How to distinguish new and old porcelain by judging glaze?

Glaze refers to a colorless or colored glassy thin layer covering the surface of ceramics, which is made of mineral raw materials (feldspar, quartz, talc, kaolin, etc.). ) is ground into glaze slurry according to a certain proportion, coated on the surface of the green body and calcined at a certain temperature. Glaze can increase the mechanical strength and thermal stability of ceramic products, and has the characteristics of beautifying objects, being easy to wipe and wash, and not being eroded by dust. There are many kinds of glazes, and the classification methods mainly include:

(1) can be divided into high-temperature glaze and low-temperature glaze according to firing temperature;

(2) According to the appearance characteristics, it can be divided into transparent glaze, opaque glaze, colored glaze, glossy glaze, matte glaze, crack glaze (open piece), crystalline glaze and so on.

(3) According to the chemical composition of glazes, they can be divided into lime glazes, feldspar glazes, lead glazes, lead-free glazes, boron glazes and lead-boron glazes.

The invention and use of glaze is a necessary condition for the appearance of primitive porcelain. According to the archaeological data excavated in China at present, in the middle of Shang Dynasty in BC16th century, the ancestors created primitive porcelain on the basis of constantly improving the selection and treatment of raw materials, raising the firing temperature and glazing the surface. With the progress of the times and the development of production technology, glazes with different characteristics of the times have appeared in China in the past dynasties, which can be summarized by simply distinguishing glaze colors, mainly including the following categories:

1, celadon (figure 1)

The formation of celadon hue is mainly due to the fact that the fetal glaze contains a certain amount of iron oxide and is fired in a reducing atmosphere. However, due to the difference of iron content and reducing atmosphere, the color of celadon is bluish yellow or yellowish brown. Primitive celadon appeared as early as the Shang and Zhou Dynasties in China, developed in the Spring and Autumn Period and the Warring States Period, and matured in the Eastern Han Dynasty. If you want to send the collection to domestic first-line auction houses (Beijing Poly, Beijing Hanhai, etc. ), you can ask,147,5546,8088. Mr. dou. A large number of celadon have been unearthed from tombs and sites of the Eastern Han Dynasty in Zhejiang, Jiangsu, Jiangxi, Anhui, Hubei, Henan and Gansu. By the time of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties, celadon was fired in porcelain kilns all over the country, with a wide variety and further improved quality. Celadon fired in the north and south has its own characteristics: celadon in the south is generally hard and delicate, blue-gray, and its glaze color is crystal clear and pure, which is often described as ice-like. Northern celadon has a heavy matrix, a strong sense of glaze and glass, and great fluidity. The glaze is thin and the glaze color is blue and yellow. By the Tang Dynasty, Yue kiln celadon flourished, and the glaze color of "Qianfeng Cuise" lasted for quite a while. The best color was called "Secret Porcelain".

Various kinds of glazed porcelain appeared one after another in Sui and Tang Dynasties, and more famous porcelain appeared in Song Dynasty, but celadon did not decline because of this, and many famous products were derived. Among the five famous kilns in Song Dynasty, Ru kiln, Guan kiln and Ge kiln all belong to celadon porcelain. In order to express solemn, heavy and simple aesthetic feeling, the celadon of official kilns and Ge kilns in Song Dynasty specially added a proper amount of purple mud containing iron oxide to form a "purple mouth and iron foot", and the naturally generated open patterns on the glaze were even more interesting. Yaozhou celadon in northern folk kilns, on the basis of inheriting the carving skills of Yue kiln celadon, has a unique way. Not only is the blade sharper and smoother, but the carved pattern is "as clever as gold and more refined than jade". In order to make celadon look beautiful like jade, the craftsmen of Longquan kiln in Song Dynasty glazed the carcass several times, and finally burned it into a "plum green" comparable to jade, representing the highest level of celadon firing in the history of China ceramics. With the rise of Jingdezhen in the Yuan, Ming and Qing Dynasties, the situation of porcelain dominated by blue glaze has changed, and a new era of colorful and brilliant colored porcelain has begun.

