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How to identify antique porcelain
Secondly, the cross section of old porcelain is generally rice flour with gaps. This new porcelain is dense and made by modern machines.
Second, according to the color of blue and white, judge the Ming Dynasty or the Qing Dynasty, and assist in judging: the porcelain is full-shaped, and the foot is dug over the shoulder in the Ming Dynasty, and the loach back in the Qing Dynasty. Blue and white underglaze red ornamentation is specially used for dating. Thirdly, in the 1990s, counterfeiters invented the method of crushing and wrapping "wax frozen soil" to burn the fire of new porcelain. Is the new porcelain burned according to ancient paintings? Most of them imitate the ancient porcelain of Song and Yuan Dynasties, and then use the miscellaneous soil containing wax and Buddha's west to grind it into fine powder and wrap it in porcelain before burning. After burning, the new porcelain has no fire. Many collectors were deceived by the white glaze and black plum bottles fired in this way in Handan, Hebei Province. Identify this kind of porcelain to see if there is any "waxy" residual soil in the grain. Although this object has no internal heat, it is very dull. Note that counterfeiters often use sticky tomb soil to smear the bottom and lining of porcelain. In case of small mouth plum bottle, observe whether there is a smooth and coherent spiral in the bottle and whether it is different from the outside light color. After entering the 2 1 century, the domestic construction industry is booming, building houses and roads, and ancient kiln sites are constantly appearing. Especially Jin Yuanjun kilns, many of which are located in the east of Taihang Mountain. There is no complete ware in the kiln site, and there are a lot of residual porcelain. Forgers are well informed, so 80 yuan buys a bowl bottom and rebuilds it when he goes back. There are several people in Anyang, Henan who specialize in this. After they bought back the bottom of the bowl, they invited a master who burned Jun porcelain from Yuxian, made blanks according to the style of Jun kiln, glazed them according to the glaze color of Jun kiln, and some even added copper to make red dots. Most of the fake Jun porcelain made by this method is shipped to Beijing antique market, which makes the "players" in Beijing play badly. To identify these fake jun porcelain, we must first look at the shape and age. Most of the real Jin Yuanjun kiln porcelain is hard and not heavy. In order to cover the traces of tire connection, it is coated with thick glaze. In addition, look at the glaze and brown eyes. The new glaze is dazzling and there are few brown eyes. Some use humic acid to remove luster, the glaze is dull, and the hard flash of Jun kiln is lost. Some were corroded by sulfuric acid, covered with small eyes and smelled sour. The false erythema on imitation Jun porcelain is also different from the true erythema. True erythema is purple, red and blue from the inside out, with obvious color boundaries, while false erythema is monotonous. Old players look at the porcelain bottom first. If they encounter this kind of real fake blank, they must look carefully. Still using the old saying, as long as it looks wrong, it is doubtful. The shape, kiln mouth, fetal bone, glaze color, painting techniques and firing methods are all checked. When looking at Jun kilns, we must be comprehensive and correct. If a commodity doesn't match, you can't buy it seriously. If you want to collect the real thing, you must learn to distinguish the fake. In addition to the above-mentioned fake methods, in recent years, there have also been fake methods of electroplating to imitate black and create light on bronzes. In calligraphy and painting, modern plate-making technology is used for photography and hand painting, and calligraphy and painting are used for freezing and ultraviolet irradiation. The stipulation that the new cultural relics law allows folk collections has activated the antique market in China. Many people who know and don't know the sea compete, and many people are choked by the waves as soon as they get into the sea. There are fakes in the antique market, which is interesting to distinguish. Regrettably, however, those who choked on the water returned to the shore. The times are progressing, and the technology of counterfeiting will be constantly updated. Every friend who is determined to collect antiques and is interested in antique appraisal should go out from collection room to learn porcelain appraisal at the kiln site and jade appraisal at the jade carving factory. The public security bureau has undercover police officers who engage in cultural relics identification, and they will have the opportunity to find out the secrets of fraud, which will definitely improve the level of identification. Never read more books on cultural relics and become an expert. Those books are the experience of predecessors, so they can only be used for reference, not copied. With the development of the times, cultural relics appraisal should also keep pace with the times.
