(a) the shape is ancient ceramic porcelain
Imitation often lends shape and missing appearance, and its beautiful energy efficiency and recognizable important foundation cannot be borrowed from its simplicity. Because creating a vessel is closely related to people's living habits, aesthetic standards and technical conditions. Generally speaking, the decoration and glaze color of ceramics can reflect the characteristics of each era, but the modeling is more prominent in this respect. Therefore, if we are good at recognizing its shape and expression, we can master more reliable methods in the recognition work.
To observe, we must first have a basic concept of the form of ancient style. Molded ceramics were generally simple in ancient times, but complicated with the development of the times. In the Yuan, Ming and Qing dynasties, most of the shapes are stiff and naive, and blue and white porcelain is more prominent than ordinary Song and Ming porcelain. Especially the jars, jars, bottles, pots, plates, bowls and other utensils used in daily life generally have quite common shapes. For example, the handed down Yuan blue-and-white glazed red bowl has a diameter of 42 cm, and the blue-and-white glazed red band has a diameter of 45 to 58 cm. Because the carcass is heavy, it is difficult to fire, which is inevitable warping. The heart defect of the clamp is flat, concave and deformed, and the bottom is convex, which leads to more than one million porcelain rough set theories in the past literature. In fact, this is not comprehensive enough. Porcelain yuan gold lovers, if they don't care about the shape of the market, the second petal along the flower mouth is a flower with a bottom (the mouth has a twelve-petal flower-shaped bottom), which shows that time is serious, even though the feet are not easily let go. In this way, they will never see what was announced later (Yong and Xuan only saw a flowery bowl and a medium bowl, washed and without petals). while
In Yongle, the center of the bottom of the plate and bowl is mostly convex and concave, and the circle is very stable in Yuan Dynasty. In particular, the pottery with exquisite fetal quality is just right and serious. During the Yongle period, another ship of glistening was born with a thin carcass. People describe it as a poem in the Qing Dynasty, which was once called "the day when I was afraid that the wind would blow away and I was still worried about not selling it". This "thin egg curtain" porcelain is beautifully shaped. Although all the plates and bowls were copied later, there were still few flower decoration techniques. There are many kinds of Xuande porcelain, no matter plates, bowls, cups, pots, jars and bottles, they are exquisite, creative and innovative, such as "Hengzun", which can be said to be unprecedented. I have imitated it, and there are few such imitations later. At present, the common wings handed down from generation to generation are: heart-shaped bowl, watering flowers, monk's hat pot, long round belly pot (gourd-shaped hole), vase, flat belly ribbon gourd bottle, four-angle bottle and diamond fancy washing, diamond fancy bowl and so on.
During Chenghua period, porcelain made continuous progress, and only paid attention to the slender appearance, without amplifiers. There are not many hand porcelain in Er Qiao, but with the yellow glazed ear jar, this kind of bowl is famous all over the world. The most prominent shapes in Zheng De's period are penholder, plaque, pier bowl, dish-shaped incense box and round-bellied halberd seven-hole pupil bottle. Jia's form becomes complicated, because there are many innovative forms, and the so-called literature "production and benefit test, whether there is or not" is recorded. As far as one kind of stationery is concerned, there are pen container, pen box, washing pen, Shuicheng, inkstone, two-color board, color position (commonly known as warm spoon) and the changes in Yin He. There are also big fish tanks, big cans, big bottles, big plates (the diameter of Jiajing market from yellow to blue is as high as 80 cm) and so on. Especially the shape is bigger than that of the yuan dynasty; Others, such as hollow bottles, walls, boxes, square cups, lampstands, embroidered piers and so on, are too numerous to mention. It can be said that the combination style with gorgeous lighting is heavy, but compared with the works, it is always claimed that it is too shoddy in a certain section.
Clear the obvious connection of any shape or type, and add it skillfully at the same time. Among them, the uniqueness of the innovative Kangxi period. Cut off blood vessels, such as Pipa Zun, Ma Tizun Zun, Elephant Leg Zun, Phoenix-tailed Zun, Guanyin Zun, Taibai Zun, Apple Zun, Apricot Leaf Zun, Stick-and-pestle Bottle, Cloth Orange, Settling, Liuhua Bubei Goblet, etc. , are rare shapes of the previous generation. The modeling creation in Yongzheng period is also rich and colorful, such as BBK, Sanyang statue, dragon statue's ear, deer statue, Zuner statue, bull statue, garlic ribbon, olive writing bottle, Taibai altar, chrysanthemum plate and so on. In particular, the porcelain glaze, which represents the kiln change, has been italicized and can't get in. The decoration is realistic and the shape is more immersive.
