Excuse me, how to tell the true and false ceramics?

The identification of ancient ceramics is a profound knowledge, which requires not only all aspects of cultural literacy and knowledge accumulation, but also visual inspection, touch and experience. Doctors cannot do without "looking, smelling, asking and feeling". The identification of ancient ceramics should not only use "seeing" and "asking", but also use "smelling". The "smell" mentioned here is different from the "smell" diagnosed by the doctor. Instead, you can smell it directly on the ceramic with your nose to see if it smells. If you can smell something, you should pay special attention. Jia Maiming, a cultural relic expert, put forward many suggestions on the topic of "smell" at the treasure-testing meeting held by this newspaper. Jia Maiming said that some smells can judge the authenticity of the identification object. For example, ceramics with earthy smell are generally true, like Tang Sancai; On the contrary, there is no earthy taste, only earthy pottery is generally fake, like imitating the three colors of the Tang Dynasty. For example, ceramics with sour taste such as sulfuric acid and potassium permanganate or smells such as glue, smoke and chemical syrup are generally fake. He has seen many fake Jun kilns dyed red with potassium permanganate. Just hold it in your hand and smell it, and you will know whether it is true or not. Ceramics with ancient fragrance are generally genuine, but it is not ordinary people who can really smell this ancient fragrance, let alone smell it in a day. The method of "smelling" seems mysterious, but it actually exists objectively and cannot be ignored. It must be distinguished that this ancient fragrance is not an artificial earthy fragrance, but a natural fragrance emitted over a long period of time. Of course, when identifying ceramics, "smell" is only one of the means. For those basically tasteless ceramics, it is another matter. "Smell" also includes another meaning in the identification of ancient ceramics, that is, hearing. Tap the ceramic with your hand or an object and listen to its sound, so you can distinguish the authenticity according to the sound. Most ancient pottery is hoarse, while imitations are crisp and loud. Some ancient porcelain, such as the products of Gujizhou kiln, have a high degree of porcelain, and the fetal bones are hard and dense, which will make a metallic sound when struck. On the other hand, counterfeit goods sound "cold" and brittle, and have no shell. In short, the "smell" in the identification of ancient ceramics is very learned. According to the description, it is an important link in the appraisal to determine the authenticity of new and old porcelain. Nowadays, most of the handed down products and imitations are Ming and Qing porcelain, while the official kilns in Ming and Qing dynasties have many years and characteristics. For example, in the Ming Dynasty, there was a saying that "Yongle has less money, one virtue has more money, Chenghua has more money, Hongzhi has more money, Zheng De has more money, and Jiajing has more money". Therefore, when we identify the authenticity of ancient porcelain, we should first pay attention to the brushwork, such as horizontal, vertical, skimming, grasping, hooking, picking and pointing. Because everyone's calligraphy is different, the font for writing official kiln money must be selected and have a certain level, so imitators must imitate it carefully to avoid differences. If you are too cautious, you will inevitably be embarrassed, and your brushwork is not easy to express. This flaw provides a clue for the identification of porcelain. However, just paying attention to this point is not enough. There was no official official kiln model for ancient porcelain before Yuan Dynasty. According to the literature, there was a porcelain with the words "Jingdezhen Year" in the Northern Song Dynasty, but there was no real thing. Although there was a sense of style in the Ming and Qing Dynasties, the fonts copied in the late Qing Dynasty were very realistic and difficult to identify. It is necessary to compare their fonts and positions in detail to avoid mistakes. For example, as far as the existing artifacts are concerned, only four-character seal characters are written, engraved or printed in the center of the garden. But the imitation has four or six characters, and the seal script is written in the container, foot or mouth. There is a saying that "Xuande's whole body is like a year", which is generally in the heart of the foot or the mouth of the garden, or around the knife edge, shoulder, waist and foot. Wait, there are still some rules. Generally speaking, there are the following points: regular script was widely used in Ming dynasty, but there were a few exceptions in Yongle, Xuande and Hongzhi. Regular script was also popular in Shunzhi and Kangxi periods in Qing Dynasty, and there were more regular script than seal script in Yongzheng period. During the Qianlong period, seal script gradually exceeded regular script. After Jiaqing, seal