Who can provide the information on the introduction and firing process of Tang tricolor?

Category: Culture/Art >> Calligraphy and Painting Art

Problem description:

I want both.

Analysis:

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.

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 with various prepared glazes at 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.

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. First of all, its appearance is relatively fat. This breed of horse is said to have come from the western regions at that time, so it is a little different from the shape of the horse we see now. Horses have fat hips 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.

A camel-carrying figurine was unearthed in General Cemetery, the right-back in the Tang Dynasty. The camel stands with its head held high, brown all over, with long hair hanging from the top of its head to its neck, and from its lower jaw to its abdomen and upper limbs. It is soft and beautiful. Humpback whales have a platform and a blanket. On the platform, there are two Le Hu statuettes sitting on the left and right. They are sitting back to back, playing musical instruments, and there is a statuette standing in the middle, dancing. These three musical figures all have deep eyes, high noses and beards, wearing green lapels and white felt boots, and only the front one is wearing yellow shoulder armor. This tall camel carrying music and dance statues is exquisite and amazing!

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.

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. (Source: Art China)

At present, there are four Tang Sancai kiln sites discovered in China, namely Huangbao kiln in Tongchuan, Shaanxi, xiguan kiln in Neiqiu, Hebei and Xi 'an Airport kiln in Shaanxi. However, only three Tang Sancai kilns were found in Huangbao Kiln Site in Tongchuan, and the preservation condition was not satisfactory. Five of the six Tang Dynasty kilns cleaned in Huang Zhi kiln site this time are well preserved. The kiln plane is approximately horseshoe-shaped and consists of seven parts: working face, kiln door, fire room, kiln room, fire partition, chimney and protective wall. The kiln room is built on the platform. After digging a rectangular pit, the kiln wall is built with colored adobe, and a layer of refractory mud is applied to the kiln wall. The combustion chamber is located at the lower end of the platform and is made of refractory bricks. In order to prevent the kiln body from collapsing, pebbles are often piled up outside the refractory brick wall of the fire room to form a retaining wall.

Among the remains of the workshop, 1 workshop is well preserved. The workshop is cave-style, dug on the cliff, adjacent to kilns 1 and No.2, north-south, divided into three rooms: front, middle and back. The residual height of the anterior and middle ventricles is 0. 10-0.85 meters ... The anterior chamber is a vertical rectangle with a length of 5.70 meters from north to south and a width of 3.50 meters from east to west. The westward expansion part of the middle chamber is an arc wall, which is a horizontal rectangle, with a length of 5 meters from east to west and a width of 2.60 meters from north to south. The back room is in a cliff with an arc roof, with a width of 1.84m and a height of 3.04m There are five anchor pits and two mud training pools in the workshop. There are two kinds of windlass pits, one is conical and the other is below the upper circle. The maximum diameter is 0.60m, the minimum diameter is 0.40m, and the general depth is 0.60m. 1 Mud training pool is located in the middle room, and the bottom of the pool is covered with discarded tricolor mats. No.2 mud refining tank is located in the front room of the workshop, and there is residual green gypsum on the ground.

The discovery of the Tang Sancai kiln and workshop in Gongyi Huangzhiyao site reproduces the production process of Tang Sancai, which makes us have a more comprehensive understanding of the forming, decoration and firing process of Tang Sancai products. The kiln is adjacent to the workshop area, which is convenient for carrying and burning utensils and reduces the damage during transportation. The workshop area here is large, which can meet the requirements of making multiple pulleys at the same time; Kilns were built side by side, and a working face was used in front of the kiln, indicating that the firing of Tang Sancai had formed a certain scale at that time. Tang Sancai kiln is horseshoe-shaped, which still belongs to the common semi-inverted flame steamed bread kiln in Tang and Song Dynasties in northern China, but the kiln room area is generally slightly smaller than that of porcelain kiln in the same period. Judging from the fact that the sagger and kiln bed in the excavation area did not leave any glass dripping marks, Tang Sancai should be burned naked. In order to prevent the firewood fuel from falling ash and make full use of the kiln room space, first, the bottom utensils are placed on the kiln bed, then a plurality of circular columns are erected, and rectangular refractory pads are placed on them to form an interlayer, and then a layer of utensils is placed on the next floor to increase the height step by step. Because there are three burning marks on the furnace edge and the inner bottom of the washing machine, it can be seen that other utensils are burned on the large utensils such as the furnace and the washing machine, and some small utensils are also burned in the container, so as to make full use of the space and increase the burning amount of each kiln. Among the cultural relics unearthed this time, there are not only complete vegetarian embryo artifacts and fired tricolor products, but also semi-finished artifacts that have not yet been fired in the kiln after glazing, which fully shows that tricolor in the Tang Dynasty was made for the first time and fired in the kiln for the second time.

Solve the mystery of the origin of blue and white firing in Tang Dynasty

Blue-and-white porcelain in Tang Dynasty is a kind of porcelain with white glaze and cobalt blue pattern produced in Tang Dynasty. 1975, a piece of blue-and-white porcelain pillow fragment was first discovered in Tang Cheng site, Yangzhou, Jiangsu Province, with diamond-shaped flowers painted in the underglaze blue on the pillow surface. Its discovery has aroused people's great concern and changed the traditional view that blue and white porcelain in China originated in the Yuan Dynasty. Since then, dozens of pieces of blue and white Tang porcelain have been found in Wenchang Pavilion, Sanyuan Road and Cultural Palace in Yangzhou. The shapes of the works are bowls, plates, pots, pillows and so on. Blue and white patterns include clouds, grass, flowers and diamonds.

