My system is not decent

Chapter 1223

No expert in the world dares to pat his chest and say that he can make a correct judgment on the authenticity of Yuan blue and white flowers [-]%!

But anyone who says they are [-]% sure must be a big liar.

Because even Chen Wenzhe sometimes couldn't accurately say that a fine imitation of Yuan blue and white is a fake, unless he cheated.

If there is no cheating method, who can be [-]% confident that they can identify a piece of Yuan blue and white that can't find any faults?

Chen Wenzhe is a special case. He has a cheating device, so he usually knows that there must be something wrong with this thing.

Knowing the answer, it is often much easier to find the flaw.

In the eyes of these brilliant imitators, the craft of Yuan blue and white is already a very mature craft.

They immersed themselves in the Yuan Dynasty 700 years ago, explored the way of the Yuan people, and felt the breath of the Yuan people.

This has nothing to do with craftsmanship, but with feeling.

When the craftsman captures this wonderful feeling, the Yuan Qinghua, which is the same as the real one, is born.

What Chen Wenzhe wanted to learn was the skills of these people.

Also, the reason why these people's craftsmanship appeared was not just to imitate antiques to deceive people, but to really want to restore this top-level artwork.

So, can anyone really imitate the perfect Yuan blue and white?

There really are, and they are all at the master level.

For example, the first person in the country to imitate antique porcelain, he has professionally imitated Yuan blue and white, and the first thing he wants to imitate is the Guiguzi Downhill Picture Jar.

If Chen Wenzhe wants to save some troubles, then learning the craftsmanship of the number one antique porcelain maker in China is the fastest way.

However, at his level, pure imitation is no longer his pursuit.

Research is the basis for improving the level, so Chen Wenzhe didn't directly look at the answers at first.

He intends to study it by himself, after all, others have already found a way.

This let him know that there must be a way ahead, and as long as he is willing to explore, he will definitely find the right way.

And his research direction is also right, as long as he is willing to research, it is only a matter of time before the perfect Yuan blue and white is fired.

Therefore, this time, Chen Wenzhe did not directly learn the master's craftsmanship, but slowly explored according to the process of the Yuan blue and white re-firing process through the knowledge he had searched.

With in-depth research, Chen Wenzhe also admired the Chinese people more and more.

Except for some famous masters in China, other craftsmen are really able to endure hardships.

Just like Yuan blue and white, in just a few decades, there have been many fake ones.

Of course, these are perfect on the outside, and if you really study the inside, you will not be able to see them.

But it is such a batch of imitations. In the first few years when people were unsuspecting, they roamed the rivers and lakes and had unlimited scenery.

The high imitation yuan blue and white of more than ten years ago, from the perspective of the current appraiser, is of a certain standard.

The current Yuan blue and white has been imitated for more than [-] years, and there is still some experience, so if you take a quick look, many imitations are quite interesting.

But if you look closely, there are still problems.

Chen Wenzhe needs to discover these problems and avoid them.

If all the problems can be solved, then the Yuan blue and white that he imitated will be comparable to some domestic masters, right?
Chen Wenzhe is now researching high imitations, and even if these high imitations are ordinary imitations, there is no major problem with their styling.

Then there is the decorative painting, which is definitely not a big problem.

The main problem now is the base.

Because the soles of the feet are exposed, the color of the exposed traces is generally not good.

The bottom feet of many imitation Yuan blue and white porcelains are basically light yellow in color.

This color is a trace of old work, and the other is the foot wall. Generally, the glaze is not very natural.

This level of imitation, as long as you look at it repeatedly, you can still see the problem.

And some high imitations that are closer to the present, that is, those high imitations that sell for three to five million yuan, are difficult for ordinary people to identify.

It's just that, as time goes by, while the identification level of collectors in the market is improving, the level of imitation craftsmanship is also improving.

At the very least, the materials used are more sophisticated, and the Yuan blue and white flowers produced in this way are better and more difficult to identify.

However, since the macang soil and the green material Sumaliqing, which are the base materials of Yuan blue and white porcelain, have long been exhausted, it is difficult for other materials to imitate the effects of these two materials, so this has stumped many people.

In addition, many of the current painters cannot reach the painting level of the professional painters of the Yuan Dynasty.

At present, there are still huge differences between the Yuan blue and white porcelain imitated by imitators and the original Yuan blue and white porcelain, and it is difficult to distinguish the real ones from the real ones.

However, these problems can be solved by Chen Wenzhe.

The simplest of them is craft, such as painting, decoration, embryo drawing and so on.

Here we need to mention the embryo drawing process, because the embryo making of Yuan blue and white is also different from the current porcelain.

Making antique porcelain, especially Yuan blue and white, requires special attention.

Because among the technical characteristics of Yuan blue and white, the most different from Ming and Qing Dynasties is the billet making process.

We are used to the drawing scene in the ceramic process, and we also know that the drawing process can improve the efficiency in ceramic production.

However, in the Yuan blue and white era, the drawing process has not yet been implemented. Whether it is a cutter or a round ware, the first process of the Yuan blue and white is to print the blank.

The printing blank is the mold printing, the mold comes first, and the molding comes later.

Knowing this, you can understand why there are so many octagonal plum vases, octagonal gourd vases, octagonal jade pot springs, large plates with ribs, and small dishes with flower mouths in Yuan blue and white.

These molded models have not escaped the influence of Song Yingqing's molding process, and are the same as Jingzhen's contemporaneous Privy Glaze works.

Molding is the manufacturing principle of Yuan blue and white, but unfortunately this principle has been ignored by researchers and imitators for a long time, resulting in a marathon long-distance running on the road of Yuan blue and white imitation.

The second is the pigment used in the Yuan Dynasty, which is cobalt material, which is divided into imported and domestic.

These two materials have long been extinct, and there is no possibility of imitation, so they are unique.

Speaking of which, by 2010 there have been different opinions on what kind of pigments were used in the Yuan Dynasty.

For example, the Haihai Institute of Ceramics, through machine testing, believes that the pigments (cobalt materials) used in Yuan blue and white are all imported cobalt materials, regardless of thickness, and there are no domestic materials. The previous concept hopes to be corrected.

But is the question really that simple?I'm afraid not necessarily.

When I first saw this result, people were surprised, but it was quickly questioned by many scholars.

For example, when explaining the different hair colors of Yuan blue and white, is it because of the different places of the raw materials, or the reason itself?
What is its essence?Also, imported materials are very expensive and scarce, can they be generously used to make utensils of different levels?
Moreover, the color rendering of fine utensils and general utensils is very different.

For example, the crystalline spots can be black, brown or gray, such as dizziness, scattering, and flow are all different.

All this shows that the essence of the material is not only the difference in the amount of elements, but also the difference in structure.

(End of this chapter)