. As a funerary object, Tang Sancai was used for funerary objects, because its fetal quality was crisp, its waterproof performance was poor, and its practicability was far less than that of celadon and white porcelain that had appeared at that time.

history

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.

1905- 1909 During the construction of Longhai Railway, a number of tombs of the Tang Dynasty were destroyed in Mangshan area of Luoyang due to engineering reasons, and a large number of funerary objects of the Tang Dynasty were found. Common unearthed tri-colored pottery in Tang Dynasty include tri-colored horses, camels, ladies, musical figurines, pillows and so on. Especially the tricolor camel, with silk or a belt on its back, held its head high and screamed. The statue of Luo with a red beard and blue eyes, wearing a narrow-sleeved shirt and a flip hat, reproduces the life image of Central Asian Hu people and reminds people of the scene of camels jingling on the Silk Road.

The Tang Dynasty was the heyday of China's feudal dynasty, so the three colors of the Tang Dynasty also reflected the politics, culture and life of the Tang Dynasty from another side. Like other cultures in the Tang Dynasty, poetry, painting, architecture and * * constitute the melody of Tang culture, but they are different from other cultures and arts. Seen from the history of modern ceramics, the tri-colored glaze in the Tang Dynasty is an epoch-making milestone in the history of ceramics in the Tang Dynasty, because before the Tang Dynasty, there were only monochromatic glazes. Then after the Tang Dynasty, that is to say, this colorful glaze color was also used in ceramic objects. Some of them are textual research from the history of ceramics, which is related to the great changes in aesthetic points at that time in the Tang Dynasty. Before the Tang dynasty, people advocated vegetarianism, but after the Tang dynasty, they embraced various cultures and many foreign cultures. That is to say, at this time, such a characteristic of a splendid culture has been formed, whether it is painting, ceramics or the production of gold and silver vessels.

The rise of tri-color in Tang Dynasty has its historical reasons. First of all, the rapid development of ceramic industry and the continuous improvement of the artistic level of sculpture and architecture have promoted their continuous combination and development, so people, animals and daily utensils can be displayed on the utensils of the Tang Dynasty.

After the rule of Zhenguan in the Tang Dynasty, the national strength was strong and all walks of life flourished, which also led to the corruption of some senior officials' lives, so the wind of reburial became more and more fierce. Tang Sancai is also a funerary object, which was once included in the official regulations. One product, two products, three products and four products mean how many pieces he is allowed to be buried with, but in fact there are express provisions. As these dignitaries, they are not satisfied with the explicit provisions. On the contrary, they often do this heavy burial many times more than the official regulations. The official style is like this, and the folk customs are of course like this, so such a style of heavy burial has been formed from top to bottom, which is one of the main reasons for the rapid development and rise of Tang Sancai in the Central Plains at that time.

manufacturing process

The production process of Tang Sancai is very complicated. First of all, the mined mineral soil should be selected, mashed, washed, precipitated and dried, then made into tires with molds and fired in the kiln. The firing method of Tang Sancai is secondary firing. From the raw materials, its carcass is made of white clay and fired in a kiln at 1000- 1 100℃. After cooling, glaze is applied with various prepared glazes, and the sintering temperature is 850-950 degrees Celsius. In terms of glaze color, various oxidized metals are used as colorants, and various colors appear after calcination.

After the glaze burns out, some characters need to start over. The so-called face-opening means that the antique products of characters' heads are not glazed, and they have to be inserted, lipped and painted. Such a process, and then this product of Tang Sancai is completed.

trait

The characteristics of three colors in Tang Dynasty can be summarized into two aspects. The first is modeling. In terms of modeling, its modeling is different from ordinary handicrafts and horses unearthed in other times.

Tri-colored sculptures in Tang Dynasty are rich and colorful, which can be roughly divided into three categories: animals, household appliances and figures, among which animals are the most. According to the current classification, the unearthed three-color Tang Dynasty can be divided into three categories: animals, utensils and figures, especially animals, which may be related to the background of the times at that time. In ancient China, horses were one of the important means of transportation for people. They were also needed on the battlefield, farmers needed horses for farming and transportation. Therefore, there were more horses unearthed in Tang Sancai, followed by camels, which may be related to Chinese and foreign trade at that time. Camels are one of the long-distance means of transportation. Therefore, craftsmen reflect it on handicrafts. Generally, there were more ladies-in-waiting, reflecting the court life at that time.