2. White glazed porcelain (Figure 2)

White glazed porcelain is a kind of traditional porcelain in China, which is made of porcelain blank with low iron content and pure and transparent glaze color. During the Wei, Jin, Southern and Northern Dynasties, due to the great development of porcelain making industry, porcelain making technology was greatly improved, and the selection and formula of fetal glaze were also improved. More importantly, during the Sixteen Countries Period in Wuhu, various ethnic minority regimes successively occupied the Central Plains, and their aesthetic "white" became a powerful fashion at this time, which was reflected in the production of porcelain, that is, the times needed white porcelain. About the late Northern Dynasties, white glazed porcelain appeared in northern China. Archaeological data show that only a batch of white porcelain unearthed from Fan Cui's tomb in Wuping, Northern Qi Dynasty in Honghetun Village, Anyang, Henan Province has an exact date, which is the earliest white porcelain found in China. Because it has just left the celadon system, the white porcelain tire at this time is light yellow, the glaze color is milky blue-yellow, the glaze color is lake blue and the glaze layer is thin and moist. This is the characteristic of early white glazed porcelain. The iron content in the glaze is very small, but there is still a certain content, so the glaze color is yellow and blue.

After the early establishment of the late Northern Dynasty and the development of the Sui Dynasty, white glazed porcelain was very mature in the Tang Dynasty, forming a white porcelain firing center represented by Xing Kiln, which was an important part of the porcelain-making pattern in the Tang Dynasty. The maturity of white porcelain not only increased an important variety of porcelain, but also made great progress in the history of ceramics, laying a solid foundation for the formation and development of blue-and-white porcelain, multicolored porcelain and pastel porcelain in the Yuan, Ming and Qing Dynasties.

The firing of white porcelain in Song Dynasty was represented by Ding Kiln. Dingyao White Porcelain in Song Dynasty was fired from local porcelain clay rich in alumina. After careful processing and screening, the body is light, white and hard. Jingdezhen Kiln produced celadon on the basis of the previous generation of celadon and white porcelain, combined with the glaze style of celadon from Yue Kiln in the south and the modeling decoration from Ding Kiln in the north. Its glaze color is between blue and white, white in green or blue in white, and a few glazes are brown beige with fine lines due to the influence of underground humid environment. All previous dynasties have highly appraised celadon. From the unearthed celadon of the Song Dynasty, we can see that it has beautiful and lively modeling features of gold and silver vessels, white and delicate fetal quality, clean and elegant glaze color, crystal clear Ming Che and jade texture. Celadon was fired from the early Northern Song Dynasty, and in the process of glaze from thin to thick, decoration from no grain to relief carving, a celadon kiln system centered on Hutian kiln in Jingdezhen was formed.

On the basis of blue and white porcelain in Yuan Dynasty, a new white glaze-egg white glaze was created and fired. Like the blue and white porcelain of the same period, it is the symbol of the highest level of porcelain in Yuan Dynasty. The porcelain embryo of egg white glazed porcelain in Yuan Dynasty adopts the method of binary collocation of kaolin and porcelain clay, which increases the alumina content in the embryo soil, not only improves the firing temperature, but also ensures the quality of large porcelain without deformation at high temperature. Because the viscosity of glaze is improved, it is not easy to sag, the enamel is dense, and the glaze surface falls off after firing, and the luster is soft. The color of early artifacts is slightly blue; Later, with the decrease of iron content in glaze, the color tends to be pure.

After the Ming and Qing Dynasties, with the prosperity of Jingdezhen porcelain industry, the white porcelain fired by official kilns in past dynasties was exquisite, and the number of colored porcelain gradually increased, which made white porcelain no longer popular as a separate porcelain variety.

3. Black glazed porcelain (Figure 3)

Black glaze porcelain is a kind of ceramic ware with iron oxide as the main colorant and a small amount or trace of colored oxides such as manganese, cobalt, copper and chromium. The glaze color is reddish brown, dark brown, dark brown or black. Black glaze can be divided into two categories: lime glaze and lime-alkali glaze. The early black glazes such as the Eastern Han Dynasty and the Eastern Jin Dynasty were all lime glazes, and after the Tang Dynasty, they were basically changed into lime-alkali glazes. If you want to send the collection to domestic first-line auction houses (Beijing Poly, Beijing Hanhai, etc. ), you can ask,147,5546,8088. Mr. dou. As far as the varieties of black glaze are concerned, it can be divided into two categories: ordinary black glaze and colored black glaze. Oil drops, rabbit hair, tortoise shell, etc. , is a different color of black glaze.

