Origin: Low-altitude plain and hilly areas in Jianfengling, Diaoluo Mountain, Hainan Island, China, mostly growing in the sunny place at 100 meters above sea level.
Huanghuali is actually a kind of yellow-brown "flower pear" or "flower palm", which is the main material of hardwood furniture in Ming and Qing Dynasties, especially the yellow-brown heartwood. During the Ming and Qing Dynasties, exquisite wooden furniture was made of "Huang Huali". Its texture is hidden or present, and its color is neither quiet nor bright. It is regarded as a superior product and favored by craftsmen in Ming and Qing Dynasties. Especially in the prosperous Ming and Qing Dynasties, the aesthetic taste of literati and officialdom made Huang Huali furniture stand out, which was impeccable from the perspective of artistic aesthetics and ergonomics. It is a treasure in the world furniture art.
Introduction:
Huang Huali is mainly produced in Hainan Province, China, and its wood is second only to rosewood, because its wood is extremely stable, does not deform, crack or bend in cold and heat, and has certain toughness. It is suitable for making all kinds of special-shaped furniture, such as three-legged furniture, with great bending, but only Huang Huali wood can be used, and other wood is not competent. The characteristics of Huang Huali wood are similar to those of other wood, which is easy to be confused. The most important thing is that it is easily confused with rosewood. This kind of rosewood is mainly produced in Guangdong, Guangxi and Hainan Island. Some books are called Hainan rosewood, others are called Vietnamese sandalwood, because this kind of tree also grows in Vietnam and neighboring countries.
The wood color of Huanghua pear is golden and moist, the heartwood color is reddish brown or dark brown, and it has the texture of repeated horns. The specific gravity of Huang Huali wood is relatively light, which may be lighter than mahogany (rosewood). When put into the water, it is semi-submersible, that is, it does not completely sink into the water or float on the water. The texture of Huang Huali wood is very clear, like running water, very beautiful. The most special thing is that there are many wood boils in the wood grain. These wood boils are also smooth and unbreakable, showing the texture of fox's head, old man's head and old man's head hair, which is beautiful and pleasant, that is, people often say "grimace." Most of the high-grade furniture made in Ming and early Qing Dynasty was made of Huang Huali wood. Due to the excessive logging in the previous dynasty, the timber in Huang Huali was drastically reduced or even endangered before the middle of Qing Dynasty, so it was changed to mahogany. According to the published furniture data of Ming and Qing dynasties, the wood material of Huanghua pear is relatively large, and a single board with a width of half a meter and a length of two meters can be seen.
Huang Huali wooden furniture, produced in Suzhou, is a typical Soviet-style furniture with standardized technology and meticulous workmanship. In addition, during the Ming and Qing Dynasties, Huang Huali wooden furniture was also produced in the south of Guangdong and Guangxi, Hainan Island and other places, which was called Guangzuo or Cantonese-style furniture, and its workmanship was slightly coarse, not as fine as that of Soviet furniture. The rosewood with pear pattern is hard and heavy, which is larger than the proportion of mahogany. When put into water, it will sink to the bottom, with small brown eyes, crab claws and cow hair lines. After polishing, the surface of the wood is as delicate as a child's skin. The material is better than Huanghua pear, and the wood color is darker than Huanghua pear, ranging from orange red to deep amber. Some rosewood furniture is grayish brown because of its age. There are also grimace lines in the wood grain, but these grimace lines are slightly different from those in the wood grain of Huanghua pear. Pear-patterned rosewood faces are mostly round, some have eyes and mouths, but few have the texture of old people's heads and old people's hair. In addition, the section of rosewood saw with pear pattern has a strong taste of wild rose and pear, which is also very unique.
