Jianbao life

Chapter 931 Revealing the Second Floor

After showing his respect to everyone, Chu Chen took the plate into his hands and observed it carefully. The body and glaze of this plate, as well as the treatment of the 'rust spots', did have the characteristics of the Yongzheng period.

But as I just said, there were no conditions and examples for imitating Yuan blue and white in the Ming and Qing Dynasties. Could it be that the above mentioned points and the Yuan Dynasty inscription left at the bottom can prove that this is the Yuan blue and white imitated by Yongzheng? ?This is obviously impossible.

So, Chu Chen took out the magnifying glass and began to carefully observe the bubbles in the glaze on the plate.

It is very important for Chu Chen to use a magnifying glass to look at the old and new bubbles on the surface of the porcelain.

Some experts denied the analysis of bubbles. Chu Chen felt that this was due to lack of effort in research. Seeing bubbles was like seeing a heavenly book. The most convenient way is to deny it.But there are many people who will study tirelessly and find a way to see through the heavenly scriptures.

To see the new and old bubbles, it must be compared by age and species. For example, Yuan blue and white bubbles should be compared by Su Maliqing material Yuan blue and white bubbles, and domestic material Yuan blue and white bubbles should be compared respectively.It is not possible to mix and compare bubbles of various categories and ages of porcelain. If they are mixed together, they will not be comparable, and the flowers will be blurred.

To analyze air bubbles, if you want to achieve something, the conditions are easy to find, as long as you have a magnifying glass or preferably a microscope. For specimens, you only need ceramic tiles. It doesn’t cost much but it takes a lot of effort. At the same time, it is very boring. If you don't have perseverance, you really can't figure out why.

In addition, using air bubbles to identify authenticity does not necessarily mean everything. With the improvement of technology and the recovery of craftsmanship, it is also possible to imitate the same air bubbles as the real product.

However, Chu Chen immediately saw the authenticity of the plate in front of him, because the way the bubble was faked was similar to the bottle he saw at Ning Yi's before, so it goes without saying that the maker must be Gu Gongyi.

Everyone saw Chu Chen put the plate back, and was about to ask about the authenticity of the plate, but saw Chu Chen go aside and take out his mobile phone to make a call.

The reason why Chu Chen called Gu Gongyi was not only to ask if there was a mark on the plate, but also to ask what was going on with the plate, because Gu Gongyi clearly As I said, except for the bottle of Ning Yi, the high imitation he made without leaving his signature was put away by himself, so what happened to this plate?

Gu Gongyi was quite surprised when he heard the news. He said that he had indeed made such a plate in December last year, but it was obviously put away by him, so how could it spread to the outside world?So after he told Chu Chen the secret note he left, he hung up the phone and hurried home to check.

Chu Chen put away his phone, and then walked back to his original position. Xiang Facai asked, "Mr. Chu, I seem to have heard you mention this plate on the phone, could it be?"

"Hold on."

Chu Chen was not in a hurry to answer, and picked up the plate to look at it again, before saying, "Now I can be sure that this plate was indeed made by my friend."

After hearing Chu Chen's answer, Lao Chang said with disbelief, "Boss Chu, did you make a mistake?"

"Everyone, please look here..." Chu Chen directly pointed out that the secret mark that Gu Gongyi deliberately left was the word "Gu".

Seeing this secret note, Lao Chang directly showed an expression as if he had seen a ghost, and Duan Xuefeng and Xiang Facai were also amazed.

Duan Xuefeng clicked his tongue and said in amazement: "Brother Chu, that friend of yours is really amazing, and he has done so well in secret notes."

Chu Chen just smiled and didn't say much. Gu Gongyi will make some high imitation Tang Sancai from time to time in the future. For safety, he doesn't want Gu Gongyi to come into everyone's sight.

At this time, Xiang Facai asked with a smile: "Old Chang, what are you going to do about this?"

Faced with such a result, Lao Chang could only smile wryly, and he could only blame himself for this matter. He had obviously heard that Yuan blue and white had not been imitated from the Ming and Qing Dynasties to the Republic of China, but because of greed for cheap and Feeling lucky in my heart, I bought the plate, and finally met the insider Chu Chen unfortunately.

"It's really bad luck!"

Lao Chang sighed secretly, and then became distressed, because, except for one heavyweight item in his hand, everything else was just some gadgets, not worth much money at all, if these items were used to compensate Xiang Facai, Xiang Facai would not be satisfied, and it would probably arouse his anger.