Black glazed porcelain appeared in the middle and late Eastern Han Dynasty, but the glaze color at that time was dark brown or even black, the glaze layer was uneven in thickness, and there were often wax tears, and a thick glaze layer gathered in the bottom recess of the surface. The most successful early firing of black glaze was in Deqing, Zhejiang Province in the Eastern Jin Dynasty. The glaze of black glaze is wet, bright and black as lacquer, comparable to lacquer ware. Under the influence of flowing glaze, the thin part of glaze turns yellow.

In the Tang Dynasty, black glazed porcelain kilns were mainly concentrated in the north. For example, Yaozhou Kiln in Tongchuan, Shaanxi, not only fired celadon, but also fired a small amount of high-quality black glaze products. Jiaxian County in Lushan, Henan Province is famous for its black glaze and blue dots. Kilns in Gongxian County, Henan Province not only burn celadon, white porcelain and tricolor, but also produce black glazed porcelain products. Cicun Kiln in Zibo, Shandong, Hunyuan Kiln in Shanxi, Baitu Town Kiln in Xiaoxian, Anhui, etc. There are a large number of black glazed porcelain products. However, in southern provinces, brown glazed ware is popular. In southern China, gray tires and gray tires are used to make porcelain, and brown glaze is applied. The glaze color is mostly brown or reddish brown, and it is rare to be as deep as paint. The reason may be that the brown glaze ware was only fired in the porcelain kiln where celadon was fired in Sui and Tang Dynasties.

In the Song Dynasty, famous kilns came forth in large numbers, and black glaze ware also shone brilliantly. The representative kilns are Jizhou Kiln in Jiangxi and Jian Yao in Fujian. The black glazed porcelain of Jizhou Kiln not only has a large output, but also has a variety of decorative techniques, such as leaf pattern, paper-cut pattern, painted pattern, glaze stripping, glaze stripping and tortoise shell glaze. These decorative patterns are novel and unique in the porcelain kilns of the Song Dynasty, with strong local style. At that time, Jian Yao was famous for producing a kind of tea lamp with crystal black glaze and obsidian eye lamp, which was the main producing area of rabbit hair lamp and obsidian eye lamp mentioned in many documents in Song Dynasty.

From the Yuan Dynasty to the late Qing Dynasty, many folk kilns burned a large number of black glazed porcelain. The products of black glazed porcelain are mainly crude daily utensils, which are generally fired in kilns that mainly produce other porcelains, mainly for daily use and funerary objects. Jingdezhen Kiln Factory once unearthed a black-glazed incense burner engraved with "Twenty-one Years of Yongle in Daming", which was a folk sacrificial vessel.

4. Red glazed porcelain (Figure 4)

Red glaze is divided into high temperature red glaze and low temperature red glaze. The high-temperature red glaze device is made by mixing copper red material into glaze as a colorant and firing it in a high-temperature reducing atmosphere. As early as the Song Dynasty, uneven high-temperature red glaze such as copper erythema glaze or rose purple appeared in Jun kiln ware, and even red glaze ware was successfully fired in Jingdezhen in Yuan Dynasty, which matured in Yongxuan period in Ming Dynasty. Because this kind of red glazed vessel is mainly used as sacrificial vessel, it is also called "Red Sacrifice" or "Ji Hong". In the Qing Dynasty, there were varieties such as "Lang Yaohong" and "Cowpea Red", which actually referred to high-temperature copper red.

There are two kinds of low-temperature red glazes: one is alum red with iron oxide as colorant. With soap alum as raw material, raw alum is made by calcination and rinsing, so it is called Fan Hong, also known as "iron red". Alum red is easier to stew than copper, so it was used to replace the high-temperature copper red glaze lost for many years in Jiajing of Ming Dynasty. According to Ming Hui Dian, "In the second year of Jiajing (1523), Jiangxi fired porcelain, and the bright red inside was changed to deep Fan Hong." Fan Hong is not as bright as copper red, but its color is stable. By the time of Kangxi in the Qing Dynasty, Fan Hong had made great progress, with bright colors and gorgeous dignity. It is usually used to draw multi-color and barrel-color decorative patterns, or applied to solid-color glaze. After Qianlong, there was a kind of alum red glazed porcelain called "Gaixuehong", which was very beautiful.

