唐三彩，中國(guó)古代陶瓷燒制工藝的珍品，全名唐代三彩釉陶器，是盛行于唐代的一種低溫釉陶器，釉彩有黃、綠、白、褐、藍(lán)、黑等色，而以黃、綠、白三色為主，所以人們習(xí)慣稱之為“唐三彩”。因唐三彩最早、最多出土于洛陽(yáng)，亦有“洛陽(yáng)唐三彩”之稱。1905年隴海鐵路洛陽(yáng)段修筑期間，在古都洛陽(yáng)北邙山發(fā)現(xiàn)一批唐代墓葬，后來(lái)人們習(xí)慣地把這類陶器稱為“唐三彩”，并且沿用至今，享譽(yù)中外。
Tri color glazed pottery of Tang Dynasty, a treasure of ancient Chinese ceramic firing technology, is a kind of low-temperature glazed pottery popular in Tang Dynasty. The glaze color has yellow, green, white, brown, blue, black and other colors, mainly yellow, green and white, so people are used to call it "tri color glazed pottery of Tang Dynasty". It is also known as "Luoyang Tri Color of Tang Dynasty" because it was the earliest and most unearthed in Luoyang. In 1905, during the construction of Luoyang section of Longhai railway, a group of tombs of Tang Dynasty were found in beimangshan, the ancient capital of Luoyang. Later, people used to call this kind of pottery "tri colored pottery of Tang Dynasty", and it is still used to this day. It is well-known at home and abroad.
【藏品名稱】：唐三彩馬
[collection name]: Tang Sancai horse
唐三彩在中國(guó)文化中占有重要的歷史地位，在中國(guó)的陶瓷史上留下了濃墨重彩的一筆。唐三彩誕生于唐代是有其文化淵源的。首先，成熟的陶瓷技術(shù)是唐三彩誕生的物質(zhì)基礎(chǔ)；其次，唐代盛極一時(shí)的厚葬之風(fēng)是促成其誕生的直接導(dǎo)向；第三，唐代各個(gè)領(lǐng)域的歷史文化是孕育其最好的藝術(shù)養(yǎng)料。唐三彩的誕生也是三彩釉裝飾工藝的誕生，是釉彩裝飾和胎體裝飾結(jié)合的過程。輝煌璀璨的唐三彩，其絢麗斑斕的藝術(shù)效果在雕塑精美、造型生動(dòng)的俑上得到了完美的發(fā)揮和淋漓盡致的展現(xiàn)。
Tri colored glazed pottery of Tang Dynasty occupies an important historical position in Chinese culture, which has left a strong mark in the history of Chinese ceramics. Tri colored glazed pottery was born in Tang Dynasty with its cultural origin. First of all, the mature ceramic technology is the material basis for the birth of the Tang Dynasty Sancai; second, the great popularity of the Tang Dynasty funeral custom is the direct guide to its birth; third, the history and culture in various fields of the Tang Dynasty is the best art nourishment for its birth. The birth of the three colors of the Tang Dynasty is also the birth of the three colors glaze decoration technology, which is the process of the combination of glaze decoration and carcass decoration. The brilliant tri colored pottery of the Tang Dynasty, with its gorgeous artistic effect, has been perfectly displayed and vividly displayed on the figurines with exquisite sculptures and vivid shapes.