script became the mainstream, and it was not until the late Qing Dynasty that the style of regular script was restored. Secondly, the colors are different. Porcelain styles in Ming and Qing dynasties were mostly blue and white. If you observe the blue and white flowers in Ming Dynasty with a magnifying glass, you can see that their colors are mostly deep and sinking. However, most of the imitations after Daoguang were loose and shallow. The color pattern of Xuande style often presents many colors such as black, blue and gray on the same object, which is not beautiful, but it is difficult for future generations to imitate. From Zhengde in Ming Dynasty to the end of Qing Dynasty, the colors of styles increased a lot, including red, green, black, blue, purple and gold, and methods such as engraving, engraving, printing and overlapping were also used. However, imitations have also increased a lot in the styles and methods of carving, carving and printing. Only by carefully distinguishing and combining different materials and techniques can we roughly judge the authenticity of its era and the quality of porcelain. For example, the word "Kang" in Kangxi's blue and white body is mostly half water (water) or open water (water), and it is rarely written as Thai water (water). There are also some rules to follow in the use of words and font structure. For example, in the Ming Dynasty, some official kilns were numbered "Nian", and some were numbered "Nian", while in the Qing Dynasty, official kilns all used "Zhi", and no useful word "Zao" has been found. Others, such as Liu Bei's "Virtue", do not write a horizontal word "Virtue", which is often ignored by later imitators. The last point of the word "Cheng" in Chenghua Imperial Kiln is that some points are on the upper right of the horizontal line, some points are equal to the horizontal line, and some points are on the lower right of the horizontal line, so there is the saying of "point shoulders and waist". The word "Wan" in Wanli is also different from the words "Yang" and "Mi". In short, we should not only pay attention to its brushwork, font, structure and color, but also know that the brushwork of the same period is early, and there are still inconsistencies in the middle and late stages. Only in style and tone does it lose its characteristics of the times. Therefore, it is necessary to combine other methods to distinguish authenticity. It is also a reliable method to identify porcelain according to its shape. To observe the shape of the observer, we must first have a basic understanding of the shape of the past dynasties. Ceramic modeling is closely related to people's living habits, aesthetic standards and technical conditions at that time, which can better reflect the characteristics of each era. With the development of the times, it has become more and more complicated, while the ancient modeling is simpler than before. 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, jars, bottles, jars, dishes, bowls and other utensils commonly used in daily life are quite large. For example, some Yuan blue-and-white and glazed red bowls handed down from ancient times have a caliber of 42cm, and the caliber of blue-and-white and glazed red bowls is also about 45 ~ 58 cm. Because the matrix is thick, it is not easy to be fired, and there are inevitably some defects such as warping, flattening, concave heart and convex bottom, so many documents have the theory of coarse porcelain. According to the identification of fetal glaze, there are more or less obvious differences in the composition and firing method of fetal glaze due to different times and regions, so we should observe this carefully when identifying porcelain. When observing ancient porcelain, we should pay attention to the thickness, luster, bubble size, density and other characteristics of enamel. For example, old porcelain has a so-called "bright" or "crisp light". These two kinds are contrary to the so-called "floating light" appearing on the general new porcelain glaze, but they contain a luster as jade as fat. The light of the former comes from the inside, while the light of the latter comes from the outside. This deep glaze is naturally formed due to the age. New porcelain has a dazzling "fire" called floating light. However, some imitations can also eliminate this kind of "fire" by boiling tea soup, slurrying, soaking medicine and burying soil. On the contrary, old porcelain that has been well preserved will also lose its brand-new glaze. For example, some Kang, Yong and Gan porcelains that have never been unsealed and preserved to this day, once unsealed, their luster is still as bad as new. Therefore, it is unreliable to rely on "loss of light" as evidence of historical age. When observing enamel color, we should also pay attention to the thickness of glaze layer, glaze shrinkage and dripping state. For example, the glaze of Song Jun kiln has a lot of grease, the glaze of Ding kiln has a lot of tears, and the glaze of Ming and Qing dynasties is as thin as an egg curtain or jade, which are