The prominent types of neck bottles in Qianlong period include revolving bottle, conveyor bottle, flower basket, fan, book-style Yin He, book-style golden bell jar and so on. No matter the innovation in this period, antiques have reached a climax, and imitation of copper, stone, lacquer, jade, bamboo, wood, creatures or objects are very similar. In Jiaqing, the future is bright, most of them inherit the old system, and there is little innovation. From beautiful to clumsy modeling, the excellent early tradition has gradually lost. The differences between Kangxi, Yongzheng and Qianlong, such as the shapes of jade pots and spring bottles, were not obvious, but gradually became clumsy. In Tongzhi, Guangxu and Xuan Tong periods, the abdomen with short neck, thick shape and low abundance was shaped far from being beautiful.
After understanding the basic characteristics of porcelain modeling in Yuan, Ming and Qing Dynasties, we should further observe the modeling methods that need to be mastered. First of all, pay attention to the middle abdomen and lower part of the total population. Many similar ships look alike at first sight. Looking at these three parts carefully, we can draw different conclusions. For example, in the middle of the Ming Dynasty, cutting bottles and cans was a first-class shape, mainly focusing on leaving obvious seams on the abdomen. The products were more obvious because of the exquisite back rotation of cutting in the Qing Dynasty, and then marked on it. The so-called boutique route often plays a very important role in dating leave work. Another example is that the curvature of the metatape drive itself is small and shallow. In Ming dynasty, the market and microdisk were slightly deeper, with small front bottom and large back bottom. Especially the Yongle model, regardless of the size of the board, the bowl and the control center are concave, and the convex center is slightly reduced from the inside out at the end of the year, which is half to a quarter shorter than the facade. Many other kiln plates, such as17th century, often have obvious cuts when the bowl-shaped wheels slip (so-called "jumping knife"), which is extremely rare in official kiln porcelain. With the development of the market, some of them are double-circle Kangxi at the end of the year, which exceeds the characteristics of the following three kiln furniture and ordinary "hemp" shape. Cultural workers identify the old parts according to the authenticity of all these.
Some are close to the era of the previous generation or higher version, because glazed decorative paintings and similar materials are often not easy to distinguish. For example, Yong and Xuan painted three blue and white bowls with patterns and four bowls, but at first glance, the glaze color was almost the same, and they were all full of circles. However, a careful comparison shows that an important difference between the two is that the lower part of the convergent bowl is different, that is, the Yongle bowl is full and the abdomen is slightly xuande. The imitation of Chenghua blue-and-white bowl in Yongzheng period also had the shape defect of micro-cutting the belly of the bowl. These subtle differences are based on physical imitation, due to technical conditions such as molding and kiln, or defects (imitation is often the difference that the shape of more or less real things is occasionally ignored, because although the initial manufacturing and firing are the same as the real equipment prototype, the shape of the prototype after high-temperature firing is indeed different in some places, which may be due to the inconsistent preparation and extraction of raw materials, but the results are inconsistent. Just like some imitations made separately by simple rumors or guesses, such as various imitations later called "Tianshou Cup", the shape becomes even more surprising (because Wan Jia became more and more fake at first, and didn't change cups and bowls at that time), it is only a guess not to jump after seeing the real thing.
(2) In different times and at the same time, the materials and techniques of ceramic painted porcelain have distinct characteristics of the times and are constantly enriched and improved. Both of them have their own levels and characteristics in different periods in the content and form of the theme, which has become a powerful clue to divide the authenticity of the times.
Generally speaking, the process of development is nothing more than porcelain decoration from simple to complex, from planning to printing and painting, from simple color to colorful. For example, the petal pattern of Yuan porcelain (commonly known as "eight yards") is usually responsible for deformation, that is, the evolution of gold porcelain decoration, especially on the basis of Yuan Dynasty, blue and white and underglaze red underglaze colors appeared, which opened the era of porcelain decoration and broke the monotony of glaze. The invention of various colorful porcelain ornaments in Ming and Qing dynasties and the appearance of each method have their own process of decoration production, growth and development, and can also be inferred from the physical objects far and near for many years. Due to the early blue and white, glaze red has not fully mastered the characteristics of raw materials, so in the Yuan Dynasty, there were fewer products with bright colors, and the color of glaze red was often dark brown or gray or turned purple or even black.
However, most of the mature blue-and-white and red-in-glaze decorations in the Yuan Dynasty are very exquisite. The coordination mode between primary school and middle school is not only very important, but also the traditional multi-layer continuous lace pattern, which does not distinguish rocks and flowers, and the outer edge is left blank and not filled with color, constitutes the unique style of this painting (it was not until the middle of the Ming Dynasty that it gradually went out, but it was sometimes used, but there were also a few. In addition to raw materials, due to the limitations of painting, there are also different characteristics of the times. For example, some green materials and imported porcelains in the late Yuan and early Ming Dynasties, although sometimes rich in color difference, are very unstable in color and are not suitable for painting figures. Therefore, few people were painted in the Yuan Dynasty, and there was also a saying that "although there were few people in the Yuan Dynasty, no one was happy, and how many liters were there for men and women". Because Chenghua Doucai, although vivid in color, is crystal clear and lovely, it also limits the materials and techniques and the shortcomings of the so-called "flowers have no dark side, leaves have no negative side". Whether there are no rendered clothing lines and different color points in the season of painting people, men and women and single clothes. Similar to those descendants who are often ignored in the characteristics of the times, if they can be pointed out, it will naturally contribute to authenticity.