And because rosewood with rosewood pattern grows in the mainland, there is not enough rain, and there are many holes in the wood heart. It is also because the wood heart is empty, so there are few big materials in rosewood with rosewood patterns. In addition, rosewood with rosewood patterns is easy to identify and oily, and you can find oil stains with a slight scraping with your fingers. Although the wood of Huanghua pear is warm and shiny, it is not so oily. The above points are the differences between rosewood and huanghuali. There is also a kind of oxalic acid branch, which is also produced in the south. Its wood is rough, with big brown eyes, as rough as the texture of Tieli wood (called Tieli Bauhinia or Dongjing wood in the south). The wood is light yellow to yellow in color, dry and dull, and there are also grimaces. The material is far from huanghuali wood, so it is easy to distinguish the furniture that meets this wood without careful study.
Tumor, also known as beech (shadow wood). "Hey, a tree tumor is also a root." (On Ge Guyao). Gall wood does not refer to a certain tree species, but refers to wood with root nodules or trunk nodules. Beijing craftsmen call it "Jiazi". The wood grain here is special, with fine rotating patterns and rare, which is a kind of rare wood. Among them, pears and picturesque lines are the top grade. Rosewood itself contains special bactericidal oil, which is not easy to get sick, so the tumor of rosewood can be described as priceless. Huang Huali is mainly produced in Hainan Province, China, and its wood is second only to rosewood, because its wood is extremely stable, does not deform, crack or bend in cold and heat, and has certain toughness. It is suitable for making all kinds of special-shaped furniture, such as three-legged furniture, with great bending, but only Huang Huali wood can be used, and other wood is not competent. The characteristics of Huang Huali wood are similar to those of other wood, which is easy to be confused. The most important thing is that it is easily confused with rosewood. This kind of rosewood is mainly produced in Guangdong, Guangxi and Hainan Island. Some books are called Hainan rosewood, others are called Vietnamese sandalwood, because this kind of tree also grows in Vietnam and neighboring countries.
2. This 100% answer is for you. I think there are the following aspects to explain Buddhism from the psychological level:
First, the essence of Buddhism is generally regarded as a kind of psychology by western psychologists, while Xiong Shili, a philosopher in China, calls the study of Buddhism "psychologism".
Second, Buddhist practice methods are regarded as psychotherapy techniques, some of which are similar to or absorbed by psychology. For example, the dual thinking method is equivalent to the "feeling method" commonly used in psychology, the interest observation method is a psychological "transfer method", and confession is equivalent to the psychological catharsis method. The effect of Buddhist practice in treating psychological and mental diseases and exercising the mind has been constantly proved by psychology with scientific methods such as observation, experiment and statistics.
Third, practice has proved that Buddhists generally have noble beliefs and sentiments, their hearts are relatively full and peaceful, they don't want too much material and fame, and they have less bad hobbies such as smoking, gambling, drinking, overeating and indulging, so they don't have much mental stress and are healthier physically and mentally. People who lack faith have greater mental stress and are prone to mental illness. Buddhism, which believes in righteousness, converts to righteousness and sees peace of mind, certainly has the function of improving mental health and treating mental diseases. The research results of meditation, yoga and qigong show that meditation can change the physiological indexes of human body, such as respiration, metabolism, blood circulation, microcirculation, immune function, body temperature, digestive system, etc., greatly increase the alpha wave in the frontal lobe of the brain, and relieve mental stress and pressure, thus playing the role of fitness, beauty, improving IQ and EQ, and developing potential.
Conclusion: For modern psychology, Buddhism is a mine with rich reserves and great mining value. Buddhism's careful analysis of the source of troubles and profound knowledge of mind, especially the instructions of Mahayana Tathagata Tibetan studies, may have eternal enlightenment significance to psychology. Buddhism's method of melting or transforming troubles with impermanence, selflessness and other positive views will probably have a turning point into gold for psychology, especially psychoanalysis.