Horses are fatter in shape. This breed of horse is said to have been paid tribute to the western regions at that time, so it is a little different from the shape of the horse we see now. This horse has a fat hip and a wide neck. The modeling characteristics of Tangma are mainly static, but driven by static. You can see that this is a stationary horse. But it depicts the eyes of a horse. The horse's eyes are carved into triangles, and the eyes are round, and then the horse's ears are attached. As if listening or hearing something. This detailed description shows the inner spirit and rhythm of Tang Ma.

Another feature of the tri-colored Tang Dynasty is glaze color. As utensils, the use of three glaze colors, red, green and white, first began in the Tang Dynasty, but craftsmen skillfully used the method of glazing to make it staggered. Then, after firing at high temperature, it is glazed and melted to form a unique melting process. After coming out of the kiln, the tricolor changed into many colors, including primary colors, composite colors and double colors.

The tri-colored objects in the Tang Dynasty are round and full, which is consistent with the characteristics of fullness, bodybuilding and width in the art of the Tang Dynasty. Tri-colored sculptures in Tang Dynasty are rich and colorful, which can be roughly divided into three categories: animals, household appliances and figures, among which animals are the most. Tri-color figures and animals have moderate proportions, natural shapes, smooth lines and liveliness. Among the characters, the warrior is muscular, glaring and nervous; The female figurines are slim, graceful, leisurely and elegant, and very plump. Animals are mostly horses and camels.

Tang Sancai, a handicraft, has the characteristics of cultural exchange between China and the West. This model is a chicken head container. From the current research, it is a vessel for holding wine in western countries and even Middle Eastern countries, but it is made as a handicraft in the Central Plains, from which people can see the cultural exchange between China and the West at that time.

Place of production

The producing areas of Tang Sancai are An, Luoyang and Yangzhou, which are the connection points of the ancient Silk Road on land and at sea. On the ancient Silk Road, camels were the main means of transportation in the Tang Dynasty. It is conceivable that in the desert, people and camels trudge and lean against each other, so people and camels have a sense of intimacy. Its tall shape and resolute expression seem to carry the Wan Li dust of the ancient Silk Road.

Tri-colored pottery in the Tang Dynasty is the essence of pottery in the Tang Dynasty, reaching its peak in the early and prosperous Tang Dynasty. After the Anshi Rebellion, with the gradual decline of the Tang Dynasty and the rapid development of porcelain, the production of tricolor utensils gradually declined. Later, "Liao Sancai" and "Jin Sancai" were produced, but they were far inferior to Tang Sancai in quantity, quality and artistry.

artistic charm

With the progress of society and the continuous improvement of copying and imitation technology, there are more and more varieties of Tang tricolor. Luoyang people have developed plane tri-color soup on the basis of traditional tri-color soup modeling, and will develop more and better tri-color soup works on this basis.

As a traditional cultural product and arts and crafts, Tang Sancai not only has a certain position in the history of China ceramic art, but also plays a very important role in cultural exchanges between China and foreign countries.

Tang Sancai was exported to foreign countries as early as the early Tang Dynasty and was deeply loved by foreign people. This colorful glazed pottery is famous for its gorgeous glaze, bright luster and exquisite shape. Tri-colored pottery in Tang Dynasty is a bright pearl in China ancient pottery.

According to archaeological excavations, fragments of tri-colored objects in the Tang Dynasty have been excavated on the Silk Road, the Mediterranean coast and some countries in West Asia. Then the spread of this culture abroad has also had a certain impact on their ceramic industry, including Japan and North Korea. Tri-color objects were made in Nara, Japan, imitating China's tricolor, which was called Nara tricolor at that time, and Silla, North Korea, imitating China's tricolor, which was called Silla tricolor.

It is precisely because of the charm of Tang Sancai, especially in recent years, with the further development of tourism and the opening of international and domestic markets, more and more people like to collect Tang Sancai.

The process of copying and imitating the three colors of the Tang Dynasty has a history of hundreds of years in Luoyang. Through the development of artists in past dynasties, the technology and artistic level of Tang Sancai in Luoyang have reached a certain level, and the production technology of Tang Sancai has also been inherited and developed.

