My system is not decent

Chapter 1582 Important Perspective
The bottom foot of porcelain can be identified from many aspects.

Just like the way of cutting off the feet, most of Jingzhen porcelains cut off the feet after they are glazed.

In contrast, neon porcelain is glazed after it is fully formed.

Therefore, if you look closely at the boundary between the outer glaze and the base of Xijiang porcelain, the glaze ends with a sharp tangent line, which is quite different from neon products.

Among the ancient porcelain products of the Ming Dynasty, there are many traces of cutting feet.

In addition to inferior products made in the Qing Dynasty, most of the cut feet were wiped with a wet brush or cloth.

Therefore, the sole of the foot always has a soft and smooth feeling.

Try looking at Qing Dynasty porcelain, there are imitations of Ming Dynasty products that are very similar, but I have never seen such a habit of imitating feet.

Sometimes it is difficult to judge with the naked eye, but if you look at it with a magnifying glass, you can see it in general.

When we distinguish between Ming porcelain and Qing porcelain, although we can generally look at them comprehensively based on their shape, glaze color, and pattern, but sometimes we will fall into confusion and don't know what they are.

At this time, if you can pay attention to this habit of cutting the feet, it will become a powerful clue in the identification.

In addition, there is tire protection glaze.

The tire-protecting glaze is usually added with sesame-colored plant ash, which can protect the plain tire and facilitate even glaze.

There is a big difference between Qianlong and modern fake celestial vases with tire-protecting glazes on the ring feet.

Qianlong's tire-protecting glaze was oxidized at a high temperature and shone brightly, while the fakes did not have the sesame-colored tire-protecting glaze at all.

Then there are traces of fetal soil. Old ones have a "hard" feeling of sand in the fetal soil. Hand-drawn billets form swirling patterns of different sizes and shades that will remain on the inner wall of the utensil.

There are two types of fake tires: artificial and mechanical.

There is no trace of tire repair with a bamboo knife on the artificially drawn tire, because the tire is repaired with an iron knife.

Machine-made tires can’t even see the hand-drawn swirl, and the tire soil is dense, powdery, and has no sandy feeling, showing a “soft and wet” condition.

These characteristics are still very obvious, but imitations that do not even avoid this kind of products are definitely low-level imitations.

This kind of thing doesn't have much value. It belongs to large-scale industrial production, and it is cheap and wholesale, so it is naturally easy to identify.

The real high imitation still needs to look for flaws in the subtleties.

Like the exposed tire, the continuity of the tire glaze.

Where there is no glaze on the old utensils, the body glaze is dry and the body glaze forms a sense of unity.

The unglazed part of the new vessel has a "wet" shape, and the glaze forms a two-part vision.

Even if the utensils have been specially treated with old age, they cannot present the vision that the glaze of the body is integrated.

Due to the weathering of the age, the tire feet of the old utensils will form uneven pits to varying degrees.

The whole presents a natural, dry and uniform color.

The wetness of the tires of the new ones is just like coming out of the oven, or it has become too dark or too old due to the fraudulent chemicals, and the whole cannot be unified, showing the "wet" feeling of the glaze separating the tires.

In order to reduce the cost, the middle and low-end imitations are all produced with machined raw materials, and the texture of the exposed tire at the bottom is either too white, too fine or too dense.

In fact, it is easiest to see the exposed tires clearly by looking at the fragments.

The advantage, or one of the advantages, of studying porcelain tiles is that you can observe the body of ancient porcelain very clearly.

Because it is a fragment, its section will expose all the information of the tire.

Including tire thickness, color, pore state, particle state, tire quality purity, impurity state, water absorption performance, hardness and so on.

The information on these vessels has obvious or subtle differences in different eras and different kilns, which is an important perspective for porcelain identification.

However, it is difficult for the whole device to fully disclose this information.

The whole vessel is basically covered by a glaze layer, and only the "tip of the iceberg" is exposed on the contact surface of the vessel bottom (outer bottom, foot end) and the glaze leakage and shrinkage.

Moreover, what is disclosed in these limited "exposed places" is often not the real information of the porcelain body, but often "illusions".

It is often pottery (make-up soil), oxide layer (flint red), acid-base corrosion layer, mildew pollution layer, dirt accumulation layer, etc., which are not the real tire color.

Like the attachments of the bottom feet, modern and ancient times are different.

In Jingzhen at present, petroleum liquefied steam kilns are widely used to fire porcelain.

In order to prevent the utensils from sticking to the silicon carbide shed, sprinkle quartz sand or alumina powder between the two.

Carefully observe the foot ring of the utensil. If the above two materials are glued on it and are very firm, it must be a modern imitation.

Not only Yuan blue and white, but also Ming and Qing porcelains.

In ancient times, quartz sand and alumina powder were not used as cushions at all.

It can be seen from this that there is too much knowledge just to identify the bottom foot of a piece of porcelain.

If these features are perfect, then look at a deeper level of technology.

There are also several processes in the process of making porcelain.

For example, glazing around the feet!
The official kiln porcelain of the three dynasties of the Qing Dynasty, especially the official kiln wares of the Kangxi and Yong Dynasties, paid special attention to the glaze on the edge of the foot ring.

After it is glazed, a knife is trimmed inside and outside the top of the foot ring to make the glaze on both sides of the back of the foot neat.

And only less than one millimeter of tire exposure was left.

The overall uniformity is very fine, which is impossible for ordinary folk kiln products.

For the glaze on both sides of the back of the foot, use a knife to gently trim a circle.

Let a white tire protrude from the tire and the glaze, and the part that forms the protrusion (unglazed part) is less than one millimeter.

This fine workmanship, neat and beautiful, is a standard for identifying official porcelains of the three dynasties of the Qing Dynasty.

The body quality of Kangxi porcelain is fine, clear and firm, but the porcelain making style is relatively rough, and there are swirl marks on the bottom of the porcelain.

Because it is artificially washed, there are impurities no matter how fine it is.

Therefore, there are some black spots on the glaze of the bottom of the utensil.

If the thing you come across is written in the Kangxi style, but the bottom of the vessel is smooth and clean, without swirl marks and black spots, it is likely to be a post-imitation.

Taken together, many imitations have irregular foot repairs, rough edges and corners, and can feel the blunt feeling of spin marks.

The bottom of the foot is coarse sand, not smooth.

The combination of fetal glaze is also loose, and the glaze surface is thin and cloudy.

In the bottom foot of the real product, if it is blue and white, you can definitely see bubbles under the magnifying glass, but the imitation product does not.

Of course, these are superficial articles. If you want to imitate Ming Dynasty porcelain well, you must look at the soil.

The comparison of fetal soil raw materials is the most important identification method.

The body of old porcelain is made of decomposed kaolin.

In addition, the old porcelain has been aged for a long time, and the naked eye perceives it as dry, crisp, and showing signs of aging.

The mud-making process of the new porcelain body is different from that of the old porcelain. One is that the ratio of raw materials is different, and the other is that the porcelain clay is crushed by a ball mushroom machine.

Therefore, the modern porcelain body can be felt as prickly when touched by the hand, and although some do not prick the hand, it feels wet and hard.

Take glutinous rice embryos in the Qing Dynasty as an example. Comparing a grain of rice with a grain of glutinous rice, the rice is wet and hard, while the glutinous rice is dry and crisp.

But please note that there are many kiln mouths in ancient times, and the quality of the tires varies greatly, so it is not possible to cover them all.

The easiest way is to compare a piece of old porcelain with a new piece of porcelain, experience it slowly, find out the difference, and comprehend it by yourself.

(End of this chapter)