the method of identifying the authenticity of ancient blue-and-white porcelain
one-view
the type of porcelain represents and shows the inheritance of history, humanities, politics, economy, shape and productivity development. It is the most direct embodiment of the deductive process of political and economic development in a period of time. Because it is the most appropriate and authentic humanistic concentration, it is also convenient for us to study and understand the deductive process of porcelain type and understand the social process and development. If we have a systematic understanding of the whole process from the origin to the development of a certain kind of utensils, such as porcelain pots, then we can roughly date them by type, and then verify and demonstrate them in an all-round way according to the materials, materials, formula technology and human history of the same time, so it is entirely possible to accurately date them. If the date can't be established, it will be easy to be arrogant and arrogant, forming a tiger that eats the sky and can't get its claws. From this, it can be said that the identification of porcelain and the dating of the model are the firm first elements.
Second, look at the patterns
The patterns mentioned here are mainly painted, carved, scratched, printed, stacked, pasted, molded, hollowed out and inlaid. Experts of the older generation once said that understanding shapes and patterns is equivalent to understanding 8% of artifacts. This argument is completely correct on the premise of no fraud. The paintings, decorations and decorative patterns of utensils reflect and embody the humanistic history, local customs, kings' hobbies, the development of productivity and the technological level of an era. The category of decorative patterns can be divided into two categories: one is royal officials, and the other is folk customs. Because of the distinctive style and characteristics of decorative patterns, it provides a lot of convenience for us to identify and date. For example, we compare a certain kind of craft in the Tang, Song, Yuan, Ming and Qing Dynasties, and we can understand the relevant culture and history from their change and deduction process, and we can also understand the development of productive forces at that time accordingly. And these complete understanding and mastery, in turn, provide the strongest evidence for us to understand them. For example, no one will confuse kiln carving and printing with carving flowers in Yaozhou; No one can't separate Yuan's decals from Jizhou's prints, which is the charm and characteristics of decorative patterns.
Third look at glaze
Usually people compare glaze to the clothes of porcelain, which is very vivid. In the eyes of ordinary people, it seems that all porcelain glazes are the same, but they are not. About from the Warring States period, when he entered the Han Dynasty, he hung glaze on pottery. From the early to the Tang Dynasty, it was mostly lime glaze, and then it was lime-alkali glaze. Jade powder was added to the glaze in Tang dynasty, and then rare materials such as agate powder were added on the basis of jade powder. Therefore, from the time of glazing to the Republic of China, if you can touch porcelain of all years, you will feel that their feel is different. Some of them are as strong as steel, such as the five generations of firewood (one of them); Some are very moist, like the people of the Song Dynasty; Some jade has a strong texture; Some are like paraffin; Some have a feeling from glaze to tire, and some glaze hard tire cotton is another feeling. This all stems from the ingredients and firing process. A collector with profound knowledge can touch the glazed surface of the vessel and be inseparable. However, many experts can understand that there are many kinds of jade powder or agate in the one-yuan match, two-yuan match and the inside. On the other hand, looking at the glaze is to observe the traces handed down from ancient times. As long as there are traces handed down from generation to generation; As long as it is unearthed, there must be soil. Of course, it is also related to the material, age and storage environment. The third step of observing the glaze is to see whether it is unearthed, because as long as it has been buried, there must be traces of burial on the surface of the glaze, and the buried traces mentioned here do not involve underglaze, but refer to the traces that the glaze surface is wrapped by acid and alkali in underground soil. This kind of trace will appear on the surface of the device after seeing water. It is as fine as dust foam of powder, gray and has the feeling of astringent hands. These are all information that can be obtained from glaze viewing. This information is Jian Zhen's theory of falsehood, which can provide a certain argument basis.
