(1) Modeling is an important basis for identifying porcelain.
Imitating ancient ceramics often loses its appearance, and its energy efficiency is beautiful, so it may not be possible to learn from its Gu Zhuo. Because the creation of an artifact is closely related to people's living habits, aesthetic standards and technical conditions at that time. Generally speaking, ceramics can reflect the characteristics of each era in decorative patterns, fetal glaze and other aspects, but the modeling is more prominent in this respect. Therefore, if we can be good at recognizing its shape and expression, we can master a more reliable method in the recognition work.
Observer modeling must first have a basic concept of modeling in past dynasties. The modeling of ceramics, generally simple in ancient times, has become more and more complicated with the evolution of the times. As far as the modeling of Yuan, Ming and Qing Dynasties is concerned, the modeling of Yuan Dynasty is mostly plain and naive, and blue and white porcelain is more prominent than that of Song and Ming Dynasties. Especially the jars, cans, bottles, cans, plates, bowls and other utensils commonly used in daily life often have considerable shapes.
(2) There are different patterns and colors in different periods.
The decoration on ceramics, like modeling, has distinct characteristics of the times, and due to the continuous enrichment and improvement of raw materials and techniques for painting porcelain, it has its levels and characteristics in different periods in terms of theme, content and expression, which has become a powerful clue to divide the times and identify the authenticity.
Generally speaking, the development process of porcelain decoration is nothing more than from simple to complex, from carving, printing, pasting, carving to description, from simple color to colorful. The products of Ming and Qing dynasties are still different in the characteristics of using words as porcelain decoration. For example, some porcelains in the Ming Dynasty wrote Sanskrit, Confucian classics, and the words of longevity, while those decorated with big poems, big words, big songs, big fu, big tables and big fu were works in the Kangxi period.
(3) Master the laws of the Ming and Qing Dynasties.
Determining the authenticity of porcelain according to the description is an important link in the identification work. Because the current handed down products and imitations are mostly Ming and Qing porcelain, and the official kilns in Ming and Qing dynasties have many year models, each with its own characteristics. As far as the Ming Dynasty is concerned, there is a saying that "Yongle has few sports, Xuande has many sports, Chenghua has fat sports, Hongzhi has beautiful sports, Zhengde has respect for sports, and Jiajing has miscellaneous sports". Therefore, to study the brushwork of each generation, we should first pay attention to its brushwork characteristics, such as horizontal, vertical, left, grip, hook, pick, point and shoulder, and we must carefully understand and compare them to help identify the authenticity. Because everyone's calligraphy is different, the font for writing official kiln money must be selected and have a certain level. Therefore, people who write imitation money must imitate it carefully for fear of differences. If you are too cautious, you will inevitably be embarrassed, and your brushwork will not be natural and vivid. This flaw can only be seen by repeated confirmation in combination with real objects.
(4) carefully observe the characteristics of fetal glaze
Due to the differences of times and regions, there are more or less obvious differences in the composition and firing methods of fetal glaze, so we must never leave this careful observation when identifying a ceramic. When observing the enamel of ancient porcelain, we should generally pay attention to its thickness, luster, bubble size and density. It can be said that the use of ears, eyes and hands is not limited to the surface or to one pattern, but includes various imitations such as new colors of old blanks, improvement of glaze, redrawing of old colors, new works of old white glaze, hidden flowers and patterns. In particular, it should be studied carefully.