In short, if you use one sentence to summarize the difference between the genuine Tang Sancai and the high imitation Tang Sancai glaze, that is, the high imitation opening is small, the genuine opening is extremely small, the difference is in a "extreme" word, which is not difficult to compare and difficult to explain who is fine, who is more fine.

After a hundred years, it can penetrate the glaze, bring some impurities such as brown and black into the glaze, and condense on the underglaze surface, which will occur under the glaze of some genuine products. Although the opening piece of the glaze is not very fine, but the texture is very tight, there is no phenomenon of separation to both sides, but the impurities penetrate the texture and penetrate into the glaze to slowly accumulate to form black-brown deposits, the more impurities deposited under the glaze, the darker the surface of the tire under the glaze, and the lighter it is, and it is clearly visible under the transparent glaze. This is not surprising, as long as it lasts long enough. The reason why there is no such phenomenon in the high-imitation underglaze tire table is because it does not have a time of more than 100 years, and the short-term "quick production" is fruitless, even if there are impurities invading, it will not penetrate the texture.

Tang Sancai, is no longer the three-dimensional object in people's imagination, nor is it a funeral object, has gone from the ground to the ground, into people's daily life, the above introduction of Tang Sancai when its history is also explained in detail, Tang Sancai gradually to the plane Sancai development, that is, Guo Aihe and some other masters research and development of plane glaze painting, and the development of Sancai art this brand.

The production process of ancient ceramics is an important basis for the identification of ancient ceramics, but general collectors are often prone to ignore this problem. This ignore? On the one hand, the fingerprint indentation on the inner wall of Tang Sancai is because we often focus on observing the external factors such as the shape, glaze color and opening of ceramics; On the other hand, the reason is that for the general collectors, it is impossible to come to the scene to understand the production process of ceramics, they rarely go to the production place of modern ceramics, and even less have been to the pottery sites left in various parts of our country, they do not understand the structure of various furnaces in the ruins, therefore, they have left traces on the ancient ceramics in the pottery process, pay little attention, so that some traces that are very effective in identifying the authenticity of ancient ceramics are ignored, which can not but be said to be a shock.

The fingerprints on the inner wall of the Tang San painted pottery figurines are such traces. It is the pottery imprint left by the pottery craftsmen of the ancient Tang Dynasty, and it is a sign of the authenticity of Tang Sancai identified by today's people. The two photographs of Figures 6-27 and 6-28 are of the inner wall of the Tang Sancai female figurines, and the fingerprints on the inner wall can be clearly seen from the photos. The reason why two photos are provided is to show that this kind of Tang Sancai leaving fingerprints is not an isolated phenomenon, but a feature that careful collectors can often find on various figurines, so this feature can be used as a basis for identifying the authenticity of Tang Sancai.

Readers are invited to analyze these two photos, and they can find that the fingerprints on these two photos are not traces left by one finger, but more than two fingerprints, or multiple fingerprints formed by overlapping the same fingerprint. This phenomenon shows that the craftsmen of the Tang Dynasty constantly pinched the plastic blank with their fingers when making Tang Sancai, thus leaving this overlapping fingerprint trace on the inner wall.

Judging from the Tang Sancai products unearthed from the Huangye kiln site, the production of Tang Sancai is the use of molding technology, this process, has strict modeling requirements, therefore, Tang Sancai products, especially some figurines with open bottoms, after demoulding, its details, especially the seams, will be processed by hand. This special process not only has a strong characteristic of the times, but also requires very superb craftsmanship, which has left a deep imprint on Tang Sancai products, and finally enables modern collectors to see the fingerprints of these unknown Tang Dynasty craftsmen.

These fingerprints are not only the basis for us to identify the true and false Tang Sancai, but also make us worship the craftsmen of the Tang Dynasty.

Tang Sancai is a kind of collectible, and collectors can reinforce it by themselves. Before treatment, it is necessary to observe the degree of damage to the utensils, do not blindly use various chemical materials, and formulate a repair and maintenance plan first. If the glaze color is not loose and falls off, but the surface is covered with white velvet and the glaze cannot be knocked off by hand, indicating that the glaze is relatively strong; On the contrary, it means that the glaze blank is crisp and loose. Depending on the situation, the maintenance methods taken are also different. For example:

Two methods can be used for the glaze surface is relatively firm, and the billet tire is relatively dense and hard: one is the distilled water immersion and desalination method: this kind of utensils are soaked in distilled water, and the water is changed once in two or three days, and the surface can be taken out and dried after soaking three or four times, and the surface can be protected by a protective layer. The second is the pulp paste method: the paper is shredded and soaked in deionized water, replaced once a day, and can be used after 3 days. Apply the pulp paste on the utensils to remove salts, change the pulp once every 2 days, after 3 times, and dry the surface to coat the protective layer after removing the pulp.