根據(jù)考古發(fā)現(xiàn)，唐三彩是在高宗時(shí)期才開始生產(chǎn)的，因?yàn)樵诖酥暗哪乖嶂袥]有發(fā)現(xiàn)過三彩器。高宗時(shí)唐王朝國(guó)力日漸強(qiáng)盛，統(tǒng)治階級(jí)的奢侈之風(fēng)也愈演愈烈。達(dá)官顯貴們期盼死后仍能享受榮華富貴，因而在自己的墓穴中總要隨葬大批珍寶和三彩器，從而使厚葬之風(fēng)日盛。由于社會(huì)需求激增，使三彩器生產(chǎn)出現(xiàn)過度發(fā)展之勢(shì)，唐王朝不得不設(shè)立專門機(jī)構(gòu)負(fù)責(zé)管理和節(jié)制，并頒布規(guī)定對(duì)隨葬三彩器實(shí)行限制，如規(guī)定各級(jí)官員的隨葬品數(shù)量為：“三品以上九十事（件、套）；五品以上六十事；九品以上四十事”，并規(guī)定各種器物的高度應(yīng)在一尺之內(nèi)。但根據(jù)考古發(fā)掘，當(dāng)時(shí)的隨葬冥器數(shù)量和高度大都超過了規(guī)定。有的三彩馬已高達(dá)1米以上。唐朝末年，由于國(guó)力日衰，三彩器生產(chǎn)也開始逐步萎縮，質(zhì)量大不如前。宋遼時(shí)期各地仍有三彩作坊存在，但工藝和裝飾已與唐代三彩器有了明顯的不同。
According to archaeological findings, the production of Sancai in the Tang Dynasty began in the period of Gaozong, because no tricolor was found in the tombs before that. When Emperor Gaozong was in power, the luxury of the ruling class became more and more intense. The dignitaries and dignitaries hope to enjoy the splendor and wealth after death, so they always bury a large number of treasures and tricolor tools in their tombs, so that the custom of thick burial will flourish. Due to the surge of social demand, the production of tricolor ware was over developed. The Tang Dynasty had to set up a special organization to manage and control the production of tricolor ware, and issued regulations to impose restrictions on the number of burial objects. For example, it stipulated that the number of burial objects of officials at all levels was: "more than 90 items (sets), more than 60 items, more than 40 items", and stipulated the height of various objects It should be within one foot. But according to the archaeological excavation, the number and height of the funerary devices at that time exceeded the regulations. Some tricolor horses are over 1 meter high. At the end of the Tang Dynasty, due to the decline of national strength, the production of tricolor ware began to shrink gradually, and the quality was not as good as before. There were still three color workshops in song and Liao dynasties, but the craft and decoration were obviously different from those in Tang Dynasty.
三彩馬形體碩大、構(gòu)造復(fù)雜，無(wú)法使用普通手工拉坯法來(lái)完成，所以多用模制法成型。雖然是合模制作，但所有三彩馬都各具特點(diǎn)，幾乎找不出完全一樣的三彩馬來(lái)。從現(xiàn)存三彩馬可以看出，唐代三彩匠師們不僅對(duì)馬的外貌特點(diǎn)十分熟悉，而且對(duì)馬的神態(tài)、秉性也有深入的了解。因此，塑造起來(lái)得心應(yīng)手。他們不僅使三彩馬在外形上做到了十分逼真，而且充分發(fā)揮了藝術(shù)想像力，恰當(dāng)?shù)剡\(yùn)用了藝術(shù)夸張的手法，使馬的內(nèi)在精神表現(xiàn)得淋漓盡致。
The tricolor horse is huge in shape and complex in structure, so it can't be finished by ordinary manual drawing method, so it is usually molded. Although it is made by die-casting, all tricolor horses have their own characteristics, and almost no identical tricolor horse can be found. It can be seen from the existing tricolor horses that the tricolor craftsmen in Tang Dynasty were not only familiar with the appearance and characteristics of the horses, but also had a deep understanding of their looks and temperament. Therefore, it is easy to shape. They not only make the tricolor horse very lifelike in appearance, but also give full play to the artistic imagination, and properly use the artistic exaggeration technique, so that the horse's inner spirit can be displayed incisively and vividly.
作為中國(guó)藝術(shù)瑰寶，唐三彩馬可以多方位地折射出唐文化的絢麗光彩，不僅為人們提供了認(rèn)識(shí)中國(guó)唐文化歷史價(jià)值的寶貴實(shí)物資料，而且也使得一批又一批中外藏家為它的藝術(shù)魅力所傾倒，唐三彩馬具有巨大的投資保值潛能，因而長(zhǎng)期受到國(guó)內(nèi)外商家的關(guān)注，并穩(wěn)坐中國(guó)陶瓷藝術(shù)品拍賣最高價(jià)的寶座，文物價(jià)值高，倍受藏家珍藏
As a treasure of Chinese art, Tang tricolor horse can reflect the brilliant brilliance of Tang Wenhua in many aspects. It not only provides people with valuable material materials for understanding the historical value of Tang Wenhua in China, but also makes groups of Chinese and foreign collectors fall in love with its artistic charm. Tang tricolor horse has a huge potential for investment and value preservation. Therefore, it has long attracted the attention of domestic and foreign businesses and has been firmly seated on the highest auction price throne of Chinese ceramic art. Its cultural relics are of high value and are treasured by collectors.
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