Distinguish high imitation Tang tricolor

Since the discovery of Tri-color in the Tang Dynasty at the beginning of last century, it has attracted the attention of China and the world art circles. Especially since the 1980s, the research on Tang Sancai has been in full swing, and many experts have made the research results public. With the appearance of imitations of tri-colored Tang Dynasty, articles on distinguishing true and false tri-colored Tang Dynasty also appeared in newspapers one after another. While these articles have prospered the cultural park, their research results have also been used by counterfeiters to forge a number of tricolor devices that are difficult to distinguish between true and false. After doing the old job, it constantly appears in urban and rural areas, and collectors who are not proficient repeatedly go to the middle. The reason is that on the one hand, they have almost reached a perfect state in terms of tire, glaze, color, modeling and even internal spiritual outlook, on the other hand, they have all the characteristics of authentic tricolor listed in common articles of the Tang Dynasty. It can be seen that the high imitation tricolor is indeed imitated to a considerable extent, and it is difficult to distinguish between true and false without golden eyes.

The highest firing temperature of Tang Sancai is about 1 100℃. Its manufacturing process is not complicated, raw materials can be seen everywhere, the formula of fetal glaze has long been made public, and there are many imitators, including many experts in Tang tricolor research. Imagine, what is the difference between the imitation and the real thing that experts "clone" with modern technology? The answer is yes, the basic characteristics of authentic tricolor are all possessed by high imitation tricolor. It can be said that the similarity is over 99%, and the rest is less than 1%. At present, it is impossible to imitate, because this special feature will take thousands of years to form, and human resources cannot do it for the time being.

Differences between fetuses

The basic knowledge such as glaze modeling and color style are the key issues involved in all the articles of Tang Sancai's identification of fakes. However, judging from the high imitation tricolor seen at present, there is no fundamental difference between these aspects. Even the percentage and physical properties of various chemical elements in fetal glaze are basically the same. What is "light age" and "aging degree of glaze" and so on. It's handy to imitate a master. Therefore, it is meaningless to talk about the basic characteristics, modeling style and "light age glaze age" of fetal glaze in front of high imitation tricolor. Therefore, this paper focuses on several special points that high imitators can't imitate or imitate unreal at present.

1, a thousand-year-old feeling. The real thing was put in a damp tomb or buried in the soil before it was unearthed, and it was eroded by the atmosphere, moisture and soil for thousands of years. Some of them are put indoors for a long time after being unearthed, and the tread is old and natural due to the influence of air and cold and warm changes. Authentic old feeling is extremely natural, rich in layers and deep into muscles. As you can see, touching with a hard object, the old feeling penetrates into the tire. If possible, you can tap the tread once or twice in an inconspicuous place and find that the old feeling permeates from the tread. Although the high imitation tricolor tires have a sense of obsolescence after old treatment, absolutely no genuine tires have a natural sense of vicissitudes after years of erosion. The old tire just doesn't enter the muscle on the tire surface, and the new feeling is faintly discernible, so there will be no phenomenon that the old feeling penetrates into the tire. Tap the tread and you can see that the "old" is only a layer of the tread, and it is the "clothes" of the tire. Unlike the real old feeling and the tire, it is inseparable.

2. A new part of tire soil will change color when exposed to air. Due to the long time of genuine tricolor, the color of tire soil will gradually change from white to black after some new tire soil is exposed to air. This process generally takes about 100 days, and this phenomenon will also occur on some tire surfaces after genuine three-color washing. The author has repeatedly knocked on the lids of several genuine cans for observation, and the results are consistent. The new section or tread of high imitation tricolor tire is three to five years, and its white tire soil will not change obviously. This phenomenon needs further study by experts. Regarding the subtleties of true and false tri-colored tires in Tang Dynasty, Mr. Cheng Jinkui also stated in the article "New Knowledge of Tricolored tires in Tang Dynasty" (see China Collection 13): "The genuine tire will appear moderately pink when exposed to water, and the imitation tire will appear earthy white when exposed to water." The author tried many times and the result was the same. However, this moderate pink color is slightly pink compared with the dead gray of imitation tires, which seems to be more suitable for Henan tires to be used alone. One of Shaanxi ancient tires and today's tires is slightly pink, which is more obvious when entering the water. For example, the imitation tires in Luoyang and other places are slightly pink in color, and they are more eye-catching pink when put into water.

