Tang Tri-colored Glazed Pottery

Tang Tri-colored Glazed Pottery

A type of glazed pottery with the dominant colors of yellow, brown and green was very popular in the Tang Dynasty (618-907). It was later called the tri-colored glazed pottery of the Tang Dynasty, or Tangsancai .

  

The Tang tri-colored glazed pottery is a low-melting glazed pottery. It was made by adding metallic oxides to the colored glaze and calcining the object to create different colors, namely the predominant yellow, brown and green. The chemicals in the glaze change gradually in the firing process, creating a variegated effect with a majestic and elegant artistic attraction. Tri-colored glazed pottery was usually used as burial objects. Its loose and brittle base and its low waterproofing properties meant it was not as practical as the blue and white porcelain that had already emerged at the time.

Tri-colored glazed pottery utensils of the Tang were usually rounded and full in shape in accordance with the aesthetic values of the time. The accurately proportioned human and animal figures have fluid lines, natural expressions and life-like movements. The soldier figures have strong muscles, big staring eyes and wield swords or arrows. The female figures have high hair buns and full sleeves; they stand gracefully erect, looking natural and elegant. The animal figures are mainly of horses and camels.

A tri-colored glazed pottery of a camel and a dance group was unearthed in a Tang general's tomb. The camel is brown and stands with its head raised high. The long hairs on its head, chest, stomach and upper parts of its two front legs were carefully executed. On the camel's back is a platform covered by a rug with two ethnic musicians seated on it with their backs to each other playing instruments. A third ethnic person dances between them. The three human figures have deep eyes, high-bridged noses and full beards; they are wearing long, green sweaters with turned-down collars and white boots. The figure in the front has a deep yellow coat. This piece of pottery is truly an exquisite handicraft.

 

Chinese Shadow Play- shadow puppets

Pi Ying Xi -- Shadow Play
 

Chinese Pi Ying Xi, also called leather-silhouette show or shadow play, came into existence almost a thousand years ago. It is said in Yuan Dynasty it once spread to west Asia and even as far as Europe. The paper or leather cut silhouette is reflected onto a piece of white cloth and performers behind the scene control it to walk, dance, or do various kinds of acts by the strings connected to the joints, with companion of music and songs. Among the many types of Pi Ying Xi, the silhouette show of donkey leather in Tangshan, Hebei Province and of ox leather in northwest China are renowned for their exquisite cutting and distinctive folk music.

 

 

About its origin there is a beautiful love story. It has it that, Liu Zhe, the Emperor Wu of Han Dynasty, liked all kinds of entertainment and kept many artists in his palace. Among the musicians Li Yannian was the best. Not only was he good at playing all kinds of musical instruments, but also could he improvise songs. One year the King of Qiuzi, a tribe in the northwest, came to present tribute. On the reception banquet Li Yannian was ordered to give a performance and he sang about an exceeding beauty. All the people were fascinated and lost in the graceful scene he created. Later when someone reported to the Emperor Wu that Li's sister was such a beauty, the emperor was so pleased as to call her in. And finding she was pretty beyond description, he fell in love with her at the first sight. She received great favor and gave birth to a son the next year.

 

But good times did not last long for she fell ill seriously afterwards. As the emperor visited her, she covered her face with quilt and said, 'I hope your majesty can take good care of my brother and son for the sake of our past.' But she refused his request of taking a last look of her, 'A woman makes up to please her lover but I am not as good-looking as before and not dressed up. Please leave me as I am.' So finally the emperor went away disappointedly. As explained to her maid she said,'His majesty favors me because of my appearance. I'm no longer pretty with illness and he will forget all my goodness at my sight. But otherwise he'll remember me forever.'

After her death the emperor missed her so much that a necromancer was summoned to call back her spirit. Though his mind racked, the necromancer found no way to meet this expectation. In the evening when pacing up and down in his room, he saw his shadow reflected on the wall. Thus an idea was hit upon out of the predicament. He copied the concubine's picture onto a piece of leather and after coloring and cutting a lifelike silhouette was made. With all the details well prepared, Emperor Wu was invited to the room. From far away, he saw his concubine's silhouette came up slowly and gracefully, knelt down respectfully and remained there. Just as he was approaching, the necromancer stopped him and said the spirit needed a respectful distance. And hundreds of years later Pi Ying Xi was passed down from the descendants of the necromancer. 
 

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