However, he already has a next home for that heavyweight item, and the other party will come in a few days. If Xiang makes a fortune, what about the next home that has been booked in advance?
Old Chang thought about it, and couldn't make up his mind for a while, but when he saw Xiang Facai, who was smiling on the surface but was actually eyeing him covetously, he gritted his teeth and prepared to go through the barrier in front of him first. Sell ​​him what you want, and give him a little discount.

"Mr. Xiang, I'm really sorry. I also checked this thing. How about it? I still have Xugu's "Picture of Song and Crane", but at this price..."

Xu Gu was a famous flower-and-bird painter in the late Qing Dynasty. He was named as one of the "Four Masters of the Shanghai School in the Late Qing Dynasty" along with Ren Bonian, Pu Hua, and Wu Changshuo. Hearing that Lao Chang had his works, Xiang Facai was surprised and quickly asked: "Xu Gu "Picture of Song and Crane"? Is it true or not?"

Lao Chang swore: "It must be true. After I bought it, I had XXX and XXX appraise it. If you don't believe me, you can call them and ask."

The two that Lao Chang said are also well-known experts in calligraphy and painting appraisal in the capital, so everyone believed what Lao Chang said.

Xiang Facai said: "I said, Lao Chang, since you have such a good thing, why didn't you know to bring it over earlier for us to appreciate?"

Lao Chang smiled wryly and said, "It's not that I don't want to take it, but that I have already found a home for this painting, and he will come over in a while."

Xiang Facai waved his hand and said, "Okay, don't talk too much, you'd better go get the painting and let us appreciate it first."

"Okay, okay..." Lao Chang nodded repeatedly, but stood there motionless.

Seeing this situation, everyone really couldn't figure out what was going on with Lao Chang, but Xiang Facai immediately figured out the relationship and said with a smile: "Don't worry, you bastard, I won't take much from you." cheap."

"Okay..." Obtaining Xiang Fa Cai's promise, Lao Chang hurried out to get his things.

When Lao Chang walked out of the gate, Xiang Facai sneered and said: "This guy has too many eyes, if he doesn't want to be troubled, I will definitely break his old bones."

Duan Xuefeng nodded: "Indeed, this man can only believe [-]% of what he says, and he will draw in a while, so be careful, don't follow his way."

After Xiang Facai heard this, he immediately remembered that Chu Chen seemed to focus on the two major categories of porcelain and jade, and calligraphy and painting are the most difficult to identify among the many categories of antiques. Can Chu Chen do it?Thinking of this, he couldn't help feeling a little worried.

Seeing Xiang Facai's expression, Chu Chen figured out what he was thinking in a short while, and said, "Mr. Xiang, my master has also introduced to me the characteristics of Xugu's calligraphy and painting in detail, and he has several of them. I still have some experience in appraising Xugu's works."

Xiang Facai breathed a sigh of relief when he heard the words, he laughed and said, "Mr. Chu, you don't need to say more, no matter what, I won't disbelieve you!"

Chu Chen was a little humble when he heard the words, and said in his heart, with your appearance just now, it's strange to believe what you say!
After chatting for a while, Lao Chang walked in with a calligraphy and painting brocade box.

After everyone cleaned up the table, Lao Chang took the painting out of the box and unfolded it. Everyone quickly looked at the painting.

Xu Gu learned from the ancients but did not follow the ancients. He insisted on original creation and won a high reputation with his courage and wisdom. He became one of the outstanding painters of the "Shanghai School" painting circle in the late Qing Dynasty.

This painting of plum and crane fully embodies the characteristics of Xugu's brushwork.The plum tree is first written with a wet brush and light ink, and then added with a dry brush. The lines are intermittent and frustrating, and the strokes are vigorous and loose, forming a pure and empty charm.The plum blossoms are drawn with a round pen, and the petals are like pearls and jade, childish and simple.

The crane uses a minimalist pen to write its head and tail feathers in thick ink.The color of the picture is light, but the crane's top is highlighted with vermilion, which makes the whole painting cool and handsome, full of changes, simple and intriguing, it is indeed a rare and good painting.

However, when Chu Chen saw this painting, he couldn't help being startled, because at least [-]% of the content of this painting was exactly the same as that of Xu Gu's "Picture of Song and Crane" in Liu Lao's collection, and the layout was even more so. They are exactly the same, and even the content and position of the title and the bell seal are exactly the same.

You said that the inscription should be the same as the bell seal, it is still possible, but if the location is the same, it would be a bit ridiculous.You must know that the creation of a painting is accidental, and it is not a copier. It is obviously impossible for two works to be exactly the same except for some places.