The glaze blank is not good, the blank carcass is crisp and loose, and this kind of glazed pottery can not be easily washed with water. If conditions permit, the decompression infiltration reinforcement method can be used, and the utensils can be placed in the vacuum dryer for penetration and reinforcement, and the formula and ratio of the reinforcing agent should be matched according to the crispness of the pottery tire, the thickness of the particles, and the thickness of the ceramic tire. After the reinforcement is dried, the reinforcing agent should not be allowed to shine on the surface, and the color of the item should not be changed. It can also be reinforced by spraying, brushing, dripping and other additions, and after the reagent is prepared, it is reinforced by air pump spraying, brush painting, and needle dropping inside and outside the utensils. Don't be in a hurry when reinforcing it, and proceed slowly according to the absorption of the utensils, from part to whole. Reinforcement is baked with an infrared lamp until the solvent evaporates. Excess liquid on the reinforced surface can be wiped with acetone.

Impregnation and surface reinforcing agent can be used: 3% trimethyl resin acetone solution; 5-15% polyvinyl acetate alcohol solution; 3% alcohol solution in cellulose; 2% nitrocellulose acetone solution; 5% polyvinyl alcohol solution and so on.

To remove the dirt on the glaze, the calcareous covering can be scrubbed with a 2% dilute hydrochloric acid solution; Gypsum covering, ammonium sulfate solution can be used for hot foaming; Siliceous covering, which can be wiped with 1% hydrofluoric acid solution; Food spoilage and smoke stains can be scrubbed with ether, acetone, toluene, sodium carbonate solution, etc. All artifacts that have been chemically reagent used should be soaked in distilled water.

Tang Sancai is the characteristics of this handicraft, it has the characteristics of the exchange of Chinese and Western cultures, this shape is a chicken head vessel, from the research it was a kind of wine vessel in the Western Regions and even the Middle East countries, but in the Central Plains it is made as a handicraft, and from the use of people can see the exchange of Chinese and Western cultures at that time.

Tang Sancai is the essence of Tang Dynasty pottery, which reached its peak in the early Tang Dynasty and the prosperous Tang Dynasty. After the Anshi Rebellion, with the gradual weakening of the Tang Dynasty and the rapid development of porcelain, the production of three-color ware gradually declined. Later, it produced "Liao Sancai" and "Jin Sancai", but in terms of quantity, quality and artistry, it was far inferior to Tang Sancai.

Tang Sancai is a treasure of Chinese ceramic firing technology, belongs to a kind of low-temperature glazed pottery produced in the Tang Dynasty, the glaze has yellow, green, white, brown, blue, black and other colors, and yellow, green, white three colors, so people are used to call it "Tang Sancai"; Because Tang Sancai was the earliest and most unearthed in Luoyang, it is also known as "Luoyang Tang Sancai". Its exquisite firing skills and immortal artistic value are the crystallization of the wisdom and art of the ancient Chinese working people.

The treasure of ancient Chinese traditional ceramic art began in the Northern and Southern Dynasties, flourished in the Tang Dynasty, and Luoyang was the main production area. Tang Sancai is the general name of low-temperature glazed pottery in the Tang Dynasty, on the same utensils, yellow, green, white or yellow, green, blue, ochre, black and other basic glaze colors are staggered at the same time, forming a gorgeous and colorful artistic effect. "Sancai" means colorful, and does not refer specifically to the three colors. The Tang Dynasty was the heyday of China's feudal society, the economy was prosperous, the culture and art were vibrant, Tang Sancai is a kind of painted pottery handicrafts produced during this period, it is known for its vivid and realistic shape, bright color and rich life. The hometown of peony stone is the world-famous Luoyang Longmen Grottoes more than ten kilometers east of Wan'an Mountain, Yanshi City, Koudian Town, Wulong Village, this town is named after the Song Dynasty famous minister Kou Zhun stayed here, and the peony stone is hidden in the folds of Wan'an Mountain. According to expert research, peony was formed in the crustal movement of 1.5 billion years ago, and was formed by crystalline medium mafic volcanic lava mixed with other magma flows. Its basic rock is equivalent to the stone hardness of marble, those scattered or gathered crystals are equivalent to the quality and hardness of jade stone, under the polishing of natural time, the peony stone set the spirit of the mountains and rivers, the beauty of poetry and painting, become the wonder of the beautiful stone.

Tang Sancai occupies an important historical position in Chinese culture, and has also 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 flourishing style of heavy burials in the Tang Dynasty was the direct guide to its birth; Third, the history and culture of the Tang Dynasty in various fields is the best artistic nourishment for it. 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 perfectly played and vividly displayed on the figurines with exquisite sculptures and vivid shapes.

