The shape of the horse is relatively fat, and this breed of horse is said to have been paid tribute from the Western Regions at that time, so it is a little different from the shape of the horse we saw, with a fatter hip and a wider neck.

The styling characteristics of the Tang horse, it is mainly quiet, but it is driven by stillness, and you can see that this is a still horse. However, through the depiction of the horse's eyes, the horse's eyes are carved into a triangle, the eyes are round, and then the horse's ears are attached, as if it is listening quietly or hearing some movement, through such detailed depictions to show the inner spirit and inner rhythm of the Tang horse, and it can also be seen that the craftsmen have superb craftsmanship.

Another characteristic of Tang Sancai is the glaze color. As a piece of utensils at the same time the use of yellow, green and white three kinds of glaze, which was the first in the Tang Dynasty, but the craftsmen skillfully use the method of glazing, yellow, green, white three colors, so that it is staggered, intermittently used, and then after high temperature firing, the glaze color and pour and melt to form a unique flow process, out of the kiln, the three colors have become a lot of colors, it has primary colors, there are compound colors, there are both colors, people can see is a variety of mottled colors, this is the characteristics of Tang Sancai glaze.

The shape of Tang Sancai artifacts is round and full, which is consistent with the plump, healthy and broad characteristics of Tang Dynasty art. The proportions of the three-color figures and animals are moderate, the form is natural, the lines are smooth, and the life is lively. Among the figurines, the samurai is muscular, angry-eyed, and tense; The female figurines are high and wide-sleeved, slim and jade, leisurely and elegant, and very plump. Animals are mostly horses and camels.

Tang Sancai's fetal quality is light red and light yellow in white. The fetal soil is fine and solid, containing mineral impurities. Since most of them were unearthed from tombs, after thousands of years, there was weathering in the exposed parts of the utensils; Imitations are mostly porcelain tires or gypsum tires, and the tire is white and delicate, without weathering. There are few impurities, the knocking sound is loud, and the feel is heavier.

Xi'an, Luoyang and Yangzhou, the production areas of Tang Sancai, are the connecting points of the ancient silk road on land and sea. On the ancient Silk Road, the main means of transportation in the Tang Dynasty was camels. It is conceivable that in the desert, people and camels trek hard and depend on each other, so there is a sense of intimacy between people and camels. Its tall form and resolute expression seem to carry the dust of the ancient silk road.

Sancai kiln in Gongyi City, Henan Province is located in the county's large and small Huangye Village, which is about 10 kilometers east of the county seat, and is located on the platform on both sides of the Huangye River 2.5 kilometers southwest of Zhanjie Township. They are adjacent to a river about 11 kilometers long, this river is named in the local section, from the birthplace of Qinglongshan Canyon to Shuidihe Village, this section is called Sihe River (because of the ruins of Ciyun Temple in the Tang Dynasty), the upstream from Shuidihe Village to Baihe Village is called Baiye River (because the Tang Dynasty fired white porcelain here), the middle reaches from Baiyehe Village to Da, Huangye Village this section is called Huangye River (Tang Dynasty burns three-color ware with yellow as the main color), and the downstream is called Xisa River.

Because Gongyi City south of Qingshan branch Qinglong Mountain, north of the surging Yellow River, Yi, Luo two rivers run through the county, so the water and land transportation is very convenient, plus the Huangye River contains rich white kaolin and a large number of coal resources, which provides a material basis for the firing of Sancai ware, the ancients adapted measures to local conditions, make the best use of things, choose this location to establish the production of Tang Sancai workshop, kiln is very natural, so this area has become the birthplace of Tang Sancai production in the Tang Dynasty, It is also a kiln that specializes in firing Sancai ware in the Sancai production area that has been discovered.

Judging from the amount of Tang Sancai unearthed and the analysis of archaeologists, the output of Tang Sancai in the Tang Dynasty was very large, with the development of archaeology, over the years, it has been discovered that Henan Gongxian (now Gongyi City) large and small Huangye Village kiln Tang Sancai kiln site, Shaanxi Tongchuan Huangbao Town kiln site, Hebei Neiqiu Xing kiln and Sichuan Province Qionglai County Jianshanzi kiln, these are the Tang Dynasty special firing Tang Sancai kiln site.

In addition, the Shanxi Provincial Archaeological Institute also found fragments of Tang Sancai at the site of the Tang Dynasty celadon kiln in Jiezhuang, Hunyuan County, Shanxi, proving that Tang Sancai was also fired here. From June 1998 to March 1999, a batch of Tang Sancai wastes, burners, pottery fans and remnants of pottery engraved with the inscription "Tianbao Four Years" (745) were unearthed at the construction site of the old airport in Xi'an.

Archaeologists have just preliminarily believed that this is likely to be the site of the Sancai kiln in Chang'an, the capital of the Tang Dynasty. Among these kiln sites, the larger kiln scale and output are Gongxian kiln and Huangbao kiln. After test excavation and formal excavation, the two kilns unearthed thousands of Tang Sancai products and a large number of kiln furniture and molds.