The other is carmine with gold as chromogenic agent. This is a low-temperature glaze with a trace amount of gold below110000 as colorant, and it is pink after firing. This glaze was introduced from abroad in the late Kangxi period, and it was the most exquisite when it was fired in Yongzheng. Exquisite in the early stage of Qianlong, not fine enough in the late stage of Qianlong. Jiaqing is almost extinct. Rouge glaze is not only used for monochromatic glazed porcelain, but also used for decorative purposes of colored porcelain such as bucket color, pastel color and enamel color. It is a rare variety in red glaze.

5. Blue glazed porcelain (Figure 5)

Blue glazed ware is made by mixing natural cobalt into glaze as colorant and firing it in high temperature oxidation atmosphere. Jingdezhen was burned in Yuan Dynasty, and it matured in Xuande period in Ming Dynasty. Like "Red Sacrifice", it is also called "Blue Sacrifice" or "Viburnum Blue" because it is often used as a sacrificial vessel. On the basis of Viburnum blue, new blue glazes, such as sprinkling blue and sky blue, were also created and fired in Xuande period of Ming Dynasty. The most famous Xuande Jilan, as bright as a gem, is used to worship heaven. In the Qing Dynasty, the firing technology of high-temperature blue glaze improved steadily. At this time, the blue glaze still uses cobalt as colorant, and the glaze surface is clean and smooth, and the color is deep and heavy. Because blue porcelain is used for offering sacrifices to heaven, the specifications of blue glazed porcelain are relatively high, and it is mainly made of ritual vessels such as, plates and statues. In addition to simple objects, there are hidden patterns and gold lacquer decorations. Official kilns have official money, while folk kilns have temple rituals. They all have no official money, but they have books and years. During the Kangxi period of the Qing Dynasty, the firing of green glazed porcelain, which was interrupted after Xuande in the Ming Dynasty, was resumed, and new varieties such as blue gold painting and blue multicolored painting were further developed. Its novels have been exported abroad in large quantities. Kangxi blue shower is mainly composed of plates and bowls, with thin carcass and bright glaze. The color is elegant and fresh, just like being covered with snowflakes, also known as "snowflake blue". Blue sprinklers were rare in other periods of the Qing Dynasty except Kangxi's outward appearance, and there were occasional imitations during the Guangxu period.

6. Yellow glazed porcelain (Figure 6)

Yellow glazed utensils are also divided into high temperature and low temperature. Low-temperature yellow glaze is a kind of low-temperature colored glaze with iron oxide as colorant and lead as flux. It was first seen on pottery in the Han Dynasty, and it was orange-red. The yellow glaze in the three colors of the Tang Dynasty belongs to this category. Early low-temperature lead glazes were mainly brownish yellow and green, in which the colorant of brownish yellow glaze was iron oxide and the green glaze was copper oxide. After the development of Tang, Song, Liao, Yuan, Ming and Qing dynasties, the variety and quality of low-temperature yellow glaze have made great progress.

Low-temperature yellow glaze appeared with the appearance of lead glaze in Han dynasty, and later it showed three colors in Tang dynasty and colored glaze in Yuan and Ming dynasties. The kilns for firing low-temperature yellow glazed porcelain in Tang Dynasty mainly include Shouzhou kiln in Anhui, Baitu kiln in Henan, Mixian kiln, Zhengxian kiln, Tongchuan kiln in Shaanxi, Hunyuan kiln in Shanxi and Quyang kiln in Hebei. If you want to send the collection to domestic first-line auction houses (Beijing Poly, Beijing Hanhai, etc. ), you can ask,147,5546,8088. Mr. dou. However, the early low-temperature yellow glaze was applied to the pottery tire, and the color was poor, and the color tone was mostly yellowish brown or dark yellow. In the Ming and Qing Dynasties, the low-temperature yellow glaze produced by Jingdezhen was obviously improved compared with the products produced in the Tang Dynasty, which pushed the production of low-temperature yellow glaze to a peak and became the royal color of the court. At this time, the yellow glaze of low-temperature yellow glaze ware was mostly applied to the surface of white glaze ware without grain, and only a small amount of yellow glaze was directly applied to porcelain tires in Wanli period. With the development of the times, the color shades are slightly different and basically tend to be bright yellow. In the Ming Dynasty, Xuande and Hongzhi's products received the highest evaluation, especially Hongzhi's yellow glaze, which was pure in color, even in tone, flat in glaze, as light and delicate as chicken oil, clear and bright, reaching the highest level in history. Since then, various dynasties have produced a large number of low-temperature yellow glaze products.