four senses of fetal quality
As the bone of porcelain, fetus is the foundation of porcelain. The tire mentioned here is not about modification, but only about the origin of its raw materials. As we know, from the Han and Three Kingdoms, the Northern and Southern Dynasties to the Tang, Song, Yuan, Ming and Qing Dynasties, there is a rough division of monism and dualism. The detailed division is specific to the official and civilian equipment of a certain era, and even to the local materials in each period. We say that the theory of fetal mud and the application of five mud run through the porcelain-making process for more than thousands of years. Besides the difference of fetal quality itself, all official and royal products are mixed with jade, agate, precious stones and other elements according to the requirements of the royal family, forming a special material in official and royal products. It can be said that the fundamental reason why all official and royal products are as thin as paste, as lingering as beautiful jade, as hard as steel, and meet the requirements of large and extra-large-scale processes is that the material determines everything. And they are following this principle in principle in order to burn a generation of fine utensils: No treasure, no burner? . Therefore, apart from displaying their own style characteristics, all the official and imperial articles are unified in the principle that they are slim and graceful, strong as steel and smooth as jade. And if we carefully compare the porcelains of different ages, then their individuality is quite clear. I believe that no one will mistake the fetus of the Tang Dynasty for that of the Qing Dynasty. This shows that there are great differences between fetuses and fetuses in different ages. It is very useful to identify the authenticity by starting with big differences, focusing on small aspects and memorizing them in mind. Of course, from the perspective of the fetus, the closer the age is, the more difficult it is to distinguish, which involves a problem of basic skills, but if we really work hard and have a special style of chronology, it can still be clearly distinguished. For example, the looseness in the early Yuan Dynasty, the solidity in the Yuan Dynasty, the softness in Yongle, the softness in Xuande, the sliminess in Chenghua, and the compactness in Kangxi are all very stylish. If everything is well mastered, it can also provide convenience for appreciating ancient porcelain. Judging from the evolution of fetal mud, its deductive process is: the river mud is gelatinous, the pit mud is wrapped, and then the jade texture of the mud is preserved, and the bleached mud is bright and moist without impurities. It is very beneficial to understand this evolutionary process.
5. Look at the glaze
The older the objects are, the deeper the glaze is, and this deep glaze is the truest embodiment of the thick patina. Looking at porcelain in glaze light can be divided into two categories: unearthed and handed down, among which there are differences between thick glaze and thin glaze, and there are differences between more and less elements in glaze. The older the glaze, the thicker the glaze layer, and as long as a variety of elements are added to the glaze, it is inevitable that the glaze will contain five colors. In principle, this kind of vessel containing five lights does not exist. Those who have a deep knowledge of collection can identify the authenticity of objects from the glaze light and distinguish between exquisite and ordinary. The glazed images of unearthed artifacts and handed down artifacts are not the same. Due to the acid and alkali in groundwater and soil, alkali molecules or acid components will invade the glaze for a long time, and the degree of immersion varies according to the difference of tire evacuation and density. However, as long as it is soaked, the glaze with bright and moist surface will not be truly displayed, which will affect the truth and falsehood. This requires a process of wiping and volatilization reduction between six months or three years. Let its natural glaze shine again. For example, an official and imperial product, which is completely handed down from generation to generation in nature without being eroded, will be absolutely exquisite, and its aesthetic feeling will far exceed that of a similar new product with the same raw materials and technology. This is because, in the long years, the ancient artifacts have been constantly changing from the inside to the outside and many elements have been changed by the magical nature in countless cold and hot changes, thus forming a kind of foggy circle on the surface of ancient porcelain. Like a fog covering ancient porcelain, it shows a mysterious and hazy light, which can only be formed by nature according to the nature of the years. If you can understand this kind of glaze light, it will also provide another convenient condition for appreciating porcelain.
