Chapter 1,663 The most distinctive standard device
The Longquan kiln porcelain of the Ming Dynasty is decorated with character stories and the characters "Hua Tuo Ji", "Fu", "Shou", "Gold and Jade Mantang" and other characters.
What is particularly noteworthy is that the bottoms of Longquan kiln porcelain are very distinctive and vary from dynasty to dynasty.
For example, from the mid-Northern Song Dynasty to the mid-Southern Song Dynasty, a cake pad was placed inside the circle foot for firing, and the bottom of the foot was unglazed. The bottom of the bowl and plate was thicker, which is related to this filling and firing method;
In the early Northern Song Dynasty, bead pads were used to burn, and there are traces of bead marks on the bottom of the vessel;
After the mid-Yuan Dynasty, bowl-shaped cushions were used, with a circle of scraped glaze in the middle of the outer bottom of the utensil, and a glaze in the center, which looks like an astringent circle;
From the late Southern Song Dynasty to the mid-Yuan Dynasty, mat cakes were used to hold the entire vessel's feet for firing. The feet were unglazed and generally had a cinnabar bottom;
In the Ming Dynasty, cake pads were placed inside the hoop feet for baking, and the outer soles were unglazed.
From the perspective of modeling, it is necessary to master the typical utensils of different eras, as well as the modeling characteristics of the same utensil in different eras.
Taking the Li-type stove as an example, this shape was more common in the Song Dynasty.
The furnaces of the Song Dynasty are generally shorter and have sharp outlines, with the edges of the boards extending outwards, the waist girded, the abdomen protruding, the three legs tightened, the contours undulating obviously, and the overall shape beautiful and delicate.
However, the overall shape of similar furnaces in the Ming Dynasty was dull and the outline was not smooth enough.
Looking at the details, the soles of the feet of Song Dynasty furnaces are rounder, while the feet of Ming Dynasty furnaces are flatter and hoof-shaped.
Judging from the carcass, the color of the soil of Longquan kiln artifacts in the Song Dynasty is white with a hint of grey.
You can see orange-red kiln red at the exposed part of the bottom foot, and the carcass is moderate.
Compared with the carcass of the Yuan and Ming dynasties, it is much lighter and thinner.
The body of Longquan porcelain in the Ming Dynasty is thick and gray-yellow in color, with an ocher-brown kiln red color appearing on the exposed soles.
Judging from the glaze color, the typical Longquan porcelain of the Song Dynasty has a thicker glaze layer.
The glaze is green in color and has a soft luster. There are bubbles in the glaze layer, which are large and sparsely distributed.
The glaze layer of Longquan porcelain in the Ming Dynasty was relatively thin, with a high degree of vitrification, good transparency and strong surface gloss.
The glaze color may be green with brown, close to mugwort green, or yellow with gray, both of which are very unpleasant to the eyes.
Judging from the patterns and decorations, the Longquan kiln wares of the Song Dynasty are purely based on glaze color and have very few patterns and decorations.
Even if there are patterns, they are mostly carved decorations supplemented by dots and scratches, as well as patterns such as waves, cloud patterns, and banana leaves.
The composition is extremely concise and the technique is vivid.
The patterns on the artifacts of the Ming Dynasty were more complicated, and the patterns had obvious symbolic meanings. They were a common decorative technique on the Longquan kiln artifacts of the Ming Dynasty.
Because Longquan kiln porcelain takes a long time to be fired and spans many eras, there are many handed down works that have been handed down to the present.
However, in modern times, there are many imitations of Longquan kiln porcelain.
Chen Wenzhe wanted to make Longquan kiln porcelain, so he naturally wanted to collect all the fine Longquan kiln porcelain from various periods.
As long as he has specimens, he can obtain a complete set of Longquan kiln porcelain firing techniques.
Then, it is more important to identify the authenticity of Longquan kiln porcelain.
To determine the age and authenticity of ancient porcelain, it is necessary to understand the characteristics of artifacts from different periods.
These characteristics should be considered from the shape, carcass, glaze color, decoration and style of the artifact.
Typical features are the business cards of era artifacts.
