唐三彩是低温铅釉陶器,用特有的高岭土作原料,似玉非玉胜似玉,魅力无穷,
故受人追捧喜爱。此藏品是西安杨老祖传之宝,
此藏品是以麒麟为首的玄武,朱雀,白虎,青龙中的玄武,象征镇守西安一方平安,万户安宁,釉色鲜艳,气度开阔,
这与盛唐时代强盛、开放、自信的特点相吻合。
具有很高的收藏价值。唐三彩,是从唐墓挖掘出来的陶器之泛称,后来学者视为一种陶瓷分类上的术语。
唐三彩并非专指那三种色彩而言。在唐墓中所挖掘出来的各类陶俑、陶像,以及其他陶器上,有的只有单彩,
或者二彩,有甚多的器物,却具有较复杂的多彩颜色。一般而言,除了胎体的白地之外,铅黄、绿、青三彩最为普遍,
在三彩的调配技法上,也最富艺术的韵味。唐三彩的器皿较少,而小马、小家畜、小家禽数量较多,均具丰美的艺术意匠,
尤以各种人物的陶俑,以及超自然形象的魌头,最具艺术价值。三彩器正表现出唐代各种实际生活所应用的器物,
而在这些器物中,却把当时社会生活的形态很完备的呈现出来,由此获知殉葬的明器与其他器物的形制与数量,
均按照墓葬者生前官阶,以及门第的大小而定。例如唐礼明器之制,三品以上九十事,五品以上六十事,九品以上四十事。
挺马偶人高一尺。其他音乐队、童仆之属、威仪服玩,亦各视其生前之品秩而定之。初唐之末期,始兴厚葬之风,
其后自盛唐至中、晚唐,厚葬之风益甚,舁明器而行街衢,陈墓所,奏歌舞音乐,张帷幕,设盘牀,以造花、人形、饮食施路人,
殆如祭祀。因为唐代讲究以三彩明器作为陪葬品,所以,从清末建筑河南汴洛铁路以来,在洛阳北郊邙山等地之唐墓中,
先后发掘为数颇多之三彩器与俑像。唐三彩不论其形制与色彩之施化,均具极高之艺术意匠,乃引起日本、欧美各国人士之注目,
而以高价购藏,从此唐三彩遂被列入世界艺术之一部分。以上引自君友会王爱君美术文献《唐三彩》。
唐三彩制作最盛之时为开元、天宝至大历年间(公元七一三~七六六年)。其艺术成就是震古铄今,闻名中外的。
唐三彩是由一个健全强明的朝代所启毓而成,同时,它也具体而活跃的反映出此一健全强明的时代精神。
唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂,
以经过精细加工的高岭土作为坯体,用含铜、铁、钴、锰、金等矿物作为釉料的着色剂,
并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧,陶坯烧成后,再上釉彩,再次入窑烧至800℃左右而成。
由于铅釉的流动性强,在烧制的过程中釉面向四周扩散流淌,各色釉互相浸润交融,形成自然而又斑驳绚丽的色彩,
是一种具有中国独特风格的传统工艺品。唐三彩的造型丰富多彩,一般可以分为生活用具、模型、人物、动物四大类,
而其中尤以动物居多,这个可能和当时的时代背景有关。在我国古代马是人们重要的交通工具之一,战场上需要马,
农民耕田需要马,交通运输也需要马,所以唐三彩出土的马比较多。其次就是骆驼也比较多,这可能和当时中外贸易有关,
骆驼是长途跋涉的交通工具之一,且丝绸之路沿途需要骆驼作为交通工具。所以说,匠人们把它反映在工艺品上。
而人物一般以宫廷侍女比较多,这个反映的就是当时的宫廷生活了。