3. Some genuine three-color exposed tires will produce tiny soil rust of dark red, light brown, black and other colors as big as a needle tip. Dense or sparse, more or less appear on the exposed tire surface, some appear at the mouth, some appear on the pedal, and some appear in the vessel. Soil rust is not born, nor is it generated at one time. After thousands of years of gestation, some elements in the fetus spill from the fetus to the fetal surface and become an inseparable part of the fetal surface. There is absolutely no soil embroidery on the high imitation tricolor tread, and the imitation soil rust is extremely unnatural. The soil rust planted on the exposed tire after the imitation is out of the kiln is very different from the natural soil rust. The soil rust is grown and imposed, one is natural and the other is stiff and unnatural.

Soil rust seems simple, but it is extremely difficult to imitate, so most of the high imitation tricolor simply do not do soil rust in order to minimize human defects. Speaking of soil rust, many people understand soil rust as a layer of dirty soil on the surface of tire soil that can be washed off with water. In fact, the so-called rust is the product of chemical changes in substances, such as rust and copper rust, which cannot be separated from the original. Authentic three-color soil rust can not only be washed away, but also become clearer and clearer.

The difference between glaze and light

In essence, the glaze of Tang tri-colored glaze is a bright glaze. When it was just fired, it was bright and harsh, and its luster was brilliant. After a hundred years, the luster gradually faded, and the glaze color gradually became soft and natural, bare and full of treasures. Judging from the objects unearthed in the tomb at present, the glazed surface of Tang Sancai is always soft and moist, except that the glazed surface is seriously corroded, otherwise the authentic Sancai will not lose its soft luster.

Tang Sancai has a long history, and most of them have Harry rays on their surfaces. It is the shadow left by the romantic moon on the glazed surface of the Tang Dynasty, and no counterfeiter can make his imitation pass through the Millennium. Harry's light, no matter what color of glaze, is colorful, no matter what kind of light, so is its color. The authentic tricolor light is full of precious light, floating on the colorful glaze like a dream in a trance, and all high imitators will feel helpless about this dreamy light.

Although the luster of the high imitation tricolor glaze is soft and moist, the softness reveals brilliance, and the tenderness hides thief light. Its consistent glaze color has no connotation, and the light of Harry will never appear. Although the glaze of Tang Sancai belongs to low-temperature glaze, it is still fired at a temperature of about 800 degrees, and the glaze surface is quite hard. Without more than a hundred years, the enamel will not change obviously. Harry light is a special light produced by the qualitative change of enamel molecules after enamel aging and light refraction. Under the irradiation of light, the high imitation tricolor glaze table can occasionally see reddish and light green colors, but if you look closely, you will find that the colors in the imitation are fixed in the glaze, while the real Harry light floats on the glaze table, and it is five colors and six colors, while the colors of the imitation are usually one or two.

The genuine Harry can be photographed with an ordinary camera, but it can't be photographed with imitation light. Therefore, whether there is Harry alone is an excellent standard to distinguish between true and false Tang tricolor. Of course, not all Tang tricolor lights have Harry light, so it is not excluded that tricolor lights without Harry light are also genuine.

From the beginning of the last century to the twenties and thirties of the last century, a large number of tricolor imitations appeared, which has been nearly a hundred years now. The glaze fire has faded, soft and moist. It is not ruled out that some objects will have a weak Harry light, but there will never be a real three-color gem overflowing from the glaze. As long as we carefully observe the low-temperature glazes in the early years of the Republic of China, we will find that most of the low-temperature glazes in this period did not have Harry light. Looking at the low-temperature glaze in Qianlong period, Harry light will be faintly found from the side. So whether there is obvious Harry light can still be used as one of the hardware to distinguish the three colors of the Republic of China.

