Tell me about your understanding of the artistic style of Sui and Tang Dynasties.

Sui and Tang Dynasties was the peak of the development of feudal society in China. The country's political unity and stability, social and economic prosperity, developed trade and transportation between China and foreign countries, people's ideological emancipation, integration of all ethnic groups, and prosperity of culture and art. Strong national strength has promoted the vigorous development of arts and crafts in all aspects, and the technical level and production scale of ceramics, brocade, printing and dyeing, gold and silver wares, lacquerware, carpentry and so on have surpassed those of the previous generation. This paper mainly analyzes the embodiment of open and inclusive cultural mentality in the arts and crafts style of Sui and Tang Dynasties from two aspects: ceramic craft and brocade craft. First of all, take the ceramic craft and glazed pottery making as examples, which are rich in the characteristics of the times and represent the style of the Tang Dynasty. Tri-colored glazed pottery in Tang Dynasty is a kind of low-temperature glazed pottery, with yellow, white and green as the basic glaze color, vivid and vivid in shape, bright in color and full of life flavor, which only prevailed in the prosperous Tang Dynasty. Later, people used to call this kind of pottery "Three Colors of Tang Dynasty". The appearance of tri-color in Tang Dynasty is the inevitable product of social development to a certain historical stage. The production of tri-colored Tang Dynasty has a history of 1300 years. It has absorbed many artistic features, combined with decorative techniques such as sculpture, painting and glazed pottery, adopted decorative arts such as overlapping, printing, carving and twisting, and created novel national crafts with figures, animals, plants and geometric patterns as the main decorative themes, forming a unique artistic style of pottery and plastic sculpture in the Tang Dynasty. Tang Sancai can be roughly divided into three types: first, utensils, such as pots, statues, bowls, pots, bowls, plates, beans, pots, cups, cans, bottles and other containers, as well as inkstones, candlesticks, incense burners, pillows and other daily necessities in the study; Second, models, such as houses, toilets, warehouses, chariots and horses, cabinets and kitchens, rockeries, waterside pavilions, pavilions and so on. Third, the figurines, in which the figures are mostly kings, warriors, civil servants, ladies, waitresses, footmen, barbarians who lead horses or camels, and figurines who ride horses, acrobatics and dance. Animal figurines mainly include horses, camels, cows, donkeys, lions, tigers, pigs, dogs, sheep, rabbits, chickens, ducks, geese and tomb animals. Three-color paintings in Tang Dynasty are mostly figurines of figures and animals. The overall sculpture technique uses clean lines to outline the outline, absorbs the expression, the local sculpture technique increases the three-dimensional sense, and then uses realistic techniques to depict the details. This kind of expression technique has achieved the artistic effect of exquisiteness, perfection and both form and spirit. Literati figurines in Emei Mountain, plump women figurines with wide sleeves, Hu figurines with pointed hats, deep eyes and high noses, and warrior figurines with muscular eyes and wide eyes all give people a quiet and dynamic artistic enjoyment. The diversity and superb animal modeling are also amazing. Among them, vigorous horses and sedate camels are the best, with accurate proportion, clear structure, exquisite carving and myriad expressions. Tang Sancai's works also show that the merchants of the Tang Dynasty went out of Yangguan from the west, camel caravans carried silk, ceramics and other goods to the western regions or West Asian countries along the Silk Road for business, as well as foreign business trips and camel groups between Chang 'an and Luoyang. With the opening of the Silk Road in Northwest Oasis in Han Dynasty, cultural exchanges between China and West Asia and Central Asia became more frequent. Sui and Tang dynasties accepted the influence of foreign cultural forms with an open and inclusive cultural mentality, and also influenced foreign cultures, among which silk played a very important media role. Secondly, brocade technology. During the Sui and Tang Dynasties, China was unified by division, stable by war and prosperous in economy and culture. The development of clothing, whether it is material or style, presents an unprecedented brilliant scene. This paper analyzes the cultural mentality of openness and tolerance in Sui and Tang Dynasties from the appearance of new clothes and the change of pattern content. First, the popularity of Hu fu is a great spectacle of Tang Dynasty costumes. Women's clothing in Sui and Tang Dynasties was full of fashion flavor, which often developed from palace women's clothing to folk, and was imitated in succession, and was often influenced by northwest nationalities. Tang people are good at integrating northwest minorities with foreign cultures such as Tianzhu and Persia. During the Tang Dynasty from Zhenguan to Kaiyuan, new Hu clothes were very popular. In the prosperous Tang Dynasty, women wore men's clothes, and the influence of costumes from the western regions was very obvious, which was related to a large number of foreigners staying in China. The deeper social reasons were inseparable from the generosity and openness derived from the rich economy and the extremely prosperous country in the Tang Dynasty. Secondly, in paintings or pottery figurines and other artistic relics in the Tang Dynasty, women can be seen wearing narrow-sleeved clothes, revealing their chests and half their arms, and wearing long skirts tied above their chests. They also have a long shawl on their shoulders, which is "silk". Many female customers in Dunhuang Mogao Grottoes in the Tang Dynasty had silks. In addition, the murals of Princess Yongtai's tomb in Ganxian County, Shaanxi Province, as well as the pictures of stone ladies-in-waiting, the "Lady Dai Hua" in Zhou Fang, the "Lady You Chun of Guo" in Natalie, and the "Palace" in the Tang Dynasty also painted various colors and silks. From the Warring States, Qin and Han Dynasties to the Eastern Jin Dynasty, women's dresses were often made into long sleeves or ribbons to beautify women's feminine and light posture. It is precisely the development of the artistic principle that the traditional costume art replaces reality with emptiness, and it absorbs the characteristics of western costumes for our use, enriching the costumes of the Han nationality. Then, there is the change of the pattern content. The theme of silk patterns in the Tang Dynasty has changed from mysterious birds and beasts to flowers and birds full of life. Honeysuckle patterns from the west and grape grain are quite popular. If we want to embody the eclectic, graceful and generous style of Tang culture, it must be Baohua. Silk in Sui and Tang Dynasties presents unprecedented new technology and artistic style of combining Chinese and Western styles. Through the Silk Road and frequent cultural exchanges, craftsmen in the Tang Dynasty constantly absorbed the nutrition of western textile culture, which not only improved the traditional crafts, but also changed the traditional silk patterns in China, and made China silk enter a glorious golden age. China arts and crafts developed in an all-round way during the Sui and Tang Dynasties, showing a scene of prosperity. And with its open and inclusive cultural mentality, it accepts the influence of foreign excellent culture and also affects foreign culture. The arts and crafts in the Sui and Tang Dynasties are permeated with the cultural spirit and aesthetic consciousness of the Chinese nation, with distinctive aesthetic personality. China arts and crafts, with its long history, unique style, superb skills and various forms, have written a chapter full of wisdom and spiritual light for the whole history of human cultural creation.