Later, according to experts, the identity of these naked equestrian figurines has not yet been solved.

Because there were no horses next to the excavation site, after years of interpretation and research by experts, it was found that they were riding wooden horses, but they had decayed for a long time.

More people's eyes are focused on gender, and if it is really female, it means that there have been female soldiers back then.

This is the question of what I said before, the value of a work of art or a craft......

It is not the collection value, but the cultural value, the artistic value, and the craft value.

A piece of art can bear witness to a piece of history, and this is the cultural value.

The equestrian figurines unearthed can prove that they were female soldiers! This shows that there were already female soldiers in that era......

And this event is not recorded in any historical book......

This gives good value to the study of historical documents!

So that's where the cultural value lies.

Of course, whether it is these lady figurines, samurai figurines, noble lady figurines, or samurai figurines, they can all reflect many things that reflect the customs and history of the dynasty at that time.

But the real research value has to be those large artifacts!

For example, this camel and the horse.

Especially this Malaysia!

This is also the reason why Xiao Zhang chose Malaysia.

Because this Tang Sancai horse is the most common subject in Tang Sancai pottery.

And under normal circumstances, this Tang Sancai Malaysia is huge in shape and complex in structure, which cannot be completed by ordinary manual drawing method, so it is mostly molded by molding.

Although it is mold-fitting, all the three-colored horses have their own characteristics, and it is almost impossible to find exactly the same three-colored horses.

It can be seen from the existing three-color horses that the Tang Dynasty three-color craftsmen are not only very familiar with the appearance and characteristics of horses, but also have a deep understanding of the horse's demeanor and temperament.

Therefore, it is easy to shape.

They not only made the three-color horse very realistic in appearance, but also gave full play to the artistic imagination, and appropriately used the artistic exaggeration to make the horse's inner spirit vividly expressed.

Of course, according to the normal situation, Xiao Zhang should also use molds to make three-color horses...... Because it is difficult to finish with ordinary hand drawing!

But Xiao Zhang is not a normal situation, other craftsmen are because of the tricky shape of the horse, and even the molds used are several molds, which are made together, that is, the horse head and horse body and legs may be made separately, and finally they are combined separately......

But Xiao Zhang is not an ordinary craftsman, Xiao Zhang uses grandmaster-level blank drawing skills......

So it's also competent!

According to the traditional artistic methods of the craftsmen of the Tang Dynasty, these three-colored horses are divided into many kinds.

Judging from the shape of Tang Sancai horses, they can be roughly divided into five categories.

One is the galloping horse warriors.

Such as the empty galloping horse warriors, unearthed in Xi'an in 1966, now in the Xi'an Cultural Relics Management Office.

The Tang Dynasty Sancai sculptor seized the scene of the moment when the four hooves of the galloping horse soared into the air, and created a very dynamic three-color horse. The image of "bamboo batch with two ears and light wind into four hooves" has a very strong visual effect, which makes people have endless aftertaste.

The galloping horse figurines have been repeatedly found in the unearthed painted pottery, but they are extremely rare in the unearthed Tang Sancai.

According to the available information, there is only one blue glazed equestrian figurine hanging in the three-color ware in the domestic collection, and there is no similar three-color equestrian figurine found abroad.

The second is the leg-lifting horse warriors.

Tang Sancai's legged horse warriors usually land with three hooves on the ground and the right front hoof raised.

This blue-glazed horse is a very ingenious concept, with three hooves on a triangular baseplate, straight front legs, arched back legs, and a slightly raised right front leg, highlighting the leg muscles.

The craftsmen of the Tang Dynasty grasped the characteristics of the horse and created a lifelike and unusually toned image of a war horse.

The third is the figurines immediately.

Horse figurines are an important breed of Tang Sancai horses.

The mounts of the three-colored horse figurines are generally in a standing position, while the horse figures are colorful, including hunters and archers, as well as polo players, Hu and Han people, men and women.