3. General situation of Sui and Tang Dynasties art:
Sui and Tang Dynasties were the heyday of feudal society in China. At that time, the society was relatively stable, the economy was prosperous, there were frequent exchanges with other countries, and culture and art were highly developed. Famous artists have sprung up in large numbers. Zhan Ziqian, Yan, Wu Daozi, Wang Wei, Han Gan, Zhang Xuan, Chu Suiliang, Yan Zhenqing, Liu Gongquan, Zhang Xu and Huai Su are all great masters admired by later generations. The figure painting in Sui and Tang Dynasties inherited Han and Wei Chuantong, and attached importance to expressing the spiritual temperament of the characters. Landscape painting is divided into two systems: green landscape and ink landscape, which produce different regional styles; Flower-and-bird painting has created a variety of expression methods, such as meticulous color setting and ink and wash light color; The most outstanding achievements in calligraphy art are regular script and cursive script in Tang Dynasty. In addition, the splendid sculptures and gorgeous religious paintings of Jinbi in the Tang Dynasty also reflect the demeanor of a great country. The painting style of the Sui Dynasty, connecting the past with the future, has the characteristics of "fineness, precision and beauty". Painters from all over the world, concentrated in Gyeonggi, are mostly good at religious subjects and are also good at describing aristocratic life. As a human activity environment, landscape painting began to be independent because of its emphasis on proportion and the spatial effect of "mountains and rivers are far and near, thousands of miles away".
Painting in the Tang Dynasty developed in an all-round way on the basis of the Sui Dynasty, and pommel horse painting made extraordinary achievements. Green landscape and ink landscape have matured one after another, and flowers, birds and animals have attracted people's attention as an independent painting theme. In the early Tang Dynasty, figure painting developed the most, and landscape painting followed the meticulous style of Sui Dynasty. Some famous flower-and-bird paintings have appeared, and the secularization tendency of religious paintings has gradually become obvious and strengthened. From the landscape paintings of the murals of the buried tombs in Ganling, we can already see a relatively simple axe chop. Flower-and-bird paintings, represented by Xue Ji and Yin Zhongrong, appeared in the form of color setting and ink painting. In addition, the most famous painters in this period were Yan Lide and Consato. Their works and styles enriched the painting circles in the early Tang Dynasty and laid the foundation for the sudden change of painting style in the prosperous Tang Dynasty. Although most of their works have not been circulated, we can see their different styles from the murals of the tomb buried with Ganling, the silk paintings unearthed in Xinjiang and the murals of Dunhuang Mogao Grottoes.
The prosperous Tang Dynasty is an era of unprecedented prosperity in the history of China's painting development, and it is also an era in which giants and brand-new painting styles appear. Religious paintings tend to be more secular, and the change of paintings has developed. The combination of painting methods in different regions has produced a popular new style, and realistic women with "fat" as the fashion have entered the picture. The portraits of ladies, represented by Wu Daozi and Natalie, have changed from depicting political events in the early Tang Dynasty to depicting daily life, with more accurate and vivid shapes, surpassing previous painters in psychological description and detail description. At this time, landscape painting has gained an independent status, with Li Zhaodao, Wu Daozi and Zhang Yun as the representative painters, with a fine division of labor and a wide range of works. Broken ink landscapes also began to appear. Although the development of flower-and-bird painting is not as mature as that of figure painting and landscape painting, there are many famous people in cow and horse painting, among which Cao Ba, Han Gan, Chen Hong, Han Yun and Wei Yan are outstanding. In addition, Wang Wei, Lu Lengga, Liang Lingzan and other famous painters are also more famous than the times, and their handed down works or copies of later generations can still be seen today.
The painting in the middle and late Tang Dynasty, on the one hand, perfected the style of the prosperous Tang Dynasty, on the other hand, opened up new fields. At this time, Zhou Fang's portraits of ladies and religious paintings were more complete. However, the landscape paintings of Wang Mo and others have changed, the theme of trees and stones is prevalent, and ink is gradually used, and ink-splashing landscapes have also begun to appear. The flower-and-bird paintings of Bian Luan, Teng Changyou and Diao Guangyin reflect the progress of flower-and-bird painting. In addition, Li Zhen and Sun Wei were also famous painters at that time. Although most of their works are no longer visible, more and more unearthed works and murals can make us want to see the grand occasion at that time.