The difference between glazes

The years are ruthless, and the glazed surface of Tang Sancai has been baptized for thousands of years, leaving some special traces that are not easy to find. They are:

1. Corrosion trace of soil. Tang Sancai's works handed down from ancient times have not been reported yet, and almost all of them are unearthed. Generally, traces of soil corrosion can be seen on the glaze, and the difference is only the degree and way of corrosion. In general, the pores of soil bite appear on the glaze at will, completely or partially. Pores vary in size, some are dense, and some are as few as morning stars. There are different degrees of corrosion, some of which can only be found by careful observation. Some soil under the magnifying glass bites the pores, and the glaze at the edge has a slight corrosion transition. After the medicinal water is buried in the soil, acid biting holes will appear on the glaze, but it is regular, stiff and unnatural, with the same corrosion degree and no corrosion transition phenomenon. In fact, high imitators are very contradictory in glaze treatment at present. If treated with water and chemicals, the glaze luster is unnatural and easy to be seen through. It's too bright and novel to treat the glaze without chemicals. Adding other elements will reduce the brightness of glaze, which will be exposed once detected. When observing corrosion holes, we should pay attention to distinguish them from brown eyes of different sizes formed by glaze in kiln. Brown eyes only appear on the glaze, and the depth is about one third of the glaze thickness. Corrosion pores penetrate into the glaze, and some corrode the tire surface.

2. Transitional natural corrosion spots. There is also a special corrosion pattern on the glaze of some authentic Tang tricolor, which can not be imitated by the high imitation of Tang tricolor at present. That is, a very thin layer of glaze water on the smooth glaze has been corroded, leaving a rough glaze and forming corrosion spots of different sizes. Their appearance on the glaze has a clear development process, from scratch, from shallow to deep, and then from deep to shallow. After the Tang Sancai was unearthed, the corrosion stopped developing and the process stopped on the glaze, which gave us the basis for identification.

Let's talk about going from shallow to deep: when corrosion occurs, there are faintly visible micropores on the glaze at first. When micropores first appeared, they could be several, dozens or hundreds of thousands. When they first appeared, they were too small to change the luster and color of the glaze. At first glance, the glaze is normal and can be seen clearly without a magnifying glass. With the increase of micropores, the glaze color gradually turns to light brown; As the corrosion becomes more and more serious, the corrosion area gradually increases, and rough patches appear, which can be felt by hands and traced with a slight stroke of nails.

In addition, from deep to shallow: the development process of severely eroded glaze surface to non-eroded glaze surface is a gradual erosion process from deep to shallow. First of all, there is no glaze in the most serious place, and only rough and unrecognizable glaze can be traced with your fingers. Then there is a thin layer of glaze in the slightly serious place, but there are very fine pores, and the glaze color is dim, and some glazes are almost non-existent. You can clip it in with your nails and continue. The slightly corroded glaze is not bad at first glance, and the glaze color is natural, but if you look at the glaze carefully, you can still vaguely see the corrosion pores. This alternating corrosion process from shallow to deep and from deep to shallow is expressed in millimeters on glaze, but it takes a hundred years to form this process in time. The whole object is easy to imitate, but the details are difficult to imitate. Therefore, after thoroughly understanding the glaze of the authentic Tang Sancai, it is clear that it is superficial to look back at the glaze of the imitation.

3. Lead-back phenomenon-a spirit that has been condensed for a hundred years. The phenomenon of lead returning on the glaze of some authentic tri-colored glazed pottery in Tang Dynasty, which is often referred to as "silver spots", is a typical substance produced after tri-colored glazed pottery in Tang Dynasty. The phenomenon of lead recovery not only needs a certain environment, but also takes hundreds of years, which is a special mark left by time on the tri-colored objects in the Tang Dynasty. From the author's collection of several pieces of Tang Sancai with lead withdrawal phenomenon, the lead withdrawal phenomenon is mainly manifested in three aspects:

(1) The glazed surface of the tri-colored objects in the Tang Dynasty is covered with a thin layer of silver, such as the color of autumn moon floating on the surface of the objects, and the thin frost is faintly visible.

(2) The glazed part of an object has silvery white lead back, but most of the glazed parts do not. It is worth mentioning that the phenomenon of lead return appears in any colored glaze, and the phenomenon of lead return in blue glaze is often more prominent and the color is more natural. Unlike some articles, blue glaze will not lead back. You should know that the glaze of Tang Sancai is composed of various chemical elements, of which the lead content is about 25%. Since the lead content of glaze is so high, as long as the conditions are right, what color of glaze lead molecules still run out, and blue glaze is also glazed, without exception.