liucha tuqin
the mark of tuqin is caused by the immersion of objects in the ground. As far as the classification of utensils is concerned, earthy ooze can be divided into two categories: one is the ooze on the surface of the utensil, and the other is the ooze that goes straight into the fetal bone under the glaze. The trace of soil and water is related to the multi-color acid, alkali, salt and other soil qualities in nature. In principle, before the Song Dynasty, the utensils with one yuan were more seriously affected than those with two yuan. Of course, it is also related to factors such as the collapse and integrity of the grave where the environment is stored; It is also related to the diverse materials, the production and the different contents of iron and other elements in the geology where the objects are stored. In principle, most of the oxides that can go straight into fetal bones are water-soluble, such as saline-alkali and similar iron ore mountains, while most of them are on the surface. The roots of special tree species in specific areas of China are also soaked in the surface of the device. Viewing objects from the earth can provide a lot of convenience. For example, the surface of the yellow soil is clean, and the seeping point is reflected under the glaze. However, there is no false possibility for this kind of soil-stained object with a new surface and a dotted interior, provided that you know how to identify the real stains. China has a vast territory and various soil structures, and acid-base ooze and modern industrial micro-ooze also exist. Therefore, some modern scientific and technological means at present have errors because the data are difficult to be complete. Therefore, we can't try to use the artifacts in a certain environment as a general standard, but we should treat them objectively and fairly. Reasonable use of all-round knowledge, make a correct conclusion, so there will be very few mistakes. Unearthed objects will have their special changes. Bubble burst due to soaking, and secondary opening, etc., due to different degrees of soaking, will also cause other changes in glaze surface. If we look at the changes of edible alkali after it is wet and dried, and then look at the artifacts unearthed in saline-alkali land, we will be inspired by these natural phenomena to associate ancient porcelain.
traces of seven investigations handed down from generation to generation
In the ancient ceramics series of our country, although wars have been going on for thousands of years and dynasties have changed, the artifacts handed down from generation to generation still exist objectively, and of course, some of them have been buried repeatedly and handed down from generation to generation. Therefore, as long as all utensils are handed down from generation to generation, there will be traces of handed down use on the surface of the utensils, and as long as the traces handed down from generation to generation are irregular, and if you look at those traces, there will be a sense of hierarchy. That is to say, it is deep and shallow, and the light sense and moisture in the trace line are never the same. This is something that needs careful observation and long-term experience to grasp. Moreover, due to the different kinds of porcelain and the diversity of elements in glaze, the traces used are different. Therefore, it needs to be treated separately and applied flexibly. In the observation and experience of using marks, the old and new objects can be directly felt. Secondly, the surface of porcelain is new and old, not depending on the age, but on the material. When you can directly feel the royal utensils with fine ingredients and good craftsmanship, even though it is very old, it is far newer than the exquisite ones. For example, the secret color porcelain in the Tang Dynasty is much newer and brighter than some official wares in the late Qing Dynasty, which is the reason for the material. Of course, due to historical reasons, some porcelains have been repeatedly unearthed and passed down. The marks of this kind of utensils handed down from generation to generation are very distinctive. Knowing and distinguishing them mainly comes from being well-informed, and you can gradually master them by directly observing them and thinking hard.
eight-piece opening
The opening of utensils is related to the material, formula, technology and furnace temperature. Some utensils are very similar in general, which means that a certain kind of utensils has completely formed a whole set of process technology from formula, materials and firing technology. Forming a general fixed pattern can form a mode of thinking for them. For example, some official vessels in the Northern Song Dynasty, such as the Northern Song Dynasty Official Ru Vessel, the Song Yaozhou Kiln and the Song Ge Kiln, all have their own characteristics and styles. Therefore, the great collectors who are well versed in this art can only be roughly broken by looking at the opening of the vessels, just like Tang Sancai. There are also some utensils whose opening is irregular and completely unfixed. But as long as you can open a film, everything is predestined. Some films have distinctive features and outstanding styles, and they are far apart. Such as: Ming Hongzhi's? Jiao Huang? Looking at the grain of its opening film, it turned out to be like Song Tianqing and Ru Ci's opening film; This shows that only the materials and firing temperature of glaze must be similar and close. Therefore, it is very necessary for us to extract the opening piece as an identification factor for recognizing the truth of porcelain. Most unearthed artifacts before the Song Dynasty will form a second slice, and some of the thick, high-temperature and bright official vessels in the Northern Song Dynasty will have ice cracks. However, it is impossible to imitate a device with a very chronological style like this. The reason is that its raw materials and formula are unknown. Even if the cause is known today, causality can't help. Therefore, the information released by the opening of ancient porcelain needs us to explore. It is precisely because it cannot be copied that it provides us with the basis for identification.
