Now, it has been more than a hundred years since the imitation of Tang Sancai in Yangluo in China.

Therefore, they have a complete industrial chain. If they want to make Tang Sancai, it would definitely be fine to go to their place to buy raw materials.

The reason why Chen Wenzhe wants to buy some essential tools now is just because of the production process.

Therefore, he also needed pottery carts used in ancient times to pull, refine, repair, and also needed some withering tools, molds, etc.

Because Tang Sancai generally uses shaping first, then turning the mold, then pressing the blank, and finally bonding and assembling.

Therefore, some tools are essential.

Of course, not all tools can be used.

Modern people imitate ancient ceramics, and in order to save costs or time and effort, they can use modern tools to replace them all with machines.

The antique porcelain made in this way does not have the charm of ancient times, and there may even be some obvious traces of modern machines.

But the ancient Tang Sancai producers were different. Many times, they could not use machines at all, so many specific traces were left on the works.

For example, because when making, wheel and kneading are used at the same time, these craftsmanship traces are left in both figurines and utensils.

People and animals are mostly made in segments, pressed by hand and bonded with clay.

The traces left by these processes are very obvious. If you carefully observe the tread inside the body of ancient three-color pottery, many of them have fingerprints from Tang Dynasty craftsmen.

For example, flat three-color objects such as flat pots, there are basically docking and knife marks on the sides.

For example, bowls, jars, bottles, water fillings, plates, bowls, etc. are made by wheels, and the small string patterns left during the production process are clearly visible.

Imitation products are different. Some use grouting technology, and there is no kneading and wheeling technology on the carcass of the utensils, as well as mold clamping and mud sticking technology.

This production method is very different from the authentic ones, and the finished product feels lighter.

Of course, there are many things to pay attention to here.

For example, round objects are placed on the turntable after grouting or molding. The turntable is rotated and the wheel marks are marked with tools.

But the string patterns look unnatural.

Some use molding similar to that in the Tang Dynasty to make it according to the blank process, but after the combination, whether it is a person, an animal or a vessel, it seems clumsy, the proportions are inconsistent, and the lines are stiff.

Some are too delicate and delicate, adding extra weight to the painting, making people feel the charm of the three colors of the Tang Dynasty.

Usually, the Tang Sancai figures are not glazed with any skin without clothing.

For example, the face, neck, and hands of a character are generally painted.

Black for hair, eyebrows, eyes, beard, hood, etc., and vermilion for lips and cheeks.

The characters' facial features and beards are depicted in detail.

These paintings have been going on for thousands of years, and their colors have become thinner and penetrated into the carcass.

The painted imitations are bright and clear in color, and look relatively floating, with unclear lines drawn, and the characters' expressions appear dull, and the brushwork used is often not in place, which is a certain difference from the genuine one.

Therefore, no matter what Tang Sancai is used, you need to study and understand these details.

For example, when making a horse, you must understand the horses of the Tang Dynasty.

The three-color horses in the Tang Dynasty were tall, gorgeously decorated, and their ponytails were short-tailed. You could tell at a glance that they were excellent war horses.

During the Tang Dynasty, the Western Regions, Tufan, Turks and others paid tribute to the Tang Dynasty or presented foreign horses of excellent breeds.

In 733 AD, an Uighur envoy rushed back to 10,000 grassland horses at one time.

At that time, Emperor Taizong of Tang still purchased 6,000 thousand horses under the state's financial constraints.

Due to the influx of foreign horses, the breed of horses in the Tang Dynasty has been improved, allowing us to see the legacy of the Tang horses from the unearthed Yangsancai horses.

The body is strong and the bones are thick. The horse's hair has become a popular "official look" at that time, and the horse decoration is also very beautiful.

The craftsmen fully portrayed the majestic momentum of the horse and the posture before rushing to the fullest. Such a three-color horse can also be said to be a reflection of the national strength of the Tang Dynasty.

In the Tang Dynasty, especially during the prosperous Tang Dynasty, people at that time regarded fat as beautiful.

Therefore, when shaping the colorful figures of characters, you also need to pay attention.

Yang Guifei, who once made the "six palaces have no color" was a fat beauty.

The female figurines in the Tang Sancai are a portrayal of the humanistic spirit of the prosperous Tang Dynasty.

The maids made during this period have a full moon face, plump and fat, but not without inner beauty.

It was very appropriate for the ancients to describe beautiful women in the Tang Dynasty by enriching their muscles and exaggerating their bones.

Wearing a yellow long skirt is a popular fashion during the Kaiyuan Tianbao period.

If you want to make Terracotta Horses, you can also make some female terracotta horses, which is the way to go.

Others include female figurines holding dogs and female figurines playing music, which are undoubtedly true portrayals of humanistic life and women's status in the Tang Dynasty.

After drawing the pictures, I drew several pictures at one time, including horse pictures, camel images, and the others were riding horses, holding dogs, playing maids, etc.

After making the design drawings, you need to process the clay material first.

The production process of Tang Sancai is first of all, selecting and processing the tire material.

The best clay material must be the mineral material from Yangluo.

Most of the Tang Sancai unearthed there are made of relatively pure kaolin, and this mineral is produced around Yangluo.

This soil is relatively delicate, has strong plasticity, and is not easy to crack or deform after forming. It is a high-quality material for making various pottery.

Chen Wenzhe naturally would not let go of this material. You should know that it is not a matter of one day or two to be disguised as Tang Sancai.

Recently, his production of Ru kiln porcelain, to monochrome glazed chrysanthemum petal plates, to enamel and green glaze porcelain, has taken a lot of effort to make this series of porcelain.

Therefore, after all kinds of raw materials are collected, Chen Wenzhe's imitation work can almost begin.

The clay that has been carefully mined should be carefully screened before making it.

Only after washing, precipitation and drying can the clay reveal its original appearance.

Next, it’s more technical.

The tongue is the most sensitive organ for human touch. If you want to judge whether the soil is delicate enough, it may be the best way to taste it.

This is not an innovative approach, but a real need.

High-end porcelain and pottery require very delicate soil.

In ancient times, if it were not for modern machines to crush it, it would be difficult to obtain delicate fetal mud.

When I made Ru kiln celadon before, one of the important reasons was that Ru kiln mud could not reach a certain degree of fineness or purity.

Therefore, many modern technologies can already save us a lot of time.

The most important thing is that things that are difficult to make in ancient craftsmanship can now be easily made.
Chapter completed!