(3) Tiny silvery white spots appear on the glaze. "Silver spot" is an important manifestation of the phenomenon of three-color lead return in the true Tang Dynasty, and its manifestation is still a dynamic process in different periods. First, the brewing stage, the form of expression is faintly visible light black spots on the glaze, and some even slightly burst. Then the development is that a white spot with a big needle tip appears in the middle of the light black spot, and then the development is that the white spot gradually grows into a white spot. With the continuous development of this technology, there are more and more silvery white spots on the glaze, with different sizes and natural colors. "Silver spots" are constantly changing and developing from brewing to developing into silver pieces. However, after the Tang Sancai was unearthed, it left the environment where the "silver spot" appeared, and the dynamic growth process solidified on the Tang Sancai, which provided us with the dynamic process of observing it, and it solidified in front of us for hundreds of years.

The real "silver spot" is composed of molecules as thin as 1% of paper. Some "silver dots" with high imitation of the three colors of the Tang Dynasty were born in the kiln, and it seems that lead was intentionally added to blend with glaze. The "silver dot" goes deep into the glaze, which is just the opposite of the genuine "silver dot" floating on the glaze; Some "silver dots" were "planted" after the imitations came out of the kiln. They are thick and clumsy, have no natural feeling, and are far from the luster of natural lead metal. Although the "silver spot" counterfeiters that are "planted" are also melted on the glaze at a certain temperature, the artificial traces are very strong, and it is acceptable to deceive laymen, but it is absolutely difficult to pass in front of experts. Using the first method to make "silver spots", it is impossible to bury them in the ground with medical water, because "silver spots" will be black and dull; Using the second method to make "silver dots" can not only make extremely fine real "silver dots", but also leave traces. Even if we try our best to imitate a slightly decent "silver dot", the real "silver dots" can appear one after another, and the sizes are different, and the imitators can't help it. Therefore, "silver spot" is a knot that high imitators can't solve at present.

Regarding the formation of "silver spots", Mr. Yong Cheng commented in the preface of the book "Comparative Appraisal of the Authenticity of Porcelain of Jin, Tang, Song and Yuan Dynasties": "A few years ago, it was difficult to imitate the caviar patterns in the Tang Dynasty, but now this problem has been solved. At present, there is only one important feature that is difficult to imitate, that is,' opening a silver piece'. The formation of "open silver flake" is due to lead, which is a lively chemical element. After a long time, it will naturally run out, forming a phenomenon of' opening silver sheets'. " It can be seen that "silver spot" is the precipitation of time.

Glaze difference

At present, although the high imitation Tang tri-color glaze is shallow and thin, it looks like caviar, and even a small amount of high imitation looks slightly upturned, compared with the genuine Tang tri-color, the imitation Tang tri-color glaze is dense, extremely small and fine-cracked, and there are differences in different glaze colors: yellow glaze has the smallest mouth; The deep yellow glaze has the thinnest opening, which is more like the folk saying "sesame glaze" and "warped skin pattern"; Brown glaze is similar to burnt glaze, but most of the glaze pieces burst, which seems to be more obvious from the carcass. Green glaze is not as thin as yellow glaze; White glaze is similar to red glaze; Blue glaze and dark green glaze are mostly ice cracks, with fine lines, but the lines are rarely upturned; Authentic tri-colored glazed pottery in Tang Dynasty is often complicated, even the glazed pottery of the same utensil is different. In some places, the opening is even and extremely thin, while the glaze opening is thin but not broken.

In a word, if we can sum up the difference between the authentic Tang Tri-color and the high imitation Tang Tri-color in one sentence, that is, the high imitation glaze is very small and the genuine glaze is very small. The difference lies in the word "pole". Without comparison, it is difficult to explain who is finer and who is finer.

After a hundred years, it can penetrate the glaze and bring some impurities such as brown and black into the glaze and condense on the underglaze tread. This will happen under the glaze of some genuine products. Although the opening of the glaze is not very thin, the grain is very tight and there is no separation to both sides. However, impurities can penetrate the grain, penetrate into the glaze, and slowly accumulate to form dark brown deposits. The more impurities are deposited under the glaze, the deeper and lighter the color of the underglaze tread is, and it can be clearly seen under the transparent glaze. This phenomenon is not surprising, as long as there is enough time. The reason why the high imitation underglaze color tread does not have this phenomenon is because it has not been more than a hundred years, and the short-term "crash" is fruitless. Even if impurities invade, they will not penetrate into the texture.

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