Therefore, it goes without saying that one of the two works must be a fake. Of course, based on his master's eyesight, Chu Chen must be inclined to see that the painting in front of him is a fake.

So, Chu Chen took out a magnifying glass and carefully observed the painting in front of him bit by bit, and found a flaw in it after a while.In the end, he came to a conclusion that this painting is not a simple fake, but a "revealing the second layer".

What is "exposing the second layer"?In fact, it is a method of counterfeiting ancient calligraphy and paintings, mostly by framers.Because the painting heart is revealed into two layers, and the painting heart is the soul in the fate paper, it is also called "soul son", and the rest is "hunzi" that can distinguish the real from the fake.

Before "cutting the knife", forgers often look at the rice paper used in calligraphy and painting.Since the Ming and Qing Dynasties, Xuan paper has been commonly used in calligraphy and painting.With the rapid development of flower-and-bird painting, and calligraphers and painters prefer to use thick brushes, thick ink, and freehand brushwork, thick paper was often used in calligraphy and painting in the Ming and Qing Dynasties, that is, "clip Xuan paper".The so-called "Jade Xuan" refers to heavy Xuan, which is a two-layer Xuan paper, such as "Jade Ban Xuan".This kind of paper has good toughness, easy to make thick, but difficult to make thin.

In addition, when making rice paper, a very thin layer is made first, and then layers can be added as needed.Therefore, ordinary rice paper has two or three layers, and "folded rice paper" has as many as four or five layers.Because rice paper is very easy to paint with ink, almost every layer can be soaked. Therefore, once the calligraphy and paintings of famous masters in the Ming and Qing Dynasties were in the hands of merchants, merchants often tried to uncover the second layer.

In addition to the paper, the forger also depends on the ink used in the original painting and calligraphy.Because the method of "revealing the second layer" is divided into two, it depends on whether the original pen is thick and whether it penetrates the back of the paper. Therefore, calligraphy and painting works that prefer to use thick ink in their lives are often victims of "revealing the second layer". , such as the modern "Shanghai School" calligraphers and painters.

For example, Xugu likes to burn ink with a dry brush, and seeks to be square in the sideways. His works are very popular among the forgers who "expose the second layer".

In addition to the above two points, we also need to look at the overall picture of the original work.

Because rice paper contains a lot of fibers and other sundries, some brushes and inks in the original works will definitely show that due to the obstruction of fibers and other sundries, there will be gaps in the color of the ink color on the life paper. There are more or less linear gaps, which make the original work have a faint sense of loss, but this does not affect the artistic conception expressed by the calligraphy and painting.

In addition, the pen and ink in the original work have shades.Once the second layer is exposed, whether it is the first layer or the second layer, the characteristics of the brush and ink of calligraphy and painting, and the characteristics of ink color scatter are not prominent, and it will appear monotonous and dull.Therefore, the counterfeiter must be familiar with the artistic conception of the original work, and after the "exposing of the second layer" is completed, the second layer of the fake work must be beautified and full-colored.

When Chu Chen saw the "Picture of Song and Crane" collected by Mr. Liu before, Mr. Liu sighed and said that the brush and ink of the painting were a bit too light, and it didn't look like Xugu's style. The work was a fake, and Mr. Liu picked it up.Looking at it now, it was actually the situation caused by the influence of the second floor.

If calligraphy and painting meet the above three conditions, there will be counterfeiters to "reveal the second layer" of it.

From the process point of view, "exposing" is only the first step, but it is also a crucial step.After the uncovering, the counterfeiter will compare the paintings and calligraphy on the upper layer, and make some supplementary pens, refill ink, polish, mount, and stamp on the lower layer of paper, and some of them will draw the seal as it is on the outline of the original ink pad. , and then made of old paper and old damask.

The painting in front of me should be done in this way. It may be that some places do not penetrate the back of the paper, so these places are different from the original.

After Chu Chen finished reading this work, he couldn't help but secretly praised it. As I said just now, the forger must be familiar with the artistic conception of the original work. After the "exposing of the second layer" is completed, the second layer of the forgery must be beautified and fully colored.

And the author of this painting can be said to be a master in this way. If Chu Chen hadn't seen the original painting a long time ago, he would definitely think that this painting is the authentic work of Xu Gu, because no matter in terms of brushwork or artistic conception, it is so similar. up.

It's a pity that "exposing the second layer" is a method of counterfeiting calligraphy and painting. No matter how good the counterfeiter's painting is, the fact that this work is a fake cannot be denied.

(End of this chapter)