Among the colored porcelain in the Tang Dynasty, Changsha kiln colored porcelain has a special position in the history of China ceramics. Burning began in the early Tang Dynasty, flourished in the middle and late Tang Dynasty, and ended in the Five Dynasties. The appearance of Changsha kiln colored porcelain not only represents the new development of China ceramic aesthetic pursuit from paying attention to over-glaze decoration to under-glaze color painting, but also meets the needs of export at that time. It was the most famous export porcelain at that time and a model of cultural exchange and development between China and foreign countries. Therefore, these two factors should be fully considered in the identification. Changsha Kiln not only shows the development of ancient culture in China, but also incorporates many artistic elements such as Arabic culture, Islam, Indian Buddhism and so on, which should be paid full attention to when it is identified.
From the point of view of fetal glaze, the fetal quality of early products is rough, grayish yellow, crimson or bluish gray. After the metaphase, the fetal quality is slightly hard and the color is dark gray or light gray. Carcass is generally thicker. However, the pots and pans of Changsha kiln are relatively light and thin, and the inner wall has ribbed wheel patterns. Imitation often ignores this manufacturing feature, and the sidewall is often made too thick and the carcass is heavy. Imitations often have a bad grasp of fetal quality, either too thick or too thin; The body is either overweight or underweight.
The colored porcelain of Changsha kiln was beige and ginger at the initial stage of glazing, and the cyan increased after the middle stage and became cyan or turquoise. The outer wall of the pot is not glazed to the bottom. When painting, apply a thin layer of white makeup soil between the fetal glazes, and then paint on it. Imitation often has no makeup soil. Like other colored glazed porcelains in Tang Dynasty, the glazed surface of Changsha kiln colored porcelains is mostly flowing. Under the magnifying glass, you can see that the porcelain body is covered with tiny caviar lines, and corrosion traces and individual bursts can be seen at the opening. Bang, Zhang. One, eight, three, two, six and five. Third, seventh, eighth and third, there should be glaze explosion at the edge of the short spout of the pot product and the corner of the die printed paper, which is also an important feature of Changsha kiln porcelain. Imitation products often make the opening too big and obvious, and there is no corrosion trace at the opening, and there is no bursting phenomenon at the junction of short flow and decal.
One more thing, the underglaze color of Changsha kiln colored porcelain is unique in creativity and flexible and smooth in lines; Die-printing decals are skilled and vividly described. This is the hardest to copy. Imitations often expose problems in these places. Imitation of brown die-printed decal paper figurines, often pale brown, dull characters, blurred lines and lack of spirit. There is no peeling phenomenon at the folds of the characters.
To identify colored glazed porcelain in Tang dynasty, we should make a comprehensive investigation from the characteristics and manufacturing technology of fetal glaze, and carefully look for artificial imitation traces of current imitations. For example, genuine brown eyes are natural and vary in size. Imitations often have no brown eyes or are made by people. In terms of size paradigm, proportion coordination and fine workmanship. Be careful when you encounter anything carefully crafted, because ancient products are skilled and arbitrary, while porcelain products are rough and uneven in thickness. And now the imitation technology is superb, even if the characteristics are correct, we must see if there is a real old spirit. Any artificial marks? Otherwise, it is easy to take medicine.