How to distinguish the authenticity of antique porcelain is your problem. The specific value of such a variety depends on whether it is genuine or not and how the product is stored. Look at the pictures and you will know that the pictures can be sent here!
How to identify antique blue-and-white porcelain floors should be smooth and natural, without traces of artificial polishing.
You have to look at the real feet to feel it.
It's not enough to talk.
Bless you!
How to identify antique porcelain The problem of how to identify antique porcelain is not clear in one or two sentences. I suggest you buy a book on porcelain first and learn more. Go to the museum to see the real thing, and you will understand it slowly.
How to distinguish whether porcelain is an antique or a modern imitation (1) is an important basis for identifying porcelain. Imitating ancient ceramics often loses its appearance and energy efficiency is beautiful, so it may not be able to learn from 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. For example, the caliber of the handed down Yuan blue-and-white and glazed red bowls is 42 cm, and the caliber of the blue-and-white and glazed red bowls is also about 45 ~ 58 cm. Because the matrix is thick, it is not easy to fire, and there are inevitably some defects such as warping, flattening, concave heart and convex bottom, so there are many theories about porcelain roughness in the previous literature, which are not comprehensive enough. The colorful decorative patterns of Yuan porcelain are not self-evident, that is, in large-scale modeling, the twelve-petal plates along the flower mouth are mostly flower mouth and flower bottom (both mouth and bottom are twelve-petal flower shapes), which shows that they were carefully made at that time and were not easily let go. This practice disappeared after Yong and Xuan in the Ming Dynasty (Yong and Xuan only saw flower bowls and medium bowls for washing, but there was no flower tray). In Yongle, the bottoms of plates and bowls were mostly convex and concave, and the circles were larger and more stable than those in Yuan Dynasty. Especially the tire soil is fine and the shape is suitable. In Yongle period, a kind of pure white vessel with dark flowers appeared, and its body was very thin. People in the Qing Dynasty described a poem called "Afraid of the wind blowing away, but also worried about selling in the sun". This kind of "as thin as an egg curtain" porcelain is exquisitely shaped, such as plates and bowls. Although there are imitations in later generations, they are still inferior in the decorative skills of dark flowers. Xuande porcelain has a wide variety of shapes, such as plates, bowls, cups, pots, altars and bottles, which are very exquisite and can be original and innovative. For example, "The Warriors" can be called an unprecedented work, and there are few such imitations in future generations except those copied during the Qianlong period. At present, the common styles handed down from generation to generation in Yong and Xuan Dynasties are: chicken heart bowl, watering flowers, monk's hat pot, long round belly holding pot (the spout is gourd-shaped), celestial globe bottle, flat belly ribbon gourd bottle, four seasons horn animal ear bottle, diamond fancy washing, diamond fancy handle bowl and so on. During the Chenghua period, he kept improving on porcelain, with delicate and exquisite shapes and no grandeur. Although Hongzhi porcelain handed down from ancient times is not much, it is famous for its yellow glazed double-ear jars and bowls. During Zheng De's period, the most prominent shapes were penholder, screen, pier bowl, millstone incense box, seven-hole halberd round-bellied goblet bottle and so on. After Jia and Wan, the modeling became more and more complicated, and there were also many innovative works in the shape. It has been recorded in the literature that "nothing is done, nothing is done." As far as stationery is concerned, there are pen containers, pen boxes, pens, water washing, inkstones, color swatches, color boxes (commonly known as Yu Wen), Yin He and so on. There are also large fish tanks, large pots, large bottles, and large plates (the diameter of Jiajing Huangdi blue and white plate is 80 cm). The shape of the container is especially superior to that of the Yuan Dynasty; Others, such as empty bottles, wall bottles, boxes, square bucket cups, lampstands, embroidered piers and so on, are too numerous to mention. It can be said that it is both heavy, light and gorgeous in style, but it is relatively rough compared with the works of Yong, Xuan