Famous painters in Sui Dynasty include Yang Qidan, Zheng Fashi, Dong Boren and Zhan Ziqian, while Sun Shangzi and Wei Chi put more emphasis on writing names than time. They have their own strengths. For example, Yang is good at "Palace Hairpin Group", Dong is good at "Taige" and exhibits "chariots and horses", and Sun is good at "Beauty Charm". Most of them inherited the tradition of the previous generation, and were more influenced by Gu Kaizhi whose style was close to the secret. Sun Shangzi, on the other hand, is "good at writing war cases, with infinite strength", and Wei Chi, a native of Xinjiang, is good at painting foreign Buddha statues. The content of figure painting in Tang Dynasty changed from taking historical stories as the theme to paying attention to contemporary major political events and heroes. The central plains style and the border region style go hand in hand and influence each other. The portrait of the Central Plains style, represented by Yan, inherited the tradition of Zhang Sengyou in the Northern and Southern Dynasties, and made some progress in grasping the character's modeling and temperament, exercising strength with a pen, being elegant in color and rich in generality. The frontier fortress style figure painting represented by monk Wei Chiyi has changeable shapes, a certain sense of concavity and convexity, and strong and vivid colors.
4. Mainly refers to the artifacts made of copper-tin alloy in the pre-Qin period, referred to as "bronzes". Including cookers, food containers, wine containers, water containers, musical instruments, chariots and horses ornaments, bronze mirrors, hooks, weapons, tools and weights and measures. Popular in the late Neolithic period to the Qin and Han dynasties, Shang and Zhou artifacts are the most exquisite. Gadgets or decorations appear first. There were bronze containers and weapons in the Xia Dynasty. In the middle of Shang Dynasty, the varieties of bronzes were very rich, with inscriptions and exquisite patterns. From the late Shang Dynasty to the early Western Zhou Dynasty, it was the heyday of bronze ware development, with diverse shapes, rich inscriptions and rich patterns. Subsequently, the bronze matrix began to thin, and the decorative pattern gradually simplified. From the late Spring and Autumn Period to the Warring States Period, due to the popularization and use of iron tools, copper tools became less and less. During the Qin and Han dynasties, with the introduction of porcelain and lacquerware into daily life, the variety of copper containers decreased, the decoration was simple, most of them were plain, and the carcass was light. Ancient Chinese bronzes are the great contribution of our ancestors to human material civilization. Although according to the current archaeological data, Chinese bronzes appeared later than some other places in the world, there is no place in the world where bronzes can be compared with ancient Chinese bronzes in terms of scale of use, casting technology, plastic arts and varieties. This is one of the reasons why China ancient bronzes occupy a unique position in the history of world art and attract widespread attention. [Edit this paragraph] Classification
Ding is equivalent to the current pot, used to cook or hold fish. Most of them are Fang Ding with round belly, two ears and three feet, and some have four feet.
Li (phonograph) is used for cooking: generally speaking, it is a waste of mouth and three feet are empty.
Yan is equivalent to the present steamer. The whole vessel is divided into upper and lower parts. The upper part is a still for holding food. The lower part is covered with water. There is a piece of copper called Qing between Zan and Wei. Steam has horizontal holes or straight holes.
Corner drinking fountain. Shaped like a knight, it has a tail before and after, without two columns. Some have covers.
