Is the identification of thangka antique instruments accurate

If you are an expert, you will see from the back whether the outline line is exactly the same as the picture. If you put potassium permanganate to soak in distress and touch the thangka with your hands, the feel will definitely feel stiff, and white traces of distress can be found in the pigment plum fiber base.

Identifying the advantages and disadvantages of thangka also depends on the meticulousness of the process and the pigment. A good thangka, the outline lines are all drawn in one stroke, the color is even, and the momentum gives people an impact. The good-looking ones seem to be smiling and staring, while the angry ones are majestic and solemn.

Some old and counterfeit thangkas have also come into people's field of vision. Some counterfeiters remove the tarnished old thangka paint and apply color to it.

The identification of authentic and fake thangkas is mainly judged from the aspects of subject matter, content, production process, materials, and painting workmanship.

Before the 19th century, the style of thangka painting was simple and simple, and because the pigment was a pure natural mineral, the color was strong, heavy, and stiff, and the color was not too rich, mostly red, blue, black, gold, silver (i.e., white), and the face color of the figure was black (plateau). After the 19th century, it was influenced by the Han style rendering, accentuation, and outline, and mostly used methods such as blending and 24 chiaroscuro rendering. In contemporary times, plants are often used to extract pigments, which are softer and calmer.

Thangka from temples and aristocratic families are of high value, and the identification method is to see whether the craftsmanship is meticulous and whether the pigment is a natural pigment, the sleeve of the thangka scroll from the nobility is pure silver, and the thangka edging is silk brocade. Judging whether it is from the temple can check the temple seal, the number of figures, the degree of fineness also determines the degree of painting, the focus should be on the face shape of the character, eyebrows, and ritual weapons. And the cloth used in the thangka, the gemstones, gold wires, etc., used on it, also affect its value.

Most of the thangkas are hung in temples or homes, perennial incense dyeing, forming a natural stale color, with a dry wool pen or dry cotton ball to sweep the dust on the surface can be seen that the color is calm and natural, and the color is uniform; The old thangka is also smoky and smeared with smoke, but the feel is rough and dry, the old color is unnatural, and the color is uneven.

The second is the penetration of the pigment, the old thangka can "eat" the pigment, and the old thangka can obviously see that the pigment is still only "floating on the surface"; The friction, creases, peeling, and corrosion of old thangkas are very natural and harmonious as a whole, while the old thangkas treated with chemicals such as acid and alkali are obviously stiff; The corners of the thangka may be broken, bitten by insects, and may contain tiny eggs.

Next, please enjoy a set of black and gold style thangkas numbered 138-799453.

1. Thangka painting is the most important criterion to measure the value of Thangka and the value of Thangka, the law is solemn and special, the proportion measurement is accurate, the lines are smooth, the color is coordinated, the painting is fine, the content is in line with the Buddhist jurisprudence, and the Thangka drawn in strict accordance with the statue measurement can better reflect the meaning of the Thangka.

2. Five senses. The size of the facial features should be moderate and symmetrical, and the connection with the flesh color should be perfect. Especially the opening of the eyes, the opening of the eyes is the last process in a pair of thangkas, and it is also the most difficult.

When opening the eyes, the left and right eyeballs should be symmetrical, the size should be consistent, and the middle of the eye should be drawn. Fissure.

3. The identification of thangka painters mainly includes the following aspects: measurement is the most basic and important factor in determining the quality of thangka, and even small mistakes can affect the artistic value of thangka.

4. If it is a carrier, it is obvious that thangkas are painted on cloth, and only a few are on things such as leather, which are called leather branding. So, there must be thangkas made of cloth, and most of them are made of cloth. If it is a performance material, there are also this kind, relatively rare, called Duixiu Thangka.

5. The workmanship mini thangka has its own unique handmade bureau process, so the stitching of each pair of ** shoes is relatively fine, the edging is also very tight, the size of the Tongwang liquid stitches is uniform, and the stitches are straight. Fakes are generally sewn by machines, so there will be traces of broken threads and skipping threads in the subtleties.

6. These two weaving methods are important bases for identifying the silk of the Ming Dynasty. However, it is worth noting that in the late Ming Dynasty, after Jiajing, with the decline of the handicraft industry, the production of silk also showed a trend of decadence, and the above two weaving methods may change with the region.