and Cheng. By the Qing dynasty, the shapes and types of utensils had increased significantly, and they were beautifully made. Among them, the innovative works in Kangxi period are unique. Among the knives, such as Pipa Zun, Ma Tizun, Elephant Leg Zun, Phoenix-tailed Zun, Guanyin Zun, Taibai Zun, Apple Zun, Apricot Leaf Zun, pestle bottle, cloth orange, flip-chip fan, willow leaf, convex flower bud, etc. are all rare shapes in the previous generation. During the Yongzheng period, there also appeared a variety of vessel modeling creations, such as Double Deer Zun, Three Sheep Zun, Qiu Er Zun, Reuters Zun, Luozi Zun, Niutou Zun, Garlic Belt Ruyi Zun, Lip-skimming Olive Bottle, Taibai Altar and Chrysanthemum Plate. In particular, the imitations of the famous kilns in Song Dynasty, harmony and porcelain, are not only vivid in glaze color and decoration, but also more realistic in shape. During the Qianlong period, the outstanding models were rotary neck bottle, rotary heart bottle, rotary belt bottle, flower basket, fan, book-style Yin He and book-style golden bell jar. During this period, both innovation and archaization reached * * *, and the imitations of copper, stone, lacquer, jade, bamboo, wood and elephant products were very similar. After Jiaqing and Daoguang, most of them followed the old system and there were few innovative works. Modeling from exquisite to clumsy, gradually lost the excellent tradition of the early stage. For example, the shape of the jade pot spring bottle was not obviously different in Kangxi, Yongzheng and Qianlong generations, but gradually became clumsy. In Tongzhi, Guangxu and Xuan Tong periods, it became a short and thick shape with a short neck and a full belly, and its shape was far less beautiful than before. After understanding the basic characteristics of porcelain modeling in Yuan, Ming and Qing Dynasties, we need to master the method of observing modeling. Generally, we should pay attention to the mouth, abdomen and bottom first. At first glance, many similar ships are very similar in appearance. If we carefully observe these three parts, we can draw different conclusions. For example, in the mid-Ming Dynasty, the shapes of knives such as bottles, pots and cans mostly left obvious joint marks on the abdomen, but after the Qing Dynasty, such joint marks were not obvious because of the meticulous rotary cutting. The so-called fine line difference often plays a very important role in dating and distinguishing fakes. Another example is that the radian of the disk in Yuan Dynasty is small and shallow, while that of Yong and Xuan in Ming Dynasty is slightly deep, with the former having a small bottom and the latter having a large bottom. Especially the Yongle style, regardless of the size of the dish or bowl, the center of the vessel is concave and the bottom of the vessel is convex, and the inner wall of the foot is slightly inclined outward, which is about one-half to one-quarter shorter than the outer wall. Others, such as plates and bowls of many folk kilns in the late Ming and early Qing dynasties, often have obvious wheel-shaped cuts (so-called "jumping knives"), but they are extremely rare in official kiln porcelain. As for the Kangxi market, there are plenty of double-ring bottoms, and there are many "hemp lines" under the three-color flat bottom of the folk kiln, which is also a common feature of modeling at that time. Cultural relics workers take these as part of the basis when distinguishing the old from the new. Some fine products that are close to the previous generation or imitated by later generations are often difficult to distinguish because of the similarity between decorative paintings and fetal glaze raw materials. For example, Yong and Xuan Qinghua left the bowl with three layers of ornamentation painted inside and four layers of ornamentation painted outside. Moreover, at first glance, the fetal glaze is almost the same, all of which are skimming and winding. However, if we compare them carefully, we will find that the important difference between them lies in the different convergence degree of the lower part of the bowl belly, that is, Yongle bowl belly is full and Xuande bowl belly is slightly cut. The imitation Chenghua blue-and-white bowl skimming in Yongzheng period also has the disadvantage of slightly cutting the belly of the bowl in shape. These subtle differences are based on defects caused by technical conditions such as molding and kiln firing, or accidental negligence (the shape of imitation is often more or less different from that of the real thing, because although