Nine-glaze color phase identification
The hue composition of glaze surface is the combined imaging of tire and glaze. In different times, the hue characteristics of different objects are closely related to their corresponding years and materials. For example, the three-color glaze in Tang Dynasty is reddish, and the more secret glaze is moist and blue. As well as the hue and species of various kiln mouth utensils in Song, Yuan, Ming and Qing Dynasties, are extremely distinct. Understanding and mastering them is extremely powerful for us to identify the truth and distinguish the false. If we can master the relevant knowledge such as materials and materials involved in hue, we will not be influenced by fraud to a great extent. Because modern people don't know the past formula; Second, it is impossible to achieve the same hue characteristics as ancient porcelain; Third, hue is also influenced by age, nature and other non-human factors, so it cannot be copied. It is of great benefit to know the characteristics of glaze color, including monochrome glaze and colored porcelain. For example, pink glaze, from Hutian, Longquan, Zhiyuan, Ming and Qing Dynasties in Song Dynasty, has different hue characteristics because of its unique formulations and materials in different times. If we knew them like the palm of our hand, we wouldn't be arrogant in terms of age. Following this breakthrough point, and then verifying the materials, technological characteristics and painting style of the corresponding artifact era, it will also provide powerful help for distinguishing truth from falsehood. In the face of colored porcelain, we should avoid the colored light, which will affect the original color of the bottom glaze, and should not be influenced by the halo of painted color, so as to grasp the root. Porcelain, like everything else, has its own characteristics, but it is also similar. It should be integrated and applied flexibly. There are many agates in the blue white glaze. However, most imperial vessels that only moisten but don't emit green light have a lot of jade powder, which is due to the inherent raw materials, and it is a characteristic of discerning porcelain from the outside.
characteristics and painting style of blue and white materials
The types of blue and white materials are generally imported Soviet materials, such as Shi Ziqing, Ping Dengqing, Huiqing and Cymbidium, while Soviet materials are divided into purified and unpurified materials. The unpurified iron spot sinks seriously and accumulates serious tin spot clots. In severe cases, ice cracks will appear on the condensation block. After purification, most of them are immersed in underglaze, and there are also traces of tin spots, but they will never form serious agglutination and ice cracking. Reclaimed materials also contain iron, which is often used with Shi Ziqing. Ping Dengqing basically contains no iron, so it is emerald blue, and Chenghua blue and white is useful. Cymbidium is a chemical material, which only appeared after Guangxu. From the age of use, from the Tang Dynasty to the early Chenghua period, Shi Ziqing and Huiqing materials had several sayings: First, they were useful in Yuan Dynasty; Second, it was used in the Tang and Song Dynasties, and the service period was until Guangxu. From the perspective of painting style, it is mainly related to the history, social culture of the times. The painting intention, technique expression and style characteristics of ancient porcelain are the most appropriate true portrayal of the times. For example, the decorative levels of blue and white flowers and their meanings, especially the official kilns, are well-regulated. Therefore, when we really understand the ancient porcelain from dragons to various fancy cultures, we can basically establish the right and wrong of an official porcelain. Because the rules and regulations under the feudal system happened to be very clearly reflected and displayed in the paintings of furnishings porcelain at that time, a comprehensive understanding of them can lay the foundation for porcelain identification. For example, from the identification of dragon and phoenix patterns,