1980, according to the external characteristics such as fetal glaze, Mr. Feng Xianming first proposed that the 1 white glazed blue-colored tripods collected by Fengpingshan Museum of the University of Hong Kong (now the Museum of Fine Arts of the University of Hong Kong) were probably the products of Gongxian kiln. Researchers have repeatedly tested the composition of fetal glaze of blue-and-white porcelain samples unearthed from Tang Cheng site in Yangzhou. According to the composition distribution of fetal glaze, it is confirmed that the firing place of blue-and-white porcelain in Tang Dynasty is Gong County, Henan Province. Its discovery shows that cobalt materials have been used as underglaze pigments to decorate porcelain in the Tang Dynasty. However, because the Huang Zhi kiln in gongyi city has not been excavated in a large area, there has been a lack of strong material evidence whether the blue and white porcelain in the Tang Dynasty came from this kiln.

Fortunately, during the excavation of Huang Zhi kiln site in Gongyi, the blue-and-white porcelain wares such as bowls, plates, jars and water injection in the late Tang Dynasty were cleared up in the stratum. The blue-and-white porcelain wares were painted under the glaze, and the patterns were dotted, curved and inlaid respectively. In addition, in the strata and ash pits in the middle and late Tang Dynasty, a number of white glazed objects sprinkled with blue were unearthed. These objects are made of kaolin, and the fetal quality is fine and gray. Hang a layer of makeup soil first, then apply white glaze, and sprinkle some blue on the white glaze. This kind of vessel is common in bowls. One is that the rim of the mouth is densely covered with blue stripes, the center of the bowl is dotted with a plum blossom, and five plum blossom spots are evenly arranged on the inner wall of the bowl. Another kind of bowl is to mural only five plum blossom spots in the bowl. The plum blossom dot consists of five blue dots, often with a yellow dot in the middle. The rim and shoulders of the jar are covered with large blue spots, and the blue color has been integrated with the white glaze. Compared with blue-and-white porcelain, this white glazed blue-and-white ware has lower firing temperature and lower porcelain degree.

Mr. Feng Xianming pointed out in the book "China Ceramics" that "mature blue-and-white porcelain has three main elements: 1, white porcelain tire, pure transparent glaze; 2. Making blue patterns with cobalt materials; 3. Master the technology of underglaze painting. " Based on this, we think that the so-called blue-and-white porcelain in Tang Dynasty should also meet the above three standards: first, the utensils themselves are white porcelain, and the firing temperature should reach 1200℃ or above; The second is cobalt paint, that is, blue and white porcelain uses cobalt-containing minerals as pigments; The third kind is underglaze color, that is, drawing blue under glaze. Therefore, the above-mentioned white glazed blue-and-white porcelain is not a real blue-and-white porcelain, but a product of the transition from blue-and-white porcelain in Tang Dynasty, which provides important information for the origin of blue-and-white porcelain.

The unearthed white porcelain of Tang Dynasty provides clues for the white porcelain kiln mouth of Kaiyuan Palace in Henan Province.

In the Tang Dynasty, Li Jifu wrote in Volume 5, Henan Daogong Fu, Records of Yuanhe Counties: "Kaiyuan Gong Ling, silk, white porcelain ...". Geography of the New Tang Dynasty also records that "in the first year of Kaiyuan, there were more than 20 counties, including Tugong Wenling, Gu Sige, Lian 'ang, Gou Jing and Meiguo Zizyphus jujuba". According to the current archaeological data, Xin 'an Chengguan Kiln and Yiyang Jiexi Kiln belong to Linru Kiln System in Henan Province, mainly firing plain green and printed celadon, and the porcelain was fired in Song and Yuan Dynasties. Dengfeng Quhe Kiln and Xinmi Xiguan Kiln belong to the northern Cizhou Kiln System. Although they mainly produce white porcelain products, they started firing in the middle and late Tang Dynasty, which has not yet reached the level of Kaiyuan in the prosperous Tang Dynasty.

1957, Mr. Feng Xianming collected more than 10 pieces of white porcelain exactly like Gongyi kiln at the Daming Palace site in Xi 'an, Shaanxi. 1995 to 1996 During the archaeological excavation of Hanyuan Temple in Daming Palace in Tang Dynasty, white porcelain samples similar to those in Gongyi Kiln were also unearthed. Around Baihe Village, 2km south of Dahuangzhi Village in gongyi city, it is the kiln site of Tang Dynasty, mainly firing white porcelain. The unearthed white porcelain is hard and delicate, and the glaze color is pure. It is considered to be the mouth of the kiln that paid tribute to Chang 'an in the Tang Dynasty. In this archaeological excavation of Huang Zhi kiln site in Gongyi, a number of exquisite white porcelain, such as white porcelain ear piercing bottles, three-legged bottles, three-legged stoves, spittoons, etc., have been unearthed, which are huge and well-made, and are not used by ordinary people. Accordingly, we think that Huang Zhi Kiln in Gongyi not only produced a large number of tri-colored porcelain, but also was one of the kilns that fired palace white porcelain in Kaiyuan period of Tang Dynasty.