Three colors of Tang Dynasty are low-temperature lead glazed pottery, which is made of special kaolin.
It is like jade rather than jade, and has infinite charm, so it is sought after and loved by people.
This collection is the ancestral treasure of Yang Lao in Xi 'an.
This collection is composed of basalts headed by Kirin, Suzaku, White Tiger and Qinglong, symbolizing the peace of Xi 'an,
the peace of every household, bright glaze and wide tolerance.
This is consistent with the characteristics of prosperity, openness and self-confidence in the prosperous Tang Dynasty.
Has high collection value. Three colors of Tang Dynasty, a general term for pottery excavated from Tang tombs,
was later regarded as a term in ceramic classification by scholars. Three colors in Tang Dynasty
do not refer specifically to those three colors. Among the pottery figurines, statues and other pottery excavated from Tang tombs, t
here are only single colors or two colors, and there are many artifacts, but they have complex colorful colors. Generally speaking,
in addition to the white ground of the carcass, lead, yellow, green and blue are the most common colors, and the blending
techniques of the three colors are also the most artistic charm. There are few utensils in Tang Sancai, but there are many ponies,
small livestock and small poultry, all of which have rich artistic artistry, especially pottery figurines of various characters and
bearded heads with supernatural images, which have the most artistic value. Tri-colored wares show all kinds of implements
used in real life in Tang Dynasty, but among these implements, the forms of social life at that time are completely presented,
thus it is known that the shapes and quantities of funerary wares and other implements are determined according to the rank
of the tombs and the size of their families. For example, there are 90 things above three items, 60 things above five items,
and 40 things above nine items. Quite a horse. I'm one foot tall. Other music teams, children's servants, and ceremonies also
depend on the rank of their products during their lifetime. At the end of the early Tang Dynasty, the wind of thick burial began
to flourish, and then from the prosperous Tang Dynasty to the middle and late Tang Dynasty, the wind of thick burial became
more and more popular, and it was almost like sacrifice to make flowers, human figures and food for passers-by. Since the
Tang Dynasty paid attention to the use of tri-colored funerary wares, since the construction of Henan Bianluo Railway in the
late Qing Dynasty, a large number of tri-colored wares and figurines have been excavated in Tang tombs in Mangshan and
other places in the northern suburb of Luoyang. Regardless of its shape and color, Tang Sancai is highly artistic, which has
attracted the attention of people from Japan, Europe and the United States, and it was purchased at a high price. Since then,
Tang Sancai has been listed as a part of world art. The above is quoted from the art document "Three Colors of Tang
Dynasty" by Wang Aijun of Junyouhui. The most prosperous time of Tang Sancai production was from Kaiyuan to
Tianbao to Dali (AD 713-766). His artistic achievements are the ancient times and the present, and he is famous both
at home and abroad. The Three Colors of Tang Dynasty originated from a dynasty that perfected Qiang Ming.
At the same time, it also concretely and actively reflected the spirit of the times that perfected Qiang Ming.
The production of Tang Sancai has a history of more than 1300 years. It absorbs the characteristics of Chinese traditional painting,
sculpture and other arts and crafts. The production process of Tang Sancai is complicated, with finely processed kaolin as the green body,
minerals containing copper, iron, cobalt, manganese and gold as the colorant of glaze, and a proper amount of lead smelting
slag and lead ash as additives. Firstly, the biscuit is baked in a kiln; after the pottery is fired, it is glazed and fired to about 800℃.
Because of the fluidity of lead glaze, the glaze spreads and flows around in the firing process, and various glazes infiltrate and
blend with each other to form natural and mottled colors. It is a traditional handicraft with unique Chinese style. The shapes of Tang
Sancai are rich and colorful, which can be generally divided into four categories: living utensils, models, figures and animals,
especially animals, which may be related to the background of the times at that time. In ancient China, horses were one of the
important means of transportation for people. Horses were needed on the battlefield, farmers needed horses for farming,
and transportation, so there were many horses unearthed in Tang Sancai. Secondly, there were more camels,
which may be related to the trade between China and foreign countries at that time.
Camels were one of the means of transportation for long journeys, and camels were needed as a means
of transportation along the Silk Road. Therefore, craftsmen reflect it on handicrafts.
The characters generally have more court maids, which reflects the court life at that time.


杨**      183****0090
 

唐三彩 ZB800087

2019-10-25
唐三彩 ZB800087

推荐直播

推荐藏品