When appraising porcelain, in addition to observing the projected color inside the porcelain with a flashlight, you must also observe the glaze color. The glaze color must be accurate and uniform.
To be precise, the glaze color of porcelain produced after the Republic of China is white, and the glaze color of porcelain produced in the Qing Dynasty is pea green. This should be paid attention to when buying ancient porcelain.
The last thing is the painting style, which must be good.
Especially when purchasing larger porcelain, pay attention to distinguish between hand-painted and decals.
The decal pattern is dull and the lines are rather rigid.
The edges and corners of the small-shaped blue and white porcelain can be felt by hand, which is caused by the glue used in the decals.
Decals are often used on the edge patterns of porcelain, and sometimes seams appear at the junction of the decals, or the left and right parts of the pattern are uneven.
It is not difficult to identify the authenticity of Bingmei porcelain, it can even be said to be very easy.
First look at the color. When purchasing, you can first check whether the porcelain is white and bluish in color.
If it is white with milky yellow or other mottled colors, it is probably inferior porcelain;
Then listen to the sound, listen to the sound of the ceramic being knocked. Real porcelain will make a crisp and pleasant sound when knocked lightly;
If there are conditions, it is the specific hardness.
Test whether the ceramic is hard enough. Real porcelain is made of high-hardness porcelain. Use a metal tool to scratch the ceramic and there will be no trace;
The last step is to measure the thermal conductivity and test the thermal conductivity speed. Real porcelain is high-density porcelain, which is thicker and heavier than other porcelain and has a slower thermal conductivity speed.
As long as we understand these characteristics and carry out targeted imitation, it is not difficult for Chen Wenzhe to imitate a small ice plum jar that is comparable to the Kangxi official kiln.
He could even use modern technology to make this small jar more beautiful than the ones in the Kangxi period.
Of course, you cannot blindly pursue antiques in this way.
Ancient porcelain, sometimes limited by technology, would leave more or less defects.
These will be the basis for appraisal by modern appraisers. However, this defect has caused some flaws in a piece of exquisite porcelain.
If you do not pursue antique craftsmanship and avoid these flaws, you can get a more perfect piece of porcelain.
After all, Bingmei porcelain was just a small category during the Kangxi period.
When making Kangxi blue and white flowers, just make a few pieces and keep them as souvenirs.
After Kangxi, there was Yongzheng. Chen Wenzhe made too many porcelains of Yongzheng.
Even for Yongzheng blue and white, Chen Wenzhe has done a lot of ink and color painting.
Now that there are ready-made materials, Chen Wenzhe just made a big jar.
Yongzheng blue and white has changed the Kangxi style, and most of them deliberately imitate the shapes and patterns of Yongle and Xuande blue and white.
For this kind of porcelain, Chen Wenzhe still wants to make one himself.
He even consciously used a pen to paint in order to create features such as dark spots.
In the Yongzheng porcelain of this period, the bright and multi-layered characteristics of Kangxi blue and white are no longer visible, and the rough and simple painting style has been replaced by the graceful and charming workmanship.
Therefore, Chen Wenzhe concentrated these features on a large jar.
This is a large blue and white pine, bamboo and plum jar, 22.5 cm high and 22.5 cm wide.
This large jar has a wide round mouth, a short neck and broad shoulders, a bulging body, and a slightly tapered lower abdomen.
The whole thing looks plump, solid and thick. The whole body is covered with white glaze, which is smooth and elegant.
The outer wall is painted with blue and white patterns of pine, bamboo and plum blossoms, "Three Friends of Winter".
The green pine is tenacious and its branches are strong.
The bamboos are elegant and graceful, the winter plum blossoms are proudly blooming, the beauty is elegant, and the brushwork is rich and unrestrained, just like the artistic conception of ink.
The painting of the whole vessel is high-spirited and the layout is complex and simple, which vividly expresses its respective characteristics.
If one piece of Yongzheng's porcelain is made, it can be compared to several pieces of Qianlong's porcelain, right?
The final glory of the Qing Dynasty was the Qianlong period.