The Book of Rites says: "Sacrifice the ancestral temple", "The honorable person raises the flag, while the humble person raises the horn". During the Shang and Zhou Dynasties, it developed into a beautifully shaped ritual vessel, which was popular before the middle of the Zhou Dynasty and then began to decline. "Kao Zi Ren" quotes: "One liter is called Jue, two liters is called Fu, three liters is called Fu, four liters is called Jiao, and five liters is called San." Accordingly, the capacity of the horn and the Jue is four to one. The shape of the horn is very similar to that of a columnless knight, except that the flow and tail are pointed. Since the Song Dynasty, the Jue-shaped vessel has no flow, and there is a horn with two wings and a tail.
Jia (Yinjia) wine warmer. Shaped like a knight, it has three legs, two columns and a pin.
Ancient (phonological) drinking apparatus. Long body, mouth, mouth and bottom are trumpet-shaped.
Tapirs are shaped like a trumpet-shaped container with a round foot. Tapirs often have a bulge on their lower abdomen, which is decorated with two edges near the round feet. In the early and middle period of Shang dynasty, the vessel was short and had a "horizontal hole" in the circle. From the late Shang Dynasty to the early Western Zhou Dynasty, the shape of the vessel was slender, the lines of the mouth and feet were very beautiful, and the ornamentation was complicated and luxurious.
Of (phonology) a drinking apparatus. Round belly, small mouth, round feet, shaped like a small bottle, mostly with a lid.
Four-tone wine or drinking apparatus. Egg belly or square belly, circle foot or quadruped, with flow and fins, and the cover is made into the shape of animal head or elephant head.
Noble wine container. It is shaped like a tapir, with a thick middle, a small caliber and a square shape.
A large or medium-sized wine container that is considered tall. Zun, like Yi, is the * * * name of a ritual vessel, which refers to a group of ritual vessels, not the proper names of some ritual vessels. Respecting Yi people have their own uses, but they are interrelated, which not only shows that they are particularly important wine containers in ritual vessels, but also represents a set of corresponding ritual systems. Guarding the Palace in Zhou Li records the application of Yi and Chaojian in nude ceremony. Zun was popular in Shang and Zhou Dynasties. Because of its special status, it was not only used in the Han Dynasty, but even made in the Hui Zong period of the Song Dynasty.
Your wine container (one of the main wine containers). The general shape is oval mouth, deep abdomen, round foot and covered beam, and the abdomen is round or oval or square, and there are also cylindrical, owl-shaped or tiger-eating shapes.
He (sound and harmony) is a container for wine, or an ancient vessel for mixing wine. Generally, it is a deep round mouth with a cover, flowers in front, bamboo in the back, and three or four feet under it. The cover and bamboo are connected by a chain.
Fang Yi's wine vessel. Tall and square, covered, looks like a roof, with buttons. Some Fang Yi also have ribs. Some have a bent abdomen, some are straight, and some have two ears beside their abdomen.
Spoon wine extractor. Usually a short cylinder with a handle on the side.
A container for wine or water. There are two forms: square and round. Square shoulders, two ears, covered; Round belly, round feet, two ears. Generally, there is a threading nose at the lower part of one side of both shapes.
A pot for holding wine or water. For example, The Book of Songs said: "Hundred pots of sake", and Mencius said: "Eating the pith of a pot". Pots have various shapes, such as round, square, flat and retort.
The plate holds or receives water. Most of them are round, shallow-bellied, circle-footed or three-legged, and some still flow.
Moo (Yi, phonograph) "Zuo Zhuan" has "Feng Moo Wo Xi", which means watering, and washing means washing hands and face, indicating that washing hands is an ancient watering tool. Oval, three-legged or four-legged, with flow in front, bamboo behind, and some covered.
A container for water or rice. Small mouth, deep belly, round, with ears, much like reed with ears, but bigger than reed.
Gui (audio track) bronze inscription "destroyed", equivalent to the current big bowl of rice. Generally, they have a round belly, a small mouth, round feet and two ears.
Fu (sound fu) is written as "Hu" or "Hu" in ancient books. For food. Rectangular, extravagant outside the mouth, four feet short, cover.
