My system is not decent

Chapter 1581
In the collection field, there has always been a saying that "see Chenghua in the clear, and Yongzheng in the clear", which is not unreasonable.

Chenghua refers to the doucai porcelain used by Emperor Chenghua. At that time, the craftsmen in Jingzhen waited countless days and nights in front of the kiln fire at a temperature of 1300 degrees. After smashing countless cups, they finally became Chenghua. The emperor burned dozens of exquisite and small palace cups.

Among these royal palace cups, there is the "Chenghua Doucai Chicken Crock Cup" that is unique in the world.

Naturally, there is also the "Sanqiu Cup" that is hidden in the city, and it is the leader of porcelain and the most important weapon of the country.

Holding the small cup, Chen Wenzhe looked at it repeatedly.

Its shape is exquisite and exquisite, the tire quality is fine and crystal clear, the color materials are selected and pure, the color is soft and quiet, and the painting is elegant and graceful.

This light and elegant style is unique.

It even completely got rid of some characteristics of the Hongwu, Yongle, and Xuande periods.

It does not have the grand style of Yongle porcelain and Xuande porcelain, but pursues small and medium-sized works, pursues pleasing to the eye, and pays special attention to the beauty of lines.

Look closely at the fetal glaze, the enamel is plump and moist like fat!

The body of Chenghua porcelain is white, fine and dry;
The carcass is beautiful and thin, and the light perspective is tooth yellow or flesh red;

The color of the glaze is slightly blue, and the enamel is plump and moist like fat, like a baby's skin when you touch it with your hands.

This is the unique style of Chenghua official kiln wares, and this glaze color is one of the important characteristics for identifying Ming Chenghua porcelain.

Chenghua official kiln doucai wares have different fetal textures. The yellow glaze wares are white, fine and dry, and the enamel is plump.

Chen Wenzhe saw this very clearly, because when looking at porcelain, the first thing to look at is the base.

As the saying goes, jade looks at leather and porcelain looks at the bottom!

To identify porcelain, it is necessary to look at the bottom of the porcelain!
The identification of the bottom foot is extremely important in the identification process.

Especially for authenticity and dating, it is a very important basis!
In the process of identifying porcelain, it can be identified by its charm, shape, glaze, painting, style, hair color, etc.

But the identification of the bottom foot is the most important, which is one of the reasons why counterfeiters often need to pick up new ones from old ones.

Look at the bottom of the foot, first look at the flint red, the rust black spots in the flint red, it looks moist, natural, and not dry.

This feature can be seen with multicolored light under 40 times magnification or sunlight.

The second is to look at the tire repair knife marks. In ancient tire repair knives, bamboo knives were mostly used, while modern tire repair mostly used hacksaw blades.

Bamboo knives leave traces in the form of filaments after repair, while modern saw blades leave traces in thick lines (distance of 2 to 3 mm).

This difference is obvious at first glance.

After the bamboo knife is repaired, the knife marks are left in the form of filaments.

One of the most important reasons for the identification of the bottom foot is because there is no glaze here, which will expose the fetal bone.

Observing the aging of the fetal bone and the natural wear and tear of the place where the tire is exposed, the wear of the counterfeit product is relatively smooth, not as natural as the real product.

Generally speaking, the genuine ancient ceramics have exposed fetal bones and appear relatively dry.

The imitation products are different, appearing light and smooth or firm and greasy.

Of course, it cannot be said in absolute terms. Some ancient ceramics are also very smooth and firm, but they are still slightly dry compared to imitations.

Then there is the phenomenon of sticky sand, which are unique features on the bottom feet.

Observe its sticky sand phenomenon, such as the utensils before the Ming Dynasty, most of them have different degrees of sand sticky phenomenon.

In the kilns of Qing officials and civilians, there is also sticky sand in the glaze accumulation in the foot.

Fake products rarely do this, and fake products also have a small amount of sticky sand, but they don't look old and dry like genuine products.

Because the firing process is higher than that of ancient times, the glaze is not so thick and will not cause glaze accumulation.

In addition, most of them are mold injections, but they are too regular and other reasons, so that there is very little sticky sand.

Throughout the practice of porcelain bases in various periods, there are special features, so you can also observe the lines of the traces of the exposed tires.

For example, the foot of the bottle in the Southern Song Dynasty has a circle pattern.

The utensils of the Yuan Dynasty also mostly have swirl marks and chicken hearts.

In the Ming Dynasty, there were more radial knife-jumping marks, while the spinning marks were less. Only the first few dynasties have the remains of the Yuan Dynasty.

Most of the folk kilns in the Qing Dynasty can see the traces of the spinning blank through the glaze layer.

There are almost no traces of official kilns, while imitations often fail to do this, either going to the left or going to the right.

Observe the bottom foot, if it is old-fashioned and natural, without mud, silt and other artificial objects that cannot be washed clean, and without traces of reburning due to artificial oldness, it is almost a genuine product.

At least, this bottom foot is genuine.

Of course, there are still many key points in the identification of the bottom foot, such as the inner chamfer.

Regarding the inner chamfer, it is the angle between the bottom surface and the foot wall.

There is glaze accumulation inside this included angle, which means that more glaze is accumulated during glazing.

After more, it will show a kind of shrimp blue color.

This was a common occurrence before the middle of the Ming Dynasty, and the current imitations have also noticed this problem.

However, there are two differences between the glaze accumulation of the imitation product and the glaze accumulation of the real product.

First, it is not shrimp blue but light green, even if it is close to shrimp blue, it is greenish.

Second, the shrimp blue line in the Ming Dynasty was a bit narrow, and the later imitation was wider.

Of course, these are minor problems that can be avoided.

After all, it is not such a difficult technology, as long as you know it, you can imitate all of these.

If the imitation of a piece of porcelain is inevitable, it must be the fetal bone texture.

Fetal bone (bottom foot), before Hongwu, the particles are thicker, most of the fetal bone is white and grayish, and the fetal bone has small pores.

After Yongle, the fetal bone is relatively thinner and whiter than before.

During this period, no matter what the fetal quality is, it never looks blunt.

It has a natural feeling of ripeness, making people feel that the texture of the tire is thick and not dry, whether there are oxides or not, it is natural, and the texture of the tire is not heavy and not sticky.

There is also the appearance of the fetal bone, and the fetal soil is different from the ancient porcelain body.

Observing from the texture of the tire, there are performances of mechanical mud washing, mud training and rapid staleness.

The color, old-fashioned, materials, etc. of the fetal bone (bottom foot) and the exposed tire inside and outside the utensil must be consistent, and the feeling should be natural.

If there are no problems with these, then the most important thing is coming, the money, or the lettering.

Except for the daily-use porcelain on the dining table, in ancient times, it was generally not engraved on other porcelain.

However, some ancient ancestral halls use porcelain, and if there is no name of the ancestral hall, it will be engraved to prevent someone from taking it home for private use.

These deposits and engravings have now become a very important method of identification.

For counterfeit goods, it becomes an unavoidable problem.

Chen Wenzhe has studied the inscriptions of the Ming Dynasty, but that is what to keep, not how to keep these inscriptions, that is, how to write and engrave!
The identification and imitation of this are more troublesome.

In fact, when appraising a piece of porcelain, you can ignore these things first.

If there is a problem in other places, then the whole piece of porcelain has a problem, so there is no need to identify it from the most difficult place.

Therefore, what Chen Wenzhe looked at first was the bottom foot of the Sanqiu cup in his hand, and now he looked at the way of cutting the foot.

These are small details, but if you don't know and can't grasp it, it will be a big flaw.

(End of this chapter)