it was made according to the real thing at the time of imitation, it was exactly the same as the real thing before firing, but after high temperature firing, its shape is different from the real thing in some places. This may be due to the inconsistency between the preparation of raw materials and the fineness of refining, but the result of vertical and horizontal contraction and expansion after high temperature is the key to identify the shape of the detector. As for some imitations that are just hearsay or speculation, such as all kinds of so-called "Yongle hand cups" copied by later generations, the shapes are becoming more and more strange (from Jia to Wan, the imitations are getting bigger and bigger, and even later they become big bowls without cups). As long as you have seen the real thing, you will naturally not speculate. (2) There are different patterns and colors in different periods. The patterns and shapes on ceramics have distinct characteristics of the times, and because of the continuous enrichment and perfection of raw materials and techniques for painting porcelain, they also have their levels and characteristics in different periods in subject matter 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. For example, the abnormal lotus petal (commonly known as "No.8") pattern commonly used in Yuan porcelain evolved on the basis of gold porcelain decoration, especially the appearance of underglaze colors such as blue and white and underglaze red in Yuan dynasty, which opened up a new era of porcelain decoration and broke the monotonous situation of monochrome glaze in the past. After Ming and Qing Dynasties, the invention of various colors enriched the decoration of porcelain, and the appearance of each decoration method had its own process of production, growth and development, so it can also be used to infer the age of objects. For example, the early blue-and-white and underglaze red were not so beautiful because they didn't fully grasp the characteristics of raw materials in Yuan Dynasty products, while underglaze red often had the shortcomings of gray tone, reddish brown or grayish black or even scattered. However, most of the mature blue and white and red ornamentation in glaze in Yuan Dynasty are very exquisite. The pattern not only attaches importance to the coordination of primary and secondary, but also adopts multi-layer continuous lace decorative patterns. No matter how many stones and flowers are left outside, the blank edges of a circle are not filled with color, forming a unique style (this painting method gradually disappeared after the middle of the Ming Dynasty, although it was occasionally used, it was rarely used. In addition, due to the limitation of raw material composition, painting also has different characteristics of the times. For example, some porcelains imported at the end of Yuan Dynasty and the beginning of Ming Dynasty have unstable colors and are not suitable for painting figures. Therefore, there were fewer people in the Yuan Dynasty, and there were also fewer people in Yongle, and there were more women and fewer men in Xuande. As for Chenghua Doucai, although it is bright and lovely, it is also limited by raw materials and technology, and has the disadvantage of "flowers have no shady side and leaves have no negative side". Moreover, the painted figures, regardless of men, women and children, wear light clothes all year round, and there is no difference between the inside and outside of the rendered clothes. Similar to these, the decorative patterns are characterized by the times and are often ignored by later imitators. If we can pay attention to it, it will naturally help to identify the authenticity. In addition, we can also find some differences in color application in the times. For example, according to the physical data we have now, Chenghua paintings are not black. At that time, in addition to drawing blue lines with underglaze cobalt, red and ochre were also used to draw outlines. If we encounter a Chenghua colored porcelain with a black outline on the glaze, we must doubt whether it is true and reliable, because the application of black outline did not exceed Zheng De's early days at the earliest. Others, such as pastels, are known to have appeared before the late Kangxi period, and it is hard to believe that pastel-painted imitation porcelain is not a fake. As for the Qianlong period, due to the extensive use of foreign colors and the absorption of western decorative patterns, some works only seek meticulous lines and peculiar decorative patterns, so some patterns have lost their inherent national style. This kind of porcelain has more products after the middle dry period. Others, such as the official kiln porcelain of Zhengde period in Ming Dynasty, are also decorated with Arabic characters. There are also western decorative patterns painted on export porcelain in the Qing Dynasty, which are unique decorations with distinctive characteristics of the times. 