Pishan is located in the north of Luoyang, lying in the south of the Yellow River, is a treasure land of feng shui, since the Han and Tang dynasties have become a famous burial area, so there is a folk proverb of "born in Suzhou and Hangzhou, dead and buried in the north". The ancient tombs of the past dynasties overlap here, and there is "almost no place for lying cattle". The earliest discovery of Tang Sancai was in the late Qing Dynasty, when the Qing government built a railway project from Kaifeng to Luoyang through the foot of the mountain, destroying countless monuments here, and Tang Sancai, which had never been heard of in the precious relics unearthed in the Tang tomb, came out.

The term "Tang Sancai" is not recorded in the historical data, until the early years of the Republic of China, on the market of Beiping South Liuli Factory, suddenly from the field into a large number of these glazed figures, horses, camels, utensils and other pottery, yellow, green, white is more common, as well as red, brown, blue, purple and other colors, whether single color, two colors or colorful, all are vivid, the glaze is gorgeous, causing a sensation. Antique dealers privately call it Tang Sancai. "Three" is a pole number, and it is also very appropriate to describe colorful pottery, so this term was quickly accepted by ceramicists, and people named this kind of pottery after Tang Sancai, which is still used today. At the same time, Tang Sancai also attracted the research of a group of scholars such as Luo Zhenyu, proving that these beautiful antiquities are indeed relics of the Tang Dynasty.

A large number of Tang Sancai pottery has been unearthed in Luoyang, and Gongxian County, Henan Province, not far from Luoyang, is the hometown of firing Tang Sancai. About 10 kilometers away from the county seat of Gongxian County, the big and small Huangye villages, fired three-color ware based on yellow glaze in the Tang Dynasty, so it is called Huangye (porcelain). According to the analysis of the specimens unearthed at the kiln site, the characteristics of Gongxian kiln Sancai are: except for a few red pottery tires fired from ordinary clay, most of them are relatively pure white kaolin, which is white or pink due to the difference in firing temperature. The firing temperature is slightly lower than that of porcelain, between 0 °C, of which the firing temperature of the three-color figurines is about 900 °C, and the firing temperature of the three-color ware is about 1000 °C. Huangye Village is the earliest firing Tang Sancai kiln site discovered.

Luoyang Tang Sancai is mostly concentrated in the four suburbs of the eastern capital of the Sui and Tang dynasties, that is, the north of the city, the south of the city of Guanlin and Longmen, and the west of the city valley area. There are also many Tang tombs in Yanshi, Mengjin, Yichuan and other places. From the comprehensive study of excavation data, it is known that Luoyang Tang Sancai appeared in the tombs from Wu Zetian to Zhongzong (AD), and it is rarely seen in the Tang tombs after the early period of Xuanzong Kaiyuan Tianbao. This period was when the Tang Dynasty was at its strongest, with a clear government, a stable society, and a prosperous economy.

Luoyang Tang Sancai has a wide variety and rich content, covering all aspects of social life at that time.

Because the imitation product is not produced for a long time, the surface of the utensil has not been corroded by acid, alkali, salt and other underground chemicals for thousands of years, the glaze is new and bright, and the glaze is smooth and easy to touch, without the "astringency" of the real product. Although the surface does not have that smooth and bright feeling, this imitation often leaves traces of friction on the surface of the utensil. If you look closely at the side light, you can see the friction marks produced by polishing on the glaze, and you can feel like you are stabbing your hands when you touch the utensils with your hands. The genuine three-color cylindrical device is formed by the molding method, and the double mold is assembled left and right, and the tire is partially repaired. There is a hole left in the middle of the bottom or lower part of the main body of the utensil, through which you can clearly see the traces of mold clamping, and you can see that there are some irregular handicraft traces left on the wall of the vessel. The imitation is treated with a modern high-precision grinder, but the dual-mode assembly is added to the snake. Tang Sancai absorbed the characteristics of Chinese traditional Chinese painting sculpture and other arts and crafts, and adopted decorative patterns in the form of stacking and pasting, carving, etc., with rough and powerful lines.

Although the glaze opening of the high imitation Tang Sancai is also light and fine, like a caviar, even a small number of high imitation openings also seem to have a slightly upturned inner wall fingerprint indentation feeling, but compared with the real Tang Sancai, the opening of the imitation Tang Sancai is dense, extremely fine, fine and bursting, and there are differences in different glaze colors: the yellow glaze is the most fine; The dark yellow glaze is the most fine, more like the folk "sesame glaze" and "warped skin pattern"; The brown glaze resembles a burnt glaze, and the glaze opening is mostly bursting, and the separation from the carcass seems to be more obvious; The green glaze is not as thin as the yellow glaze; The white glaze opening is about the same as the red glaze opening; The blue glaze and dark green glaze are mostly cracked, and although the walking lines are also fine, the grain pieces are rarely upturned; The opening of genuine Tang Sancai ware is often more complicated, that is, the opening of the glaze of the same utensil is also different, and the opening of some places is uniform and very fine, and the opening of the thin glaze is fine but not broken, and the texture is slightly longer.