High-temperature yellow glaze is a kind of lime glaze containing a small amount of iron, which generates iron oxide in high-temperature oxidation atmosphere and is yellow, and the representative variety is tea powder glaze. Tea powder glaze is one of the important varieties of ancient crystalline glaze in China, which belongs to high-temperature yellow glaze. Iron oxide is used as colorant, and it is fired at high temperature of 1200 ~ 1300 in reducing flame. The glaze is opaque, and the yellow-green glaze resembles fine tea powder. The green one is called tea, and the yellow one is called powder, which is simple, beautiful and intriguing. Tea powder glaze originated from the black glaze in Tang Dynasty. At first, it seemed to be a special variety of black glazed porcelain that was burnt too much, not intentionally. The tea produced by the Imperial Kiln Factory in the Qing Dynasty has a yellow glaze with black or dark brown spots. Tea glaze products are mostly fired in Jingdezhen official kiln. Among the products handed down from ancient times, Yongzheng and Qianlong periods were the most common and the firing was the most successful. During the Yongzheng period, most of the products were yellow, and those with tea and no tail were commonly known as "eel yellow" and those with green glaze were commonly known as "crab shell green"; When the product is dried, the glaze color is different, and there are black stars scattered in the yellow and smooth glaze. The end glaze of tea collected in Qing Palace was formerly called "factory official glaze".

7. Peacock green glaze porcelain (Figure 7)

Peacock green glaze is a kind of low-temperature colored glaze with copper as colorant. Because nitrate (a nitrate mineral) is added to its cosolvent, the glaze color is very fresh and tender, green and dripping, as gorgeous as peacock feathers. Peacock green glaze was fired in Cizhou kiln in Song Dynasty and matured in Jingdezhen in Yuan Dynasty. According to the archaeological data and the analysis of handed down products, the peacock green glaze in Ming Dynasty was fired from Yongxuan to Zhengde, which was more exquisite than that in Yuan Dynasty. However, it is worth noting that the tires and decorative soil of Cizhou kiln products in the Song and Yuan Dynasties were all raw-fired, and the expansion coefficients of tires and glazes did not match, which led to the loose combination of tires and glazes, resulting in the phenomenon of glaze peeling off, and even the surface glaze of utensils completely peeled off. In the Ming Dynasty, the official kiln products were coated with malachite green glaze on the white glaze, and then fired again in the kiln. Glaze and glaze are easy to combine, so there is little glaze shedding. In the Kangxi period of Qing Dynasty, peacock green glaze was further developed, and it was more exquisite in color, modeling and carving and decoration technology.

8. Eggplant purple glazed porcelain (Figure 8)

Purple glaze of tomato skin is a low-temperature glaze with manganese as colorant. There are deep and light colors, the deep is mature purple eggplant skin color, and the light is immature light purple skin color. The eggplant skin purple glaze device is made by first firing the plain tire at high temperature and then applying low temperature purple glaze for secondary firing. The glaze of the objects made in this way is not closely combined, and it is easy to glaze after a long time. Judging from the handed down products, Jingdezhen official kiln was made in Hongzhi and Wanli of Ming Dynasty, mostly as a ritual vessel. The three generations of Kang, Yong and Gan developed further in the Qing Dynasty, especially in the Kangxi period, with diverse shapes, bright glaze color, strong glass texture and stable color. Exquisite patterns are carved on the surface of the objects, which has the style of official kiln. After the Qianlong dynasty, a large number of palace life utensils with dark carved dragon-shaped tomato skins and purple glazes were burned, mostly plates and bowls.

Through the above brief description of the porcelain glaze varieties in different dynasties, it is not difficult to see the superb technology of China porcelain industry in previous dynasties, and at the same time, it also embodies the gorgeous beauty brought by porcelain glaze to people. But how to distinguish new and old porcelain by judging glaze color? Mainly from the following aspects to identify.

First, the light perception of glaze.

