As soon as he talked about Tang Sancai, Xiao Zhang's flesh hurt, this damn system compensated for his own theoretical knowledge of Tang Sancai, Xiao Zhang digested it all night......

Grandmaster-level theoretical knowledge, what does this mean?

On behalf of Tang Sancai, no one can say Xiao Zhang......

What Liu Chengfeng...... What He Xiyu...... I don't know anyone else, Xiao Zhang......

As for firing...... Xiao Zhang's current level of firing Tang Sancai is not at the grandmaster level, but at the master level.

What exactly can be fired, Xiao Zhang doesn't have any ideas, after all, it has not been burned, and there is no comparison.

But Xiao Zhang had already thought about it, and this Tang Sancai game would definitely be fired by himself.

In fact, many people have misunderstandings about Tang Sancai.

thinks that this Tang Sancai is just a spiritual weapon...... Funerary goods.

That's right, it was true in ancient times.

Many of the excavated Tang Sancai are burial goods from major tombs.

But Tang Sancai has its own glorious history.

Tang Sancai is a generic term for pottery excavated from Tang tombs, and later scholars regarded it as a term for ceramic classification.

Tang Sancai does not refer specifically to those three colors.

On all kinds of terracotta figurines, pottery statues, and other pottery excavated in the Tang tombs, some of them are only single color, or two colors, and there are many utensils, but they have more complex and colorful colors.

Generally speaking, in addition to the white ground of the carcass, lead yellow, green, and green are the most common, and they are also the most artistic in the blending techniques of the three colors.

Tang Sancai has fewer utensils, and a large number of ponies, small domestic animals, and small poultry, all of which have rich artistic craftsmanship, especially the terracotta figurines of various figures, as well as the heads of supernatural images, which are of the most artistic value.

The three-color ware is showing a variety of utensils used in the actual life of the Tang Dynasty, and among these utensils, the form of social life at that time is very complete, so that we know that the shape and quantity of the Ming utensils and other artifacts of the burial are determined according to the official rank of the tomb and the size of the door.

For example, in the system of Tang Liming utensils, there are more than 90 things in the third grade, 60 things in the fifth grade and more than 60 things, and 40 things in the ninth grade and above.

The puppet is a foot tall.

Other music bands, the families of child servants, and the prestige costumes are also determined by their rank during their lifetimes.

At the end of the early Tang Dynasty, the wind of the thick burial of the beginning of the beginning, and then from the prosperous Tang Dynasty to the middle and late Tang Dynasty, the wind of the thick burial is very beneficial, and the street is full of bright instruments, the tomb of Chen, the song and dance music is played, the curtain is opened, and the plate bed is set up, and the passers-by are given flowers and human shapes and food and drink, which is like a sacrifice.

Because the Tang Dynasty paid attention to the use of three-color Ming ware as burial objects, therefore, since the construction of the Bianluo Railway at the end of the Qing Dynasty, in the Tang tombs in the northern suburbs of Luoyang and other places, a large number of three-color vessels and figurines have been excavated.

Regardless of its shape and color, Tang Sancai has a very high artistic intention, which has attracted the attention of people from Japan, Europe and the United States, and purchased at a high price, since then Tang Sancai has been included in one of the world's art parts.

The peak of Tang Sancai production was Kaiyuan, Tianbao to the Great Calendar.

His artistic achievements are reverberating the past and the present, and he is well-known at home and abroad.

Tang Sancai was inspired by a sound and strong dynasty, and at the same time, it also concretely and actively reflected the spirit of the times.

Tang Sancai occupies an important historical position in Chinese culture and has left a strong mark in the history of Chinese ceramics.

Tang Sancai was born in the Tang Dynasty because of its cultural origins.

First of all, mature ceramic technology is the material basis for the birth of Tang Sancai, secondly, the Tang Dynasty's flourishing style of thick burial is the direct guide to its birth, and thirdly, the history and culture of various fields in the Tang Dynasty is the best artistic nourishment for its birth.

The birth of Tang Sancai is also the birth of Sancai glaze decoration technology, which is the process of combining glaze decoration and carcass decoration.

The brilliant and brilliant Tang Sancai, its gorgeous and colorful artistic effect has been exerted and vividly displayed on the figurines with exquisite sculptures and vivid shapes.

In modern times, the development of Tang Sancai has made a breakthrough.

Tang Sancai's copying and imitation technology, in Luoyang has a history of 100 years, after the development of generations of artists, Tang Sancai technology has been gradually improved, and the firing level has been continuously improved, so that the "Luoyang Tang Sancai" technology and artistic level have reached 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".

Tang Sancai horses and camels have been presented as national gifts to heads of state and government of more than 50 countries.

Therefore, many people think that Tang Sancai is only the burial goods of the dead vessel refers to the ancient diggings from the tombs, even those ancient Tang Sancai, we have to affirm the exquisite craftsmanship value, cultural value.

Then the modern Tang Sancai ceramic products are completely inherited from the ancient craftsman spirit and craftsman skills.

The firing of modern Tang Sancai is to fire modern handicrafts with Tang Sancai technology......

Such works also have cultural value and connotation.

This is also the existence space and value of modern Tang Sancai.

Of course, Xiao Zhang is still very familiar with firing Tang Sancai.

After all, there is a lot of information in the mind.

According to Xiao Zhang's previous understanding, the first thing that this system opened for him was the learning direction of porcelain, and the first thing to learn was Tang Sancai......

It's just a coincidence, Xiao Zhang insisted on learning Ru porcelain......

But after all, Xiao Zhang mastered the skill of firing Tang Sancai very early.

Although these fired Tang Sancai and fired Ru porcelain are both fired porcelain, they are completely different.

That's why Xiao Zhang once wanted to rub the kiln, but found that it was Liu Chengfeng's master's kiln that he wanted to rub, and finally gave up, because even the temperature in the firing kiln was different.

The production process of Tang Sancai is very complicated.

First of all, the mined ore soil should be selected, pounded, washed, precipitated, and dried, and then made into a tire with a mold and fired in the kiln.

Tang Sancai's firing adopts the secondary firing method.

From the point of view of raw materials, its carcass is made of white clay, after 1,000 degrees to 1,100 degrees of plain firing in the kiln, the roasted plain tire is cooled, and then applied with a variety of prepared glazes into the kiln glaze firing, and the firing temperature is about 800 degrees.

In the glaze, a variety of oxide metals are used as colorants, and various colors are presented after calcination.

After the glaze is fired, some characters need to open their faces again, the so-called open face is that the antique products of the character's head are not glazed, it has to go through a thrush, lip point, hair painting process, and then this Tang Sancai product is completed.

The biggest difference between Tang Sancai and Ru porcelain in the basic firing process is the temperature of the secondary firing.

Ru porcelain is fired at a high temperature for the second time, and the temperature even reaches 13400 degrees......

On the contrary, Tang Sancai burned at a low temperature, and the temperature was only 800 degrees......

When the plain is fired, the Ru porcelain is 800 degrees, and the plain fire of Tang Sancai is indeed about 1,100 degrees.