Subtraction identification of ancient ceramics _ figurine skills
Core tip: antique city treasure lecture, by the famous Chinese ancient ceramics expert on board in Shanghai Mr Speaker identification and collection '' Chinese ancient ceramics.
Mr On board in Shanghai engaged in the research and identification of ancient ceramics 30 antique city treasure lecture, by the famous Chinese ancient ceramics expert on board in Shanghai Mr Speaker identification and collection '' Chinese ancient ceramics.
Mr On board in Shanghai more than 30 years engaged in the research of ancient ceramics and identification, and repeatedly invited to participate in the Chinese ancient ceramics appraisal appreciation activities.
Identification of ancient ceramics is not to do addition, one will conform to the place in the book list, but it is precisely in do subtraction, a wrong, you can negate.
Painting style is not absolute field of ancient ceramics identification and evil people mixed up now, I think in one of the erroneous zone, is the inheritance and generic distinguish too absolute, seems to be every dynasty porcelain mutations on the style, and no inheritance development process.
Such as blue and white dragon kilns grail mid qing, someone write articles that may occur late Yu Kangxi, then in the yongzheng early, mid, and late appear different changes, dragon draw more ferocious is the representative of the early, CiYan fluffy is supposed to be late.
But I checked some of the joseon dynasty, there is no record in this regard.
I think limner have their own style, the people kiln gives them a more broad space for creation, so the expression of dragon of different is normal.
Last time on TV, for example, a gentleman on wooden stick bottle in different painting of the late and shunzhi chongzhen years, namely by the round into a pointed face, I think whether round or pointed face, are different aesthetic orientation, limner impossible Ming dynasty perish, jingdezhen craftsmen quickly changed the style.
Although the development of ceramic painting to some extent is influenced by age, but not so obvious absolute boundaries.
Identified by the process of traditional identification method is to learn, the most fundamental is to see production process.
Process identification including TaiZhi, molding, coloured drawing or pattern, glazing process, the burning process and want.
Here in molding process to identify, for example, such as identification of blue and white porcelain of yuan dynasty, it depends on how its forming, can have a rough idea of your judgment.
Yuan blue and white is not what we think hand forming, but TuoPi come out.
Because in the yuan dynasty, jingdezhen adopted binary formula, namely, plus China stone ma bin, plasticity, throwing shape is more difficult, so can only use TuoPi.
TuoPi and throwing the distinction is that throwing its thickness is uniform, TuoPi feels will be high and low, is not very uniform.
In addition, the throwing of bubbles is directional, TuoPi bubbles is irregular.
Here, mention the grouting, the grouting technology is our most basic point for the identification of ancient ceramics, grouting process is popular in after liberation, low-standard archaize porcelain, currently on the market are mostly using grouting process, so that implements is grouting, can conclude that it is the modern replicas.
The difference between grouting, throwing and TuoPi key is to see the lining, the inside than the outside is reliable.
It can be said that the lining no spiral grain, no scar, no trace of the finger, smooth and mud flow trace is grouting.