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. For example, this kind of vessel with only words and no pictures is rarely copied in past dynasties. Understanding this point is also of great reference value to the specific work of judging the times and distinguishing authenticity. According to the brushwork of decorative patterns, we can also see the characteristics of the times. For example, Kangxi porcelain attached great importance to the method of painting porcelain at that time, so the achievements of official kiln and private kiln porcelain in this respect were very impressive, and the patterns and decorations on porcelain mostly imitated the brushwork of famous artists. As far as the method of drawing trees is concerned, Kangxi's branches like to use leather whip, which looks old-fashioned and powerful, while Yongzheng Cai's branches only depict points. Although the technique is fine, the brushwork is delicate and boring. If we can see the brushwork carefully from its ups and downs, it will naturally help our appraisal work. As for the decorative patterns of official kilns in Ming and Qing dynasties, most of them are neat and dull, while the decorative patterns of folk kilns are vivid and extensive, which are all well-known characteristics. However, there is a so-called "limited respect and limited department" in the official kiln, and there are often works similar to the official kiln in the porcelain of the folk kiln, mostly in the Qing Dynasty. When it comes to official kiln and folk kiln porcelain, it is easy to think of the so-called "official kiln dragon five claw, folk kiln dragon three claw or four claws". Generally speaking, this typical decorative pattern of feudal society certainly provides us with clues to judge the authenticity and distinguish the kiln mouth, but it is not absolute. On the contrary, there are five-claw dragons in folk kiln porcelain, and three-claw and four-claw dragons in official kiln porcelain. For example, Xuande Imperial Kiln Blue-and-White Sea Water Dragon Spherical Bottle and a large number of Kangxi Imperial Kiln Blue-and-White Fish Dragons are all painted with three-claw dragons, and Kangxi Imperial Kiln Green Space Su San Cai Yun Dragon Pencil Box is painted with four-claw dragons. In Yuan Dynasty, there were three-claw, four-claw and five-claw blue-striped wares in folk kilns, and there were many such examples in Ming and Qing porcelain. The decorative patterns on the official kiln porcelain are often inseparable from the hobbies and wishes of the supreme ruler at that time. For example, Emperor Jiajing of the Ming Dynasty was fascinated by Taoism, so he liked to decorate it with gossip, immortals, clouds and cranes. Daoguang in Qing Dynasty liked birds, dogs and insects, so this kind of pictures also appeared more. Another example is that there is a tendency to appreciate porcelain in the Qing Dynasty. As usual, the porcelains given by emperors of Yong, Gan, Jia, Dao and Xian dynasties are mainly blue-and-white lotus flowers on a white background, and most of them are painted with sea water patterns (this bottle has nine layers of patterns). The meaning of using this decorative pattern is said to mean that officials attach importance to purity (harmony of purity), lotus is clean (harmony of lotus base), and sea water symbolizes peace in the world. Others, such as a barrel (series) of ten thousand years (evergreen), two crabs (one) spreading reeds (one), three sheep (Yang) opening Thailand, forty-six sons, five-LUN map, six-country seal, seven treasures, eight treasures, nine climbing lotus, hundred blessings, hundred longevity, red bat (Hongfu) and Qitian, are all full of feudal colors.
What is said upstairs is also true, but it is too general. The identification of ancient porcelain is a long-term exploration and learning process, which can not be explained clearly in a few paragraphs.
At present, the most worry-free and labor-saving detection method is carbon 14, which is more accurate through scientific means (of course, some people try their best to avoid the detection method of carbon 14 now)
Carbon 14 detection units are available in big cities, but the price is relatively expensive.