In addition, in the application of color difference, sometimes, for example, according to the current data, we can find that there is no black composite color, so in addition to the blue line painted under the cobalt glaze, red and ochre are also painted on the outline. If we encounter a black silhouette of Chenghua glazed porcelain, you should doubt whether it is true and reliable, because the earliest application of black silhouette did not exceed the original virtue. Others, such as famille rose, are said not earlier than the late Kangxi period. Of course, it is hard to believe that the imitation of famille rose Shiming porcelain is fake.
As for the works in the Qianlong period, due to the extensive use of foreign colors and western decorative techniques, but for some fine lines and ornamentation, strange brushwork has lost some skills in drawing the inherent national style. For example, Qianlong porcelain products, in the middle of the future. Others, such as many useful official kiln porcelain decorated with Arabic in Zheng De period of Ming Dynasty. In Xiqing, export porcelain is painted with decorative patterns, which is a unique decoration and a distinctive feature of the times.
During the Ming and Qing Dynasties, there were also different products, such as writing Sanskrit, Confucian classics, and the word "Bai Fu Shou" on Ming porcelain, but a large number of poems, songs, tables, Song ci and other decorations were created during the Kangxi period, such as "Red Cliff", "Wang Teng Xu Ge", "Former Teacher's Watch" and "Ode to the Lord and Sage". Clear this point to determine the specific time and verify the authenticity of the work, but it is also a good reference.
It can also be seen from the times that according to the brushwork characteristics of decorative patterns, for example, Kangxi porcelain attaches great importance to the method of painting porcelain. In this respect, the achievements of official kiln porcelain are very impressive, and the decorative patterns of multi-mode porcelain imitate the brushwork of famous painters. This clause draws only one tree. Branches like to use Kangxi linen shawl to look old, bold and powerful. I just painted it with the broken dots of Yongzheng School. Although the workmanship is fine, the brushwork is exquisite and boring. A careful look at whether it rotates, strokes and other ups and downs will naturally help us determine the work. As the Ming and Qing dynasties, the decorative patterns were more neat and plain, and the vivid and rich decorative patterns in the kiln were unruly. These are all well-known characteristics. However, there is a part of the official kiln called "the Ministry of Respect and Limitation of Letters", and the official kiln porcelain often has similar kilning, such as the Qing court hall and private funds.
When it comes to official kilns and official kilns porcelain, it reminds people of the so-called question of "managing five claws, managing a kiln or managing a dragon with four claws". In a typical feudal society, this pattern can also be used to judge the authenticity and distinguish a clue kiln, but it is not absolute. On the contrary, whether it is the official kiln porcelain decorated with five-claw dragons or painted kiln claws, the works of four-claw dragons are not without them. For example, Xuandelong Vase Flower Water in Official Kiln and a large number of works such as Kangxi Official Kiln Turning Flowers into Fish Dragons along Washing, and Kangxi Official Kiln Green Pigment 3 Yunfeilong Stationery painted four-claw dragons. Whose are the blue and white wares of Yuan kiln, namely chin, four claws and five claws? There are some such examples in the official kiln porcelain of Ming and Qing Dynasties.
The decoration of porcelain kilns is often inseparable from the hobby and will of the supreme ruler. Because Emperor Jiajing was superstitious about Taoism, he preferred to decorate with eight diagrams, immortals, clouds and cranes. Qing emperors loved birds, dogs and insects, so there were many screens of this type. Another example of porcelain appreciation in Qing Dynasty involves Yongzheng, Qianlong and Kerry, the minister of porcelain. As usual, the gift of Xian Di 5 is a white and blue decoration of Hualien, and there are many decorative paintings of water bottles (there are nine such bottles). It is said that the meaning of "pattern" represents the official meaning of "Qing". As the most important thing, Bai Lianhua is cheap and clean, and water is a symbolic symbol of world peace and prosperity. Others, such as Dou (Zhi)-year-old (evergreen), (1) Lu Chuan (a group of people), Sanyang (Yang) Kaitai, Forty-six sons, Wuluntou, Six Kingdoms, Qibao, Ba, Jiu Men, Baifu, and Red Bat (Hongfu) monkeys, are all similar to those superstitious decorations, and there are many of them.