The glaze of porcelain is smooth and bright, and judging the brightness of glaze is one of the important methods of visual identification. After the porcelain is fired, you can feel a bright surface light on the surface of the glaze through visual inspection, which is also called "floating light, fire light and thief light". A new piece of porcelain out of the kiln presents a brand-new state in all aspects. The glaze is clean and bright. After being irradiated by light, the mineral particles in the glaze are young and active, and the light waves reflected by the glaze are strong and dazzling, floating and free, and their vitality, energy and intensity are in the highest state (Figure 9). With the extension of time, various minerals in the glaze are oxidized and aged year by year under the physical and chemical action of nature, and their vitality, energy and strength are also weakened year by year. The glaze layer began to age, and the glaze began to mature and warm. After being irradiated by light, the bright and dazzling intensity of glazed light gradually weakened, and the degree of freedom gradually decreased, showing a jade texture. The older you get, the more obvious the change is. Except for the loss of light due to unnatural physical and chemical effects under special circumstances, its age is directly proportional to the degree of change, which is roughly the same as the "annual ring" of tree growth. Although we can't accurately describe this change in the form of images at present, it is clearly displayed and regular. It is this visible and regular change of light perception that provides us with a reliable theoretical and practical basis for the dating of ancient porcelain Jian Zhen, and also sets an insurmountable barrier for ancient porcelain counterfeiters.

In order to make the glaze soft but not rough, modern imitations usually use some methods to polish the glaze. According to Jingdezhen porcelain kiln master, there are two main ways to make glazed surfaces old:

One is polishing and grinding method, which is divided into manual polishing and mechanical polishing. Manual polishing is to soak silk or cowhide in grinding paste, polish it on the glaze of new imitation, then clean the polished parts with gasoline and ethanol respectively, add some paraffin or Sichuan wax if necessary, and polish it repeatedly with silk to make the polished luster softer. In addition, it can also be polished with a grinder. Mechanical polishing can not only improve the working efficiency, but also improve the polishing quality, and the cast light has a good sense of enamel. Observing the glazed surface of polished objects with a magnifying glass, you will find that there are countless wear marks as fine as cattle hair on the glazed surface. If you carefully observe the wear marks, you will find that most of the wear marks are very regular lines in groups or blocks. However, the old wear marks on the surface of ancient porcelain are criss-crossed, with different thicknesses, while new ceramics do not have this phenomenon.

Another method is to soak with chemical reagents, because the main chemical component of porcelain glaze is silicate. Soaking porcelain with acidic solutions that can react with silicate, such as acetic acid, hydrofluoric acid, nitric acid and oxalic acid, can cause glaze corrosion, make glaze dim and turbid, thus eliminating "fire". Some do not soak, and directly wipe the glazed surface repeatedly with an acid-stained rag, which can also achieve the effect. The disadvantage of this method is that the acid corrodes the glaze too strongly, making the glaze opaque, dull and even opaque, which is far from the natural light perception accumulated over the years. Under the magnifying glass, countless pits corroded by acid can be found. There are several solutions mixed together, such as soaking in acetic acid, and then soaking in tea and plant ash water. This can not only eliminate the "fire", but also make all kinds of stains, which people mistakenly think is caused by long-term use.

Fake sea fishing imitation Song Dynasty official kiln ear piercing bottle

Fake sea fishing imitation Yuan blue and white figure plum blossom vase

Nowadays, a new kind of imitation sea fishing porcelain has appeared in the cultural relics market. This object has lost its brightness, as if it had been corroded by seawater. But it is also the effect of soaking the new imitator in chemical reagents. Observed through a magnifying glass, there are still traces of chemical corrosion on the glaze (Figure 10). If you want to send the collection to domestic first-line auction houses (Beijing Poly, Beijing Hanhai, etc. ), you can ask,147,5546,8088. Mr. dou. In recent years, it has been found that counterfeiters cover the inner and outer walls of antique porcelain, especially imitation blue-and-white porcelain, with the skins of mussels and conches, as if they were really fished out of the sea (Figure 1 1). However, according to an insider, this device was put into a net in shallow water and sank to the bottom of the sea. After a period of time, small clams, small conchs and worms will be covered with antique porcelain. It is also worth noting that the watch case or shell of marine worms can be glued to the watch.

Imitation of yuan blue and white, three look at the cottage pot

With the progress of science and technology, many high-tech means are gradually added to the aging of antique porcelain. According to the introduction of some colleagues, some advanced antique porcelains today add some chemical elements into the glaze before firing in the kiln, so that the glazed surface of the fired porcelains can be displayed whether it is bright or not, or the underglaze blue and white colors of different times (Figure 12), but it still cannot reflect the feeling of the times when watching (Figure 13). How to accurately grasp the glaze color of ancient porcelain requires us to look at and compare more in our daily study.