Tang sancai is a glaze in motion. On a buff, near-white earthenware body — a glazed horse, a laden camel, a full-figured court lady in Central-Asian dress — copper-green, amber-brown, and straw-yellow lead glazes were brushed on, then left to run and pool in the kiln until the colours bled into one another over the pale clay.

This system stages those figures the way a museum does: against deep, light-swallowing casework, not paper-white. The page ground is a warm near-black; panels are lit vitrine surfaces; the three glazes drip and pool as accents, with the uncoloured cream glaze used only as a small, bright highlight.