While understanding the characteristics of the era of artifacts, you must also memorize the standard utensils of different periods.
The so-called standard ware is the most typical feature of this period, the best explanation of the characteristics of this kiln mouth, or the best representation of this glaze variety.
Once you master the standard instrument, you will have a standard for judgment.
This can be used as a comparison to determine the age and authenticity of an artifact from different aspects.
Let’s talk about the type of vessel first. For imitation firing, we often choose typical products from Longquan kilns of each era.
Such as the holding pot and five-tube bottle in the Northern Song Dynasty.
Lotus petal bowls, phoenix-ear bottles, and Li-style stoves from the Southern Song Dynasty.
Large vases with peony patterns, large carved plates, various incense burners and other utensils from the Yuan Dynasty.
The imitations are rarely fired according to the real thing, so the lines in the shape are dull and lack charm.
Often the turning of the neck and shoulders is very stiff, the ends of the feet are too neat, the proportions of the utensils are imbalanced, and the specifications and dimensions of the utensils are not standardized enough.
The glazes and bodies of Longquan kilns have specific compositions and corresponding firing techniques in each era.
The color of Longquan kiln's body color, the roughness and fineness of texture, and the color and texture of glaze are all different in different eras of Longquan kiln.
For the imitation firing of pink green and plum green glazes, generally the glaze does not use chemical formulas, but uses traditional formulas.
That is, plant and plant ash is selectively added to the porcelain clay, although the texture of the glaze is very similar.
But it lacks a restrained sense of solidity and often has a looming shine.
Ming Dynasty Longquan kiln bean green and dark green glaze porcelains have thick walls and rough bottoms, making them easier to imitate in modern times. Such products need to be carefully identified.
An important process for making counterfeit utensils is to polish the glaze surface of the utensils, which mainly uses strong acid solution corrosion, soil burial and some industrial technical polishing.
In recent years, experts and scholars have shown different images of surface damage after aging treatment under high-power microscopes.
By summarizing and summarizing, we can improve the scientific level of identifying fakes of ancient ceramics.
Then there are the patterns. The carved patterns of the fake Longquan kiln products are not as graceful and smooth as the lines of the genuine products.
The decoration of the decal process is not as vivid and natural as the real thing.
Exposing the tire is the most distinctive decorative technique of Longquan kiln in the Yuan Dynasty.
The contrast between the green glaze color and the red ocher color unique to the Longquan kiln of the Yuan Dynasty provides an identification point for fakes to imitate the firing of such products.
The last thing to pay attention to is the method of loading and firing. The loading and firing technology is different in each development period of Longquan kiln.
When it comes to pad burning tools, it boils down to two categories: washers and pads.
However, in different eras, the places on the circle feet are different, leaving different firing marks in each era.
In particular, the "iron feet" and "cinnabar feet" of Longquan kiln products from the Southern Song Dynasty are often irregular.
There are traces of gaskets from the Yuan Dynasty, and the ring feet of Ming Dynasty artifacts reveal the tire part, showing a "flint red" color.
The early products of Longquan kiln are very rare and have some defects, mainly in the ring foot part.
Therefore, counterfeiters often use techniques such as "a little bit of broken rice at the bottom or edges" or sticking kiln residue on them to deceive people.
Once you know the characteristics of Longquan kiln porcelain in various periods and what standard ware there are, it will be relatively simple to imitate them.
The traditional firing technique of Longquan celadon is based on porcelain clay, purple clay, limestone and quartz from the Longquan area.
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The whole process is based on manual drawing and forming technology, family-inherited batching methods, and a traditional handicraft technique of firing celadon at high temperature in the kiln (around 1310c).
The traditional firing technique of Longquan celadon, the specific process is similar to that of other kilns.
The main processes include crushing, washing, aging, clay scouring, drawing, drying, repairing, decorating, biscuit firing, glazing, boxing, kiln loading, and firing.
There are also many distinctive traditional technologies, the first of which is celadon preparation technology.
The main raw materials for making glaze are purple gold clay, porcelain clay, quartz, limestone and plant ash.
The preparation process is to roast, pulverize and wash the above raw materials separately and then mix them in proportion to make glaze slurry.