Qianlong blue and white is basically bright blue, with stable color and clear decoration.
Qianlong porcelain has a gorgeous style, and it is popular to decorate various large bottles with elephant ears, snail ears, and phoenix ears.
The decorations are complex and the content mostly reflects feudal ethics, peace and prosperity, happiness, wealth and longevity.
Chen Wenzhe first made a drinking cup with a blue and white landscape and pavilion pattern.
No matter when, cups are the most classic and commonly used utensils.
No matter which dynasty, each has its own unique style of cup.
The blue and white small drinking cup is considered the most common. This cup is tall.
This blue and white drinking cup has a petal-shaped mouth. The rim of the mouth is slightly outward, and the lower part of the belly gradually draws in, encircling the soles of the feet.
The glaze is moist and delicate, the carcass is white and solid, and the blue and white hair color is elegant.
Inside the cup, there are landscapes, pavilions and courtyards, small bridges and flowing water, leisurely pedestrians and boating on the lake.
The rim of the cup is decorated with various flowers. The overall painting style and material colors are simple and timeless, which is a typical Qianlong art style.
Looking at it this way, is it surprising to see mediocrity?
After all, this is the official kiln of Qianlong. Even if it is a blue and white cup, if you look closely at the craftsmanship, it is very unusual.
What's more, Qianlong himself shouted loudly: My chicken cup must be different!
Therefore, Qianlong’s antique pastel chicken cup is really unique.
A piece from the Palace Museum's collection illustrates the problem very well.
If you have only seen the chicken bowl cup from the Qianlong period, it would be difficult for most people to imagine that it is an antique prototype.
Of course, now we all know that it must be an imitation of the Zi Cheng Hua Chao Chicken Cup.
The chicken vat cup of the Qianlong Dynasty has a round mouth and a straight body, with the lower end slightly tapered.
The diameter is almost the same as that of the Chenghua chicken cup, the height is doubled, and the capacity is doubled.
There are more characters and inscriptions in the picture, and on one side of the outer abdomen is a naughty boy playing with a chicken.
On the other side is a poem inscribed by Emperor Qianlong. Below the poem is a picture of a hen and her chicks looking for food.
There has also been a major change in the use of color, with the pastels of the Qing Dynasty replacing the fighting colors of the Ming Dynasty.
In short, except for the fact that the theme is related to chicken, and the bottom mark has "Qianlong Qianlong Antique" written on the bottom, which indicates that it is an antique work, the entire artifact no longer conveys the atmosphere of imitating the ancient Ming Dynasty. It is not so much an antique as it is an innovation.
If we look at the imitations of chicken bowl cups from other dynasties, the uniqueness of the Qianlong Dynasty is even more prominent.
From Jiajing, Longqing, and Wanli in the Ming Dynasty to Kangxi, Yongzheng, Qianlong, Jiaqing, and Daoguang in the Qing Dynasty, Chenghua chicken cups were all imitated.
Among them, the imitation techniques of the Kangxi Dynasty are recognized as the highest, and they can almost be confused with the real ones.
There are two "Chenghua Doucai Chicken Cups" in the Palace Museum, which have been considered to be works of the Chenghua Dynasty for many years.
However, it was not until 2016 that experts from the Forbidden City re-examined it and concluded that it was probably imitated during the Kangxi period. If so, it shows the high level of imitation techniques.
During the Yongzheng Dynasty, facing the insurmountable peak of imitating the previous generation, the emperor began to consider innovation.
Craftsmen of this period carefully incorporated the pastel techniques of the late Kangxi period, but the style was more rigorous and limited innovation.
In contrast, the Qianlong Dynasty completely abandoned the imitation of the Chenghua Chicken Bowl Cup.
This style of innovation, which imitates the past but does not follow the past, is probably the only one that Qianlong in the prosperous age of Hai Qing He Yan, singing and dancing, had such confidence.
In particular, the six characters "Qianlong of the Qing Dynasty imitation" written in seal script are quite magnanimous and magnanimous.
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Please remember the domain name of this book:.The Moral Record of the Mortician