My system is not decent

Chapter 722 You Absolutely Unexpected
This bronze drum was quite exquisitely made. Apart from the various decorations that Chen Wenzhe had seen before, there was actually a three-dimensional buffalo cast on the inner wall of the bronze drum.

Such a vivid bronze drum was discovered for the first time even in Guangdong and Guangxi.

This must be a treasure among the bronze drums. If it is classified, it must be a first-class cultural relic.

The possible first-class cultural relics naturally need to be carefully identified. You must know that the counterfeiting method of the bronze ware is an existence that breaks through the sky.

The basic methods of bronze identification are comparative method and comprehensive analysis method.

The utensils that need to be identified are compared with the real utensils one by one in terms of copper quality, casting process, utensil shape, decoration, and inscriptions. overall analysis.

For specific identification methods, the first point must be comparison.

Mainly look at whether the bronze ware in front of you is consistent with the shape, decoration and inscriptions of the real ones seen in the past, and there are often contradictions in all aspects of the fake ones;
Then look at the rust color on the surface, whether it is naturally formed after long-term corrosion.

The real utensil must be dense and metallic, and it is integrated with the body of the utensil.

The surface of the fake device is rusty, and it is generally made by rapid corrosion method, which is characterized by being very thin and floating on the surface.

The thick pseudo-rust is usually made of lacquer tone color, which is dull and dull, has neither metallic luster nor layers, floats on the surface of the device, is loose and easy to fall off;
The patterns and inscriptions of the real utensils are natural and vivid, and the style is simple and vivid.

The fake ones are dull, soft and lifeless.

After taking a few glances at the three-legged frog bronze drum, there was nothing interesting about it, no matter in terms of decoration or shape, it was no different from the ones he had seen before.

This is enough to show that the successor of Yueyu bronzes is well-deserved.

It's good to imitate it. Now that I see the real thing, I can use that bronze drum as a reference!

Chen Wenzhe's gaze fell on the other two bronze vessels.

Judging by the type of vessel, it must be a copper kettle, that is, a large pot.

Looking at the decoration, it seems to be from the Han Dynasty, which is also relatively early.

The copper kettles in the Han Dynasty were generally cast separately from the kettle and the retort, and then joined together by buckling or sleeves.

Through this copper kettle, it is not difficult to find that this bronze cooker as a practical tool is simple, simple, and plain.

And this kind of simple, simple, simple and elegant temperament connotation, and the decoration style of "the vessel is finished but not decorated", are in sharp contrast with the solemn, mysterious, gorgeous and elegant bronze ritual vessels of the Shang and Zhou Dynasties.

This reflects the evolution of my country's bronze wares from complex to simple.

This is a typical feature of the Han Dynasty bronze kettle, which is not difficult to identify.

So are these bronze kettles and drums from the Han Dynasty?

Decoration to the Han Dynasty does not necessarily mean that the thing is from the Han Dynasty.

Bronze casting has a history of more than 2000 years in my country.

Some of them were used as ritual vessels to witness the majesty of the royal family, some were used as weapons to go through the wind and sand battlefield, and some were scattered among the people and sank into the city life...

The three things Chen Wenzhe encountered were probably all from the battlefield.

Needless to say, the bronze drum is a war drum, so what about the cauldron?
A pot as big as it is in front of you must be used for marching and fighting. Who needs to use such a big pot for cooking?
Such a large vessel-shaped copper kettle has never been exhibited in any major museum in China, right?
Chen Wenzhe has read countless "treasures" recently, and now he can't help but sigh when he sees this big copper cauldron.

This large copper kettle has a diameter of 68 centimeters, a height of 55 centimeters, and four ears with circular weaving patterns.

However, now there are only 3 ears left in this big copper kettle.

If it is genuine, in order to ensure the visual beauty of viewing in the future, it must be repaired.

When repairing, the lost wax method must be used to fill in the gaps, and then soldering is used to restore the original shape of the four ears of the copper kettle.

Looking at the patina on the outside, after years of washing, the surface of the copper pot and drum has been eroded, and a lot of patina has appeared, and some even have cracks, which will have to be repaired in the future.

If this piece is genuine, it goes without saying that it is a national first-class cultural relic.

Don't look at the other one, it's a small copper cauldron, if it's genuine, it's at least a second-class national cultural relic.

It is said that there is no need to look carefully, but in fact it still needs to be looked at.

Because after just a quick glance, Chen Wenzhe discovered that copper coins were actually used as gaskets inside the small copper cauldron!

Chen Wenzhe saw at a glance that there was an abnormality inside the small copper kettle, and there were traces of rust removal there.

If it wasn't made during Wu Er's appraisal, it was caused by a bump.

Anyway, in the process of derusting the inner bottom of the small copper kettle, I accidentally discovered that there are four copper coin-shaped patches arranged in a rectangle.

After Chen Wenzhe cleaned it up a bit, he found that the patch has a clear contour line and a square hole in the center, so it can be concluded that it is an ancient copper coin.

The patch can only be displayed on the inner bottom of the copper kettle, but not on the outer bottom.

The function of this patch should be a gasket to control the thickness of the bottom and prevent the outer mold from sticking to the inner mold when the copper kettle is cast.

In bronze making, it is common to use spacers, but it is rare to use copper coins as spacers, which may prove the pursuit of wealth by the ancients.

After measurement, the small copper kettle has a diameter of 55 centimeters and a height of 44 centimeters, with round Jomon ears.

Due to severe oxidation, the small copper kettle was severely damaged.

There are traces of fan casting, not using the lost wax casting method.

This is a good thing, otherwise, Chen Wenzhe would suspect that this is a well-crafted imitation.

There are two pots, one is a first-class cultural relic and the other is a second-class cultural relic.

So what about the bronze drum with six frogs and eight pointed sun patterns?It's definitely the drums of war.

This bronze drum has a surface diameter of 60 centimeters and a height of more than 28 centimeters. It cannot be measured accurately because of its defects.

Now there are 3 three-legged frogs left on the drum, but fortunately the overall shape is complete.

If this is to be restored, it can only be copied based on the most well-preserved frog, and the six three-legged frogs that should be ringed on the drum surface should be restored.

Restoring all the frog decorations must be to ensure the integrity of the drum surface and satisfy the appreciation of the bronze drum.

As for the ring feet under the bronze drum, it is not necessary to fill in the gaps, but to retain its incomplete beauty. The purpose is to make us deeply understand the vicissitudes of history.

Although he had seen a more complete and exquisite bronze drum before, Chen Wenzhe took it more seriously this time.

Next, Chen Wenzhe noticed that the drum head and the decorations on the drum body of this bronze drum were as rich and varied as ever.

Sun pattern, coin pattern, bird pattern, geometric pattern and string pattern are arranged in parallel.

From the perspective of the structure of the combination of decorations, the decorations are printed on the outer wall of the drum body (scientific name: Waifan) with a template engraved with patterns. There are obvious signs of overlapping and dislocation between groups, and the arrangement is high and low. Orderly, casual and natural.

This bronze drum must have been used by the army of the Han Dynasty. It is a practical tool.

"Brother Wu Er, can you tell me, where did you buy this?"

"Hey, you never think of it!"

When Chen Wenzhe asked such a question, Wu Er felt complacent.

(End of this chapter)