As far as the unearthed cultural relics are concerned, the Tang Sancai burned at the Huangbao site is obviously different from the trip in Gongxian County. It is mainly manifested in the fact that Gongxian tires are not only whiter than those of Huangbao, but also meticulous; The Tang Sancai glaze in Gongxian County has a milky sense and strong glaze brightness, while the color of Huangbao kiln is slightly dull. Tang Sancai in Gongxian County uses a large amount of cobalt oxide as pigment, and cobalt blue is not seen in Tang Sancai in Huangbao; The types of three-color artifacts in Gongxian kiln are richer than those in Huangbao kiln, and a small number of large-scale three-color artifacts are also found in the kiln site.

From the point of view of the times, Gongxian Sancai appeared in the early Tang Dynasty, the development of the Tang Dynasty was mature, and the decline in the Tang Dynasty later, and the Sancai unearthed in Huangbao did not see the early Tang Dynasty products, there were Tang Dynasty artifacts in the years, but there were many artifacts in the middle and late Tang Dynasty. In fact, judging from the Tang Sancai kiln site that has been discovered so far, it is not yet possible to completely solve the extremely vivid Sancai ware in the Tang tomb, and it has not been found in the specimens of the above-mentioned Sancai kiln site. It is not yet known, but it depends on the efforts of archaeologists.

Tang Sancai utensils, such as daily necessities, mainly include bottles, pots, jars, bowls, cups, plates, bowls, candlesticks, inkstones, pillows, etc.; Models include pavilions, pavilions, imitation wood cabinets, housing, warehouses, toilets, ox carts, horse-drawn carriages, etc.; There are various figures and animals in the figurines, such as noblewomen, dignitaries, male and female attendants, samurai, heavenly kings, Hu people, horses, camels, pigs, sheep, chickens, dogs, etc.

With the progress of society, the continuous improvement of copying and imitation technology, there are more and more varieties of Tang Sancai. The people of Luoyang have developed a flat Tang Sancai on the basis of the traditional Tang Sancai modeling, and they will also develop more and better Tang Sancai 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 ceramics and art in China, but also plays a very important role in cultural exchanges between China and foreign countries.

Tang Sancai was exported abroad as early as the beginning of the Tang Dynasty and was deeply loved by foreign people. This multi-colored glazed pottery is famous for its colorful glaze, bright luster, and beautiful and exquisite shape, Tang Sancai is a bright pearl in ancient Chinese pottery.

According to archaeological excavations, fragments of Tang Dynasty Sancai artifacts have been excavated on the Silk Road, the Mediterranean coast and some countries in West Asia. The spread of this culture abroad also had an impact on their ceramics industry, including in Japan and Korea. During the Nara period in Japan, there were three-color artifacts made by imitating China's sancai, which was called Nara Sancai at that time, and the Silla period in Korea also imitated China's sancai to make three-color utensils, called Silla Sancai.

It is precisely because Tang Sancai has such a charm, with the further development of tourism, the opening of the international and domestic markets, more and more people like to collect Tang Sancai.

Tang Sancai's reproduction and imitation technology in Luoyang has a history of hundreds of years, after the development of generations of artists, so that the "Luoyang Tang Sancai" technology and art level has reached a certain height, Tang Sancai's production technology has also been inherited and developed.

Since the discovery of Tang Sancai at the beginning of the last century, it has attracted the attention of the Chinese and world art circles, especially after the 80s of the last century, the research of Tang Sancai is even more hot, and many experts have made the research results public. With the advent of Tang Sancai imitations, the articles on distinguishing the real and false Tang Sancai have also appeared in the newspapers one by one, and these articles have prospered the cultural garden at the same time, and its research results have also been used by counterfeiters, and a batch of authentic and false Sancai ware has been imitated.

After being old, it continues to appear in urban and rural areas, and collectors who are not deeply skilled have been repeatedly recruited. The reason is that, on the one hand, they have almost reached the perfect state in terms of tire, glaze, color, shape and even inner spiritual style, and on the other hand, they have all the characteristics of the genuine Sancai listed in the articles of Tang Sancai. It can be seen that the high imitation of the three colors is indeed imitated to a considerable level, and it is difficult to distinguish the real from the fake without the sharp eyes.

Tang Sancai firing temperature is about 1100 degrees at the highest, its production process is not complicated, the production of raw materials can be seen everywhere, the tire glaze formula has long been disclosed, imitation masters have come out in large numbers, and some are experts in Tang Sancai research. Think about it, what is the difference between the imitation and the real thing that connoisseurs use modern technology to "clone"? The answer is yes, the basic characteristics of genuine Sancai, high imitation Sancai are possessed.

It can be said that the similarities have reached more than 99%, and the remaining less than 1% of the more special characteristics cannot be imitated, because this special feature can only be formed in thousands of years, and human power is not able to do it for the time being.

The basic common sense of tire glaze modeling, color style, etc., is the key issue involved in all articles on Tang Sancai's identification of counterfeits. But from the high imitation of the three colors seen, there is no fundamental difference in these aspects, even the percentage of various chemical elements and physical characteristics of the tire glaze is basically the same, what "light age", "the aging degree of the glaze" and so on, imitation masters are still at your fingertips. Therefore, in front of the high-imitation three-color ware, it is meaningless to talk about the basic tire glaze characteristics, modeling style, and "light age glaze age".