The cup is used to hold millet, millet, rice and sorghum. Ellipse, convergent, two ears, full circle, covered.
Pair (sound pair) is used for millet, millet, rice and sorghum. Three short feet, round belly, two ears, covered. And spherical Dunn.
Beans are used in food, such as meat sauce. There is a plate at the top, a long handle, a round foot and a lid at the bottom.
Jue drinking fountain. Equivalent to the wine cup of later generations. There is a wine-filling stream in front of the round belly, a tail behind it, a handle beside it, two columns in the mouth and three-pointed feet under it.
Discrimination of ancient bronze inscriptions
The casting of bronze inscriptions in Shang and Zhou dynasties is to make another inscription model and embed it in the main model. Some inscriptions are well embedded and there are no obvious traces around them. There are also low inlay roughness, and so are the inscriptions on the surface of the protruding device, such as Qin Gonggui and Qiu Qi Formation. When casting long articles on Shang and Zhou bronzes, some of them need to draw lines or lay grids, so the general inscriptions are relatively regular, and the inscriptions on the mold soil are all positive lines, while the cast inscriptions often have the feeling of small mouth and big bottom, and at the same time, they have the even and dull feeling like frosted glass in the mouth, and the turning points of fonts and strokes are very natural and round. The technicians engaged in engraving on pottery are very skilled and fluent in writing.
Complete inscriptions appeared on bronzes during the Spring and Autumn Period and the Warring States Period. However, the initial lettering was shortly after the bronze was out of specification. Because there were no steel knives in ancient times, they were all polished on bronzes with small wheels, so the fonts were relatively smooth, with only polished marks and no knife marks. After the Song Dynasty, many bronzes without inscriptions were engraved with false inscriptions, which were carved with knives. When a knife was carved several times, it often left traces of the blade.
Since the Song Dynasty, the research of epitaphs has mainly focused on the characters, and the inscriptions on inscriptions are historical documents, so the inscriptions on inscriptions at that time have high economic value. At that time, collectors often focused on inscriptions when collecting bronzes, and most bronzes copied in the Song Dynasty also had inscriptions.
To identify the authenticity of the inscription, we can not only carefully observe whether there is any alteration near the original inscription, whether there are traces such as different fonts, uneven surface and false rust, but also identify it from the casting method of the inscription. After the inscription, some are original, the font is blunt and blunt, and there are hidden or obvious knife marks in the mouth. On the other hand, the bronze wares cast by sand-turning method have coarse clay particles, and the surface of inscription strokes is different from that of fine clay casting.
Bronze ware characteristics
Bronzes are copper-tin alloys with strong hardness, which are not easily broken like tiles, Oracle Bone Inscriptions ceramics, calligraphy and painting inscriptions, but are easy to collect for a long time. Moreover, the bronze ware is simple and elegant in shape and smooth in lines, which is beyond the reach of other antiques.
First of all, there are many kinds of Chinese bronzes. No one can count how many bronzes there are in China. According to statistics, more than 10,000 bronzes with inscriptions have been unearthed since the Han Dynasty. If you add bronzes without inscriptions, the number can be imagined. Due to the large number, Chinese bronzes are extremely rich in varieties, including not only wine vessels, water vessels, food vessels, weapons and ritual vessels, but also chariots and horses, farm tools, tools and various household appliances. Countless bronze vessels are vivid and colorful, which is dizzying. The large number and variety of Chinese bronzes undoubtedly increase the difficulty of identification, which is also one of the characteristics of Chinese bronzes.
