Chapter 1556 Even if there are tens of thousands of blue and white pieces, look at the genuine ones and dont go astray
The glaze used for inscriptions is not the same for all porcelain.
The glaze of the mark is sometimes different from the glaze of the porcelain itself.
For example, the cobalt material used in some of Xuande's base models is not imported material with a bright blue color like gems, but domestic material.
The reason is that the imported materials are seriously scattered and unsuitable for writing.
Or for cost-saving reasons, the more common domestic green materials are used.
During the Zhengde period, the materials used for painting and writing were also different.
Because there were so many types of raw materials in this period;
It is worth noting that the bottom of porcelain during the Zhengde period often appeared bluish in color due to inconsistent firing atmospheres.
Therefore, the hair color of the corresponding bottom logo is also slightly different.
These need to be paid attention to during the imitation process.
And some obvious mistakes must be avoided as much as possible.
In this regard, if you look at some imitations on the market now, you will know what you need to pay attention to.
The difference between later imitation models is still very large, and it is not difficult to identify them.
Again, if you want to imitate antiques well, you must understand the flaws that current imitations have.
To a certain extent, the level of appraisal also determines the quality of imitation porcelain.
When appraising a piece of porcelain, the focus and basis are based on several aspects.
It's just six aspects: shape, decoration, body, glaze, color, and style.
Each of these six aspects contains rich information.
Among them, the identification is particularly important because it is often an important factor in distinguishing the user's identity and status, as well as the nature of the kiln entrance.
In particular, commemorative models from official kilns are even more important, so later imitators often start from this aspect.
They will carry out in-depth imitation of the base model.
However, post-imitation products are not “original” after all and always contain traces of the era and society in which the imitators live.
As long as you are a little careful, you can fully understand the types and characteristics of imitation models.
Then, many identification problems will be easily solved.
The types of post-imitation models are mainly divided into three situations.
The first type is the early imitation of the mid-Ming Dynasty, such as the Chenghua imitation of the Xuande model, which is also the earliest imitation of the late official kiln;
In addition, there are imitations of Xuande and Chenghua models from the Zhengde and Jiajing periods, imitations of Chenghua models from Wanli period, etc.
The second type is imitation of Xuande and Chenghua styles during the three dynasties of the Qing Dynasty, especially in the middle and early Kangxi period and the early Yongzheng period.
The third situation is after the Republic of China, imitating the style of the Ming Dynasty.
During the identification process of imitation models, they can be distinguished based on the blue and white hair color, font writing method, and combination of vessel shape and decoration.
There are generally two situations in which later dynasties imitated the expressions of the previous dynasties.
The first is that the base model, shape, decoration, tire, glaze, and color all imitate those of the previous dynasty;
The second type is to only imitate the base model without caring about anything else. However, there are some features that cannot be imitated.
For example, if you use a magnifying glass to look at the blue and white colors of the Ming Dynasty models, they are mostly deep and sinking.
The imitations in the early Qing Dynasty are roughly the same, while the imitations after Daoguang have a scattered cyan color and are light and floating.
In addition, in addition to understanding the identification characteristics of different periods, one must also have a deep understanding of the overall style of porcelain, so that the identification process will be more rigorous and accurate.
The purposes of later imitations are also different. Chenghua imitated Xuande because the Xuande period was the first great peak in the history of my country's porcelain making.
The six-character regular script inscription "Xuande Year of the Ming Dynasty" was the brand statement of the most advanced porcelain products at that time and the symbol of the highest quality products.
After Zhengde, craftsmen of all dynasties imitated Xuande and Chenghua models, mostly for this reason.
The second reason is that in the early Kangxi period, there were no inscriptions on the inscriptions, and most of them imitated the official kiln inscriptions in Chenghua.
The reason is that Emperor Kangxi believed that writing his reign name on porcelain would be particularly unlucky once the porcelain was broken.
That is to say, "Covered with porcelain, it is easy to destroy, and I don't want to leave the name of a generation in the dirt."
Therefore, it can now be found that many porcelains from the Kangxi period are signed with the Chenghua year mark.
The third type is that Qing Dynasty folk kilns heavily imitate Ming Dynasty official kilns.
This may be to express longing for the previous dynasty. This kind of grieving gesture is called "sustenance money".
Trust money was first seen in Chenghua, and then increased in number, becoming extremely popular in the Qing Dynasty.
The earliest content of the sustenance money was from Hongwu, and it was found in all subsequent dynasties.
Comparatively analyze the year of genuine porcelain and the identification characteristics of later imitation porcelain, and pay attention to summarize the formation reasons, development process and characteristics of imitation porcelain in different periods. These are indispensable tasks in the identification process.
To sum up, the style of official kilns in each period of the Ming Dynasty has its own characteristics.
Although there are many imitations in later generations, due to the different use of green materials and the styles of the kiln workers' fonts, the overall appearance is also different from the original.
Being proficient in the styles and characteristics of official kiln models in different periods is helpful for periodizing porcelain and identifying fakes and authenticity.
Of course, it also helps us study the technology in the porcelain production process and gain a glimpse of the skills and levels of kiln workers in different periods.
I believe that in the near future, the study of porcelain bases will become a truly outstanding science.
Even if there are tens of thousands of blue and white pieces, look for the genuine ones and don’t go astray.
You are lucky to get one from thousands of miles away, but you need to pay close attention to the base of the green material.
It can be said that as long as the Ming Dynasty's foundations are thoroughly studied, it is not difficult to imitate various official kiln porcelains of the Ming Dynasty.
At least for Chen Wenzhe, the difficulty is very small.
Starting from Emperor Hongwu of the Ming Dynasty, the three dynasties passed through the blank period, followed by the Chenghua period.
Chen Wenzhe made a lot of Chenghua porcelain.
During this period, together with Hongzhi and Zhengde, these three dynasties were in the middle of the Ming Dynasty.
There were many classic porcelains of this period, but before that Chen Wenzhe only made doucai and monochromatic glaze porcelains.
Now he is making blue and white porcelain. As a type of porcelain with the widest audience, blue and white porcelain is never made in any dynasty, and Chenghua is no exception.
The blue and white porcelain of this period is also very distinctive. The porcelain before Chenghua and Hongzhi middle periods were made of Pingping blue, with a dull and elegant color.
In the late Hongzhi period and Zhengde period, the hair color was gray-blue.
However, there are also some utensils in this period that are rich in color and have rust spots.
Also, Chenghua mostly depicts blue and white flowers.
The pattern layout is sparse in the early stage and dense in the later stage.
Paint more pictures of Three Fruits, Three Friends, Jiuqiu, Gaoshi, Yingxi, Dragon Wearing Flowers, etc.
The flowers and leaves are like open palms;
The leaves have multi-toothed edges, and the flowers and leaves have neither positive nor negative yin and yang;
The waterweed of fishweed floats like kelp;
The rocks are key-shaped and have no unevenness;
The rim decoration is relatively simple, the rims of bowls, plates, cups, etc., and the rims are only decorated with string patterns;
The dragons are mostly Kui dragons, with long trunks like elephant trunks;
Decorations with religious content such as crosses, Arabic inscriptions, etc. are common.
The texture of the fetus is delicate and white, and the glaze is extremely fine and moist with a jade texture, but slightly bluish.
The types of utensils used in Chenghua include jars, plum vases, washers, lamp trays, plates, cups, bowls, etc.
The furnace is a three-legged cylinder or drum-shaped furnace.
In addition to the word "天" on the pot, there are also six-character single and double-line inscriptions "Ming Dynasty Chenghua Year System";
The main inscriptions include Fang Sheng, silver ingots, etc.