Before the genuine product was unearthed, it was placed in a damp burial chamber, or buried in the soil, eroded by thousands of years of earth, moisture and soil, and some were placed indoors for a long time after being unearthed. The old feeling of the genuine product is extremely natural, rich in layers and deep into the muscles, with a hard object lightly, it can be seen that the old feeling penetrates into the fetus, if possible, you can gently tap one or two places on the fetal surface in an inconspicuous place to find that the old feeling is penetrated from the fetal surface to the inside.

High imitation three-color tires, although there is a sense of obsolescence after the old treatment, but there is no genuine tire through the erosion of the years and reveal the natural sense of vicissitudes of life, the old only in the fetal surface does not enter the muscles, the new feeling is vaguely recognizable, and there will be no phenomenon that the old sense penetrates into the fetus. Tap the fetal table to see that the "old" is only a layer of the fetal surface, is the "clothes" of the fetus, unlike the real old feeling and the tire are one and inseparable.

Due to the long time, part of the new section of the fetal soil meets the air, the color of the fetal soil will gradually change from white to black, this process is generally about 100 days, and there are some genuine Sancai washed after the surface of the fetus will also appear this phenomenon.

The author has knocked on the lids of several genuine jars several times to observe, and the results have been consistent. The new section or tire surface of the high-imitation three-color tire is three or five years, and its white tire soil will not change significantly. This phenomenon needs to be further studied by experts.

Regarding the subtleties of the real and fake Tang Sancai tires, Mr. Cheng Jinkui also has this statement in the article "Tang Sancai New Knowledge of Distinguishing Fake and Fake" (see the 13th issue of "China Collection"): "Put the genuine exposed part into the water, and after taking it out, it will appear moderately pink, and the exposed tire of the imitation will be earthy white when put into the water. I have tried it many times, and the results are the same.

However, this medium pink is slightly pink compared with the dead gray and white of the imitation tire, and it seems to be more suitable for Henan tires alone. For example, the imitation tire color copied in Luoyang and other places is slightly pink, and it shows a more eye-catching pink when placed in water.

Some genuine three-color exposed tires will give birth to very fine dark red, light brown, black and other colors of rust such as the tip of the needle. Dense or sparse, more or less appear on the surface of the exposed fetus, some appear on the edge of the mouth, some appear on the pedal, and some appear in the utensils.

Rust is not innate, nor is it generated in one day, thousands of years of gestation so that some element molecules in the fetal body overflow from the fetal surface and become an integral part of the fetal surface. High imitation three-color tire surface will never appear soil embroidery, imitation of the rust is extremely unnatural, imitation out of the kiln and then to the exposed tire "seed" on the rust and the natural growth of the real rust color difference is very large, the growth of and strong addition, a natural, a stiff unnatural.

Rust seems simple, but it is extremely difficult to imitate, so most of the high imitation Sancai in order to minimize artificial flaws, simply do not do rust. When it comes to rust, many people understand rust as a dirty layer of soil that can be washed off with water on the surface of the soil. In fact, the so-called rust is the product of chemical changes in matter, such as rust, patina, etc., it is inseparable from the original.

Tang Sancai's glaze is essentially a kind of bright glaze, just fired into the time bright and dazzling, brilliant luster, after a hundred years of luster gradually faded, warm and crystalline, the glaze gradually became soft and natural, the essence of the light is contained, the treasure is overflowing. Tang Sancai's glaze according to the artifacts unearthed in the tomb, its glaze is always soft and warm, except for the glaze corrosion is serious, otherwise the Sancai genuine will not lose its soft luster.

Most of the Tang Sancai glaze will appear clam light due to the long time, it is the shadow of the millennium wind and moon left in the Tang Sancai table, and no imitator can let his imitation pass through the millennium. Clam light is colorful no matter what color the glaze is, and it is also the same color no matter what kind of light it is in. The treasure light of the whole body of the genuine three-color utensils is in a trance, such as a dream floating on the gorgeous and colorful glaze, and all the high imitators will feel helpless about this dream light.

Although the luster of the high-imitation three-color glaze is also soft and warm, it is brilliant in the softness, and the thief light is hidden in the warmth, and the glaze light that is consistent throughout the body has no connotation, and there will never be clam light. Although the glaze of Tang Sancai is a low-temperature glaze, it is still fired at a temperature of about 800 degrees, and the glaze is still quite hard, and the glaze will not change significantly without more than a hundred years of time, and the clam light is the specific light produced after the glaze molecules undergo qualitative change after the aging of the glaze, and the light is refracted by light.

Under the irradiation of light, although you can occasionally see light red, light green and other colors, you will find that the color in the imitation is fixed in the glaze, and the real clam light is floating on the glaze surface, and it is five colors and six colors, and the color of the imitation is usually one or two.

The light of the real clam can be captured with a regular camera, but the light of the imitation is not. Therefore, the presence or absence of clam light is a strong standard for distinguishing the true and false Tang Sancai. Of course, not all Tang Sancai have clam light, so it cannot be ruled out that Sancai ware without clam light is also genuine.