Secondly, Chinese bronzes are widely distributed and of high quality. The area where Chinese bronzes were unearthed is the Central Plains, but its distribution is far beyond the Central Plains. There are bronzes in the northeast, northwest, Bashu, Lingnan, and even Tibet and Diaoyu Islands in the East China Sea. These bronzes are vivid and exquisite, with different styles, showing their different artistic styles. Bronzes in Shang and Zhou Dynasties in China are exquisitely made, with magnificent shapes, random decorative patterns, rich elegance and numerous fine products, such as Simuwu Fang Ding, Tiger Man-eating, Shuangyang Zun, Dakeding, Mao, Lotus Crane Square Pot, Shuangxiong Sword, Goujian Sword, Changxin Palace Lantern, Turquoise Lying Deer, bronze chariots and horses, etc., all of which are first-class, exquisitely cast and have the characteristics of shocking people. For other kinds of bronzes, according to different hardness requirements, the foundry accurately matches copper and tin to make good quality vessels, which is beyond the reach of foreign bronzes.
Thirdly, the inscription on the objects can be said to be the biggest feature of Chinese bronzes. Most ancient bronzes in the world have no inscriptions, and only a few bronzes unearthed or cast in India have very short inscriptions. There are more than 10,000 ancient bronzes with inscriptions unearthed in China alone, among which there are many masterpieces with long articles, such as Mao Ming Wen, which is 497 words long. These inscriptions, either bold or vigorous, have high calligraphy appreciation value. These inscriptions are also the most difficult part of identification.
Fourthly, Chinese bronzes, mainly containers, are also unique in the world bronze culture. As far as the world is concerned, from the Indus Valley to the Balkans, from Minoan civilization to Mycenae civilization, the representative works of its bronzes are mostly weapons, such as ge, spear, knife, arrow, sword, halberd, arrow, etc., while China mainly focuses on casting containers with difficult and complex patterns. These containers, especially tripods, are very important to the country. Its profound meaning and rich connotation, as well as the mystery intertwined with politics, have always been of interest to appraisers and collectors. In addition, European bronze culture is represented by weapons, while China bronze culture is represented by containers. It is not clear whether the former is radical and the latter is conservative.
The four characteristics of Chinese bronzes are the basic knowledge that appraisers should know.
Bronze ware identification
From the historical data, the basic situation of counterfeit goods is as follows:
First, the whole device is fake. For example, the "Shi Dui Gui" in the late Western Zhou Dynasty collected by Shanghai Museum was recast according to the original vessel, which is similar in size to the original vessel, but 260 grams heavier than the original vessel. So experienced people can feel it with their hands. Another example is a "Zhang Zi" in the Palace Museum, which was carved by Feng Niaowen and others, but the lines were stiff and the pattern was dull, and the surface of the instrument was patent leather. Therefore, if you look closely, you can also see the flaws.
Second, some cultural relics are fakes. For example, a statue of "Father Yi Fu" of Shang Dynasty collected by Beijing Palace Museum is genuine, but the forger added a stream to its mouth and an ornament to its upper abdomen, which became an antique without this shape, neither fish nor fowl.
The third is to piece together the pieces of the real device to make a fake device. For example, a "Shang Dynasty" in the Palace Museum in Beijing is different from Liang's decorative style. Look carefully, there are welding marks on the beam ring, which shows that the beam is different from the car body. Although they are all bronze remnants of Shang dynasty, the whole piece should be a fake, because halogen has no shape of girder.
Fourth, the equipment is true and false. This includes two situations: first, the inscription is completely false. Inscriptions are either carved with knives or etched with chemicals. The content is either an imitation of the real inscription, a patchwork or a random fabrication. Because the plane parts of Ge and Jian are easy to forge, it is common to forge inscriptions on Ge and Jian. Second, in addition to the real inscription, add a fake inscription.
Fifth, the device is true and the pattern is false. That is to say, fake patterns are carved on real plain surfaces or noisy objects with few patterns. For example, the "Father Pot" of the Shang Dynasty in the Palace Museum in Beijing was originally a vegetarian pot in the Warring States period, and counterfeiters forged the animal face pattern of the Shang Dynasty on it. Another example is the "Warring States Geometric Pot" collected by the Palace Museum in Beijing. The forger mistakenly embedded gold and silver pieces in the pattern.