The Horse Hu people usually have deep eyes and high noses, loose beards, rough faces, and muscular muscles, reflecting a strong and arrogant atmosphere.

The female figurines are graceful and graceful, gorgeously dressed, with towering buns, plump bodies, and sassy and heroic.

Fourth, horse-drawn cart figurines.

Among the three-color horse warriors, the horse-drawn carriage figurines are rarer.

Although the size of the cart horse is not large, the shape is extraordinarily realistic.

The horse's head is high, its eyes are wide open, and its tail is upturned, making a static work stand out for movement.

Fifth, the figurines are immediately formed.

The figurines are the most common breed in Tang Sancai, that is, the three-color horses with four legs standing upright on the rectangular bottom plate, but there is no shortage of fine products in the three-color horses.

For example, the figurines unearthed in Xi'an and hidden in the museum, the horse is 40 centimeters high, the whole body is white, the neck is stretched and the head is bowed, the decoration craftsmanship is extremely exquisite, and any details are meticulously handled, such as the neatly combed horsehair, the apricot leaf-shaped ornament and the green trim on the saddle sheath, etc., all of which are the same.

These are the five types of three-color horses!

And what Xiao Zhang fired today belongs to the fourth type of horse-drawn chariot figurines and the third type of horse-drawn figurines!

This is also known as the equestrian figurines!

The most important point in firing these three-color horses, and one that Xiao Zhang believes needs to be mastered, is the decoration of the horse.

This is very important.

This is also a point that the craftsmen of the Tang Dynasty attached great importance to.

Even many craftsmen in Tang Sancai's kiln will fire decorative molds separately and decorate the horses alone!

Xiao Zhang has a special study of this.

The decoration of the three-color horse in the Tang Dynasty is very rich, and the decoration techniques are varied, which makes people have a common and new feeling.

The first is the ribbon decoration method, which is a kind of use of the glaze itself fluidity, in a certain part of the bottom glaze brush a thick glaze of various colors, let it flow naturally and form a mottled color strip of decorative techniques, is the most common decorative technique of the three-color horse.

The second is the pointillism decoration method, that is, using a brush to dye various glaze spots on the horse's body, or light spots on the dark glaze, or dark spots on the light glaze, so that it is dense and compact, showing a natural effect.

Usually the blue color horse is more expensive.

The third is the applique decoration method, that is, the various decorations that have been molded are pasted on a certain part of the three-color horse, so that the horse appears more luxurious and solemn.

Common decorations include saddles, blankets, bells, and flowers.

The fourth is the twisted tire decoration method, which is also known as the stirring tire, that is, a decorative technique that imitates the marble pattern, and its operation method, which has been said differently in the past, has been basically mastered after years of efforts by domestic scientific research workers.

Judging from the unearthed three-color ware, Tang Sancai's twisted tire pattern actually has three forms of artistic expression: one is that the body is made of twisted tire technology, that is, the thin clay pieces are made of white and ochre porcelain clay respectively, and then superimposed layer by layer, drawn or hand-pinched, so that the blank presents the texture of marble or similar tree rings.

The second is the veneer twisted tire, that is, the twisted tire pattern sheet is pasted on the outside of the utensil, so that the part of the utensil presents the twisted tire.

The third is imitation twisted tires. In 1971, the figurines of archery horses unearthed from the tomb of Li Chongrun, the prince of Yide in the Tang Dynasty in Qianxian County, are the representative works of imitation of the three colors of the twisted tire.

The horse warrior is 36 centimeters high and is now in the Shaanxi Provincial Museum.

In fact, the marble pattern of the body is not made by the whole shape of the tire twisting technique, but is made by drawing on the carcass with a brush, then glazed, and then fired in the kiln.

The texture of its body appears to be more symmetrical, and the lines are smooth, the color is round, and its artistic expression is far better than the twisted tire pattern.

The last is the brushed decoration method, that is, the effect of a coarse blanket is formed by carving on the saddle area.

This decorative technique is often seen on three-colored camels, but less often on three-colored horses.