Chapter 982: The price is clearly marked, and the old man is not deceived
After looking around, Chen Wenzhe was very happy to see that he was hunting, and his hands were a little itchy.
Of course he won't do simple glazing, that is, removing the shine, applying coating, and other tasks that don't have much technical content.
When he saw a large blue and white cloud-dragon pattern plate that was used as a specimen for teaching, he thought that there was only one way for such a thing to appear here, and that was porcelain fished from the sea.
Therefore, when Chen Wenzhe saw this large plate, the first thing he thought of was to make it rusty.
Making rust can not only be used on porcelain from the sea, but can also be used on older porcelain.
Unless it fell into water, there is very little rust on porcelain after the Ming and Qing Dynasties. The main targets for rust are ceramics unearthed far back from this era.
There are many methods, but Chen Wenzhe has never done it before.
For example, the spreading method is to dip a brush into an appropriate amount of diluted nitrocellulose varnish and apply a thin layer on the areas that need to be rusted.
If the scale appears to be sagging, dip the material in the liquid until it is saturated to form traces.
When it is still wet, spread talcum powder or other extender pigment powder on top and remove the floating powder after drying.
These methods all use more or less chemical raw materials, and there are many methods. There is another method that is more effective and can also remove soil rust at the same time, and that is the metathesis method.
Apply a layer of sodium silicate aqueous solution to the area that needs to be rusted. After the coating is dry, brush the surface with 5% dilute hydrochloric acid.
When hydrochloric acid meets sodium silicate, a metathesis reaction will occur and a white salt substance will be generated.
Then rinse the rusted area with clean water to remove unreacted chemicals and excess salt.
When doing rusting, you can also add other pigments appropriately, or sprinkle a little loess, and do it at the same time as rusting.
Of course, although the surface looks similar, you can tell the authenticity by scraping it with a knife.
However, if a piece of porcelain looks mottled with water, rust, and soil rust, who would scratch it with a knife?
What I just said is relatively simple, especially for making rust, there are more methods.
The simplest is the soil burial method. The imitation pottery is buried in loess with rich groundwater. After burying it for several months, it is taken out to dry and repeated several times to form soil rust.
The effect is particularly good if it is buried in an ancient pottery firing site or in an ancient tomb.
The disadvantage of this method is that the rust is still young and is not tightly integrated with the pottery. It will fall off if lightly scraped with a fingernail or a knife blade. This phenomenon will never occur with real rust.
A slightly more troublesome method of making rust is the heating method.
The pottery is heated, and then the soil taken from the ancient pottery site or ancient tomb is mixed with alum and applied repeatedly while it is hot.
Repeat this until the color is no different from the original color.
This method also has the disadvantage of not being tightly bonded. In addition, if it is washed with alkaline boiling water, all the rust will fall off.
Then there is the mud-smearing method, which is more powerful and contains a secret recipe.
To put it simply, put the soil into special Chinese medicine, boil it for 20 hours, and then apply the resulting mud on the ceramic surface.
The soil rust treated in this way is very similar to the unearthed soil rust, and is closely integrated with the ceramics. Even if it is scraped with a sharp blade, it will not fall off easily.
In addition to this method, there are several other ways to apply soil rust, all of which are relatively simple, but each has its own disadvantages.
Like the clay method, first mix the ceramic glass glue and soil into a viscous consistency, apply it on the ceramic surface, then heat the burning newspaper and slap it on the ceramic surface.
The rust produced is closely combined with the pottery, and the black paper dust will penetrate deep into the soil, making it even more obvious the traces of time.
Because of the presence of glass glue, the smell of burning glass glue will emit when exposed to high temperatures.
Gu Ya
The coloring method is to apply shellac paint twice on the surface of the pottery, then mix the mineral pigments with the shellac paint, soak the pottery to make the background color, and then apply bletilla striata juice on the surface to create rust.
Once the pottery made by this technique is put into hot water, the traces of forgery will be clearly visible.
As for repairers and splicers, the rust at the joints will not be condensed into one with the original. It is not difficult to see through it if you carefully identify it.
Chen Wenzhe learned how to make things old when he first started.
When you see a cultural relic, you only need to study it to see if there are any signs of wear and tear, and you will know whether it is authentic.
Of course, the most powerful of the distressing techniques is clam light.
This kind of thing is Baoguang, and it looks really beautiful when it’s done.
Without this layer of clam light, the porcelain would not look like what it is.
But making "clam light" is not that simple.
If you have money and conditions, it is relatively easy to make a clam light. For example, you can use advanced vacuum coating method to make a "clam light".
This method is similar to the metal coating on optical spectacle lenses.
As long as two metals with different properties are alternately plated on the glaze, when the coating reaches a certain thickness, a beautiful "clam light" will appear.
Or use "electro-optical water" to make "clam light", which is simpler and easier than the vacuum coating method.
Because the resistance value of artificial "clam light" is different from the resistance value of natural "clam light", surface resistance instruments can be used to identify them.
Under the guidance of Chen Wenzhe, the ceramics factory quickly got on track and produced many works every day.
The best ones include teapots, teapots, plates, dishes, etc. Among them, the most popular ones are large plates and porcelain vases.
The large plates are mainly decorated with different patterns, various patterns, and are generally full-scale works.
As for porcelain vases, there are more, including flower vases, ornamental vases, gourd vases, etc., all of which are produced in South Vietnam. Chen Wenzhe can be regarded as following the local customs.
However, there are not many porcelain-making machines in Chen Wenzhe's factory, and almost all of them are made by hand, so in the market here, they are considered high-end products.
In addition, the fired porcelain also needs to go through an antique process, commonly known as distressing, so the price of antique porcelain products will be even more expensive.
South Vietnam's economy is now developing well, and the antique market is also booming, driven by foreign tourists.
Chen Wenzhe established the ceramics factory and played an important role in it.
No matter where the antique market is, where can you find fakes?
Selling antique porcelain honestly is the art of selling.
If you are dishonest and sell it as an antique, you are cheating.
Anyway, the products produced by Chen Wenzhe are all antique porcelain, and the prices are clearly marked, so you can be honest.
As for how to deal with being taken away, he has no control over it.
It is with this concept in mind that the works of his ceramic factory caused great excitement as soon as they appeared on the market.
The difference between new porcelain and antique porcelain can be seen by everyone.
Therefore, as soon as Chen Wenzhe's factory opened, business was extremely prosperous.
There are many people who know how to make porcelain in South Vietnam, and many factories have even grown in size.