If you don't want to analyze by scientific means, you have to learn from scratch. The most effective way is to play with porcelain and find a good teacher.
I won't say much about the benefits of playing porcelain, just search online.
Not to mention the benefits of finding a good teacher, having a good teacher can get started quickly, which is much faster than learning blindly.
If you can't find a good teacher, you can only read books. It is necessary to recommend some books published by the Forbidden City and Cultural Relics Publishing House, as well as some works by Geng and Zhang Pusheng, especially Geng's "Identification of Porcelain in Ming and Qing Dynasties". Edited by the Cultural Relics Bureau, it is also an introductory book, which is required reading.
There is also an antique series edited by Tieyuan, which is also very good.
If you don't study enough, you have to go to the market more, like a stall on weekends. You have to run more. But you can't buy more, because there are too many fakes there. But you might as well practice your eyes. You can also go to the local museum to see the real thing. If possible, you'd better go to the Shanghai Museum and the Palace Museum. (Because there are too many fakes in some municipal museums now. )
Identifying porcelain is nothing more than knowing the age. Handicrafts of any era have their own characteristics of the times, such as fetal quality, glaze color, decorative characteristics and so on. Knowing this, you will have no problem getting started.
One year is enough for a good understanding, and three or four years is almost enough for a bad understanding.
How to identify ancient porcelain For the identification of ancient porcelain, Ye simply taught the fans who first entered the collection circle the "five-step method":
Look at the shape of the equipment. The identification and modeling of ceramics is an important basis, which has obvious characteristics of the times and directly reflects people's aesthetic standards in different social periods. For example, the white porcelain bowl in the Song Dynasty, with a flat-bottomed shape and embossed lotus petals carved in the bowl, was the main aesthetic style at that time; The color of white porcelain kiln in Song Dynasty is slightly yellow, which is the biggest difference from white porcelain in other periods.
Second, look at the quality of the fetus. Porcelain of different ages has different fetal quality. Generally speaking, the age and kiln mouth can be seen from the tire quality and glaze color. Ceramics is the art of fire and clay. With the continuous progress of firing technology, the quality of fetal bones is more advanced, the texture is more delicate, and there are more glazing technologies, which makes the glazes fired in various periods have obvious characteristics of the times.
Third, look at the patterns. The decorative patterns on porcelain have obvious nationality and times. There are many decorative patterns on ancient ceramics in China, but they can be divided into four categories: figures, animals, plants and decorations. Ornaments are the reflection of social culture at that time, and Tibetans need to know the historical and cultural background of China in different times.
Fourth, look at money. The model is also called the year model. The year model of an emperor is written on the bottom, center, middle or mouth of some porcelain, which can be divided into "official kiln" model and "folk kiln" model. These symbols show that the utensils produced in a certain dynasty have different colors because of the different pigments used in different dynasties. Coin identification is an important link in the identification of ancient porcelain, which can identify the age and value of an ancient porcelain.
Fifth, watch your feet. Due to the different firing processes and supporting methods in different periods, the feet of ceramic utensils are obviously different. Because of the support, there are different concave and convex points, some are glazed and some are not glazed, which is an important feature to identify the age of porcelain.
How to identify antiques ~ antiques? The appraisal of antiques can not be completed with a little carelessness, but can be said to be the sum of experience, experience and cognition. If you can't learn to use it skillfully, you have to find a crutch (expert)! Antiques ~ Everything has its own symbol! For example, the well-known model of mobile phones in China in 1990s, the model popularized in 2002, one hundred years and one thousand years later.
Adopt it
How to identify ancient ceramics seems to be a small problem, but there is a lot of knowledge in it. I suggest you study in a professional environment, where you can't learn so much.
How to identify ancient porcelain? Well, that depends on what it is. It depends on the quality and price. Can knock, can recognize the sound.
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