all valuable features. But later imitations can be roughly similar. Therefore, we should also refer to the characteristics of other aspects and pay attention to the interior, mouth and foot. For example, the red glaze of Kangxi Langyao has the so-called "unspeakable". This kind of porcelain glaze is mainly dark ruby glaze, and the glaze color of the mouth of the ware is relatively single, so it is called "blurting out". The glaze at the bottom of the object is rich and colorful, and how thick the glaze is, which is called "hanging feet". Although the glaze flows without overflowing the bottom, it is called "Lang does not flow". This technical feature is the most difficult place to imitate in Lang Yaohong. Identification of fetal quality is mainly to observe the foot. Generally speaking, the bottom of Yuan Dynasty porcelain was bare and the fetal quality was rough. Glaze hung on the bottom of porcelain with money in Ming and Qing dynasties, and there were fewer and fewer exposed tires after the middle of Qing dynasty. However, no matter what age the vessels are, most of them can see the characteristics of cremation at the edge of the circle foot or where the fetus is exposed at the mouth. For example, in Yuan Dynasty, porcelain was rough and flint red, while in Ming and Qing Dynasties, porcelain was white and delicate, with few impurities, and flint red was invisible. This is mainly the result of the quality change of raw materials themselves, as well as the difference in manufacturing methods and temperature. In this way, it is natural to form a watershed between true and false sooner or later. In short, to distinguish fetal glaze, we should not only distinguish its color, thickness, flakes and bubbles with our eyes, but also distinguish its thickness by rubbing with our hands and observe the sound by tapping with our fingers. You must use your ears, eyes and hands at the same time. Generally speaking, the age and kiln mouth can be seen from the tire quality and glaze color. For example, 4000 years ago, Shang and Zhou celadon, also known as primitive celadon, was a low-level stage of celadon, with grayish white and grayish brown tires and a high degree of porcelain. Its glaze color is blue, and the glaze layer is thin and uneven. This is because glazing was used at that time. The glaze color of the Five Dynasties was azure. According to legend, Chai Shizong of the Zhou Dynasty after five generations said that it was sunny after the rain and said to the official who asked him for the color of imperial enamel, "After the rain, Qingyun broke, so the color will be in the future." Therefore, the glaze of the five dynasties porcelain was designated as azure. This kind of glaze is bright and smooth, thin, with a hint of blue in green. Plum green glaze of Longquan kiln in Song Dynasty. This is the best color of Longquan in Song Dynasty, and it is a fine product in green glaze. Its color is comparable to high-grade jade. The glaze layer is thick, the glaze is bright, the degree of vitrification is high, the glaze has no stripes, the quality is jade, and its color is similar to that of "Mei" growing on plum trees. The glaze of Jiangxi porcelain in Yongle in Ming Dynasty, Xuande in Qing Dynasty and Kangxi in Qing Dynasty has its own characteristics. In Yongle period, white glaze was the most famous. The enamel color was thick, moist as fat, pure white as jade, and the glaze color was clear and crystal clear. The tire color is pure white, the tire quality is delicate, and the thickness is uneven. For example, under strong light, you can see that the fetal glaze is pink, meat red or shrimp red. This feature is not found in other porcelains. Although the time of Xuande in Ming Dynasty was close to that of Yongle in Ming Dynasty, the glaze color of porcelain fetus was quite different. The same vessel was thicker in Yongle and thinner in Xuande. During the reign of Xuande, the bottom of large tools was mostly unglazed, and there were often red spots on the exposed tires, commonly known as "flint red spots" and rust spots. The imitation Xuande porcelain of Kangxi and Yongzheng in Qing Dynasty did not have this feature. The glaze color of porcelain in Kangxi period of Qing dynasty was white, pure, delicate and hard, and the carcass was the heaviest compared with the same ware in various dynasties. In addition, during this period, two kinds of white glazes were often applied to the same utensil, and white glazes were applied to the inside, mouth and outsole of the utensil, and the glaze layer was thin, often with small glaze shrinkage; At the bottom, there are still spinning marks of blank tires. The body is glazed with green glaze, which is bright and bright, and the combination of fetal glaze is extremely firm. Two kinds of glazes are applied to a vessel, which is the biggest feature of porcelain produced in Kangxi period of Qing Dynasty. It is a reliable basis for us to identify the age and kiln mouth of ancient ceramics by mastering the main characteristics of porcelain tires and colored glazes in various dynasties.