How to distinguish the authenticity of ancient ceramics?

Please send it to a place where the antique collection is professionally inspected, this aspect is very professional, and most people and even some professionals will look away.

Those who seem to have rough edges in paintings or patterns, those with thin porcelain enamel, and those whose paintings are concise and monotonous and not rich enough are underglaze colors.

Before buying, you can first carefully touch the surface of the ceramic tableware or handicraft with your hands to see if there is a concave feeling. If you feel convex and concave, and you can see the uneven surface of the pattern and color with the naked eye, and there is a sense of friction on your hand, you can conclude that it is glaze colored porcelain. Because the glaze color this product is made of ceramic color paper pasted on the glaze or painted directly with pigment on the surface of the glaze, because the baking temperature does not reach the melting temperature of the glaze, so the pattern, the picture can not sink into the glaze, touch the uneven difference with the hand to grip the sense of obvious, when the naked eye observes, the surface of the product is uneven, although the pattern has a three-dimensional sense, but the feel is not good.

If the surface of the product is visually smooth, looks like a glass luster, can not touch the uneven pattern, smooth as glass, then, it should belong to the glaze color or underglaze color. After careful identification, it can finally be determined whether it is a mid-glaze color or underglaze color.

But even if the economic conditions allow the situation, the collector should adhere to the principle of less and fine, because the ceramic handicrafts belong to the display and furnishing items, the practical value is very small, more is useless, only to buy good, the famous ceramic handicrafts, look pleasing to the eye, cherish and collect the interest, the collection can have the potential and value of preservation and appreciation. In addition, when purchasing ceramic handicrafts, it is necessary to carefully see the "hukou" of the porcelain, which roughly includes: the origin of porcelain handicrafts, the hall number of the production unit or kiln site, the name or pen name of the painting craftsman, the signature and seal of the payment, the virtual rock painting or the date of production, etc., so as to maintain and appreciate the value.

The style on the ceramic refers to the bottom or other parts of the utensils, carved, scratched, printed or written to indicate the age, origin, hall name, personal name, use and auspicious words and other contents, and there are also some patterns on the bottom or body of the vessel. Because the content, format, font, calligraphy and other aspects of the style have distinctive characteristics of the times, therefore, it has a non-negligible role in the dating of ceramics, the determination of the kiln mouth and the identification of authenticity, and is an important part of ceramic identification.

For investors who are not very wealthy, you can buy small color plates, small vases, small color pots, and tea sets, wine sets, stationery, etc., which are both furnishings and practical. The design of this kind of ceramics, if it meets the three requirements of image beauty, good taste and deep connotation, it is a high-grade ceramic art work, and it still has value preservation and appreciation value.

How to distinguish the authenticity of ancient ceramics First of all, we should start with the tire glaze: the glaze of the genuine product is thicker, unevenly distributed, has slurry, and the glaze is greasy. The tire blanks are all hand-drawn blanks, and there are sand particles in the tire soil"Hard"Feel; The fake glaze is thin and smooth, showing thief light, no slurry feeling, and unnatural.

The carcass does not have the feeling of containing sand grains, and it is"Soft and wet"condition. In addition, the place where the genuine unglazed exposed tire is dry, and the place where the fake unglazed exposed tire is present"Wet"shape, can not present the vision of the integration of the glaze. The second is from the ornamentation:

The genuine ornamentation looks like it is sinking under the glaze, and the painting technique is casual and natural, with a sense of movement, and you can see deep and light colors in the strokes of the ornamentation. The ornamentation of the fakes seems to float on the glaze, the painting technique is dull, unnatural, and without movement, the strokes are advection and stagnant, and the colors are not divided into shades. Three look at the glaze:

The glaze of the genuine product will have uneven thick and uneven places, less bubbles, and uneven distribution. The glaze of the fake is thin, the distribution is extremely even, and the bubbles are relatively dense. Fourth, look at the footlet:

Due to the weathering of the age, the real tire foot will form uneven uneven pits, and the overall color is natural, dry and uniform. The utensils that are burned on the pads are more or less stained with kiln sand at the feet. The feet of the fake will appear too dark and old, and the whole will not be unified, showing that the tire glaze is separated"Wet"Feel;

There is no kiln sand on the feet. Fifth, see if it is available"Excavators"or"Dispenser"characteristics. This requires a magnifying glass to distinguish the real from the fake.

Sixth, there is an obvious concave and convex feeling at the gathering place of the genuine glaze, and there is a situation of continuing to open the piece, forming a glaze layer from the inside to the outside"Borneol pattern"。Fakes are chemically treated, sniff the inside of the product with your nose, and have a pungent smell. It can also be chemically identified.

Seventh, it is necessary to synthesize, investigate, and study in many aspects to determine the authenticity of the artifact, and it is not possible to arbitrarily draw conclusions based on just a few characteristics.

To specific ceramics specific analysis, but you can understand the general method of fraud, reverse scrutiny.

One way to make the new porcelain is to bury the new porcelain in the ground for a long time or mix protein in the soil and coat it on the surface of the porcelain, and then bury it in the ground for a period of time, in order to keep the new as the old; The other is to soak the new porcelain in an acidic or alkaline solution to obtain the effect of aging; There is also a toothpaste and water sand.

The paper "goes into battle" to process the new porcelain, so that the new porcelain becomes old and has no bright color. In fact, although the real ancient porcelain has an old color, it is created by the vicissitudes of time and is irregular. If the whole body is exactly the same old color, you should pay more attention.

There are two ways to fake the real blank.

One is to take the bottom of the old porcelain and glue it to the new forged porcelain, the model is real, but the porcelain body is fake; The other is to take the old porcelain without flowers, paint it and re-burn it. The first method is to use a high-powered magnifying glass to see the clues. The second method has to be judged from the painting style and glaze.

Some of the defects are glued together with glue to the broken plain porcelain, and then in order to cover up the adhesive marks, a pattern is painted on the cracks to cover up. To see these hidden traces, you need to look closely with a magnifying glass and look for clues in the quality of the style and pigments. There are also defective ancient porcelain to repair, such as ear repair, filling, mouth filling, and then adding glaze color to reburn.

Although the value may be higher, there will still be differences in style and color. Therefore, when you get a piece of porcelain, you should look at the key parts more.

Monochrome glaze counterfeiting In recent years, monochrome glazed porcelain has become popular in the collector's market, but many of them are fakes. For example, the carmine in the monochrome glaze was difficult to burn in ancient times, but now that the development of science and technology and the level of craftsmanship have improved, some counterfeiters directly fire these porcelains to pretend to be old things, and the glaze color can be almost identical. However, its fetal shape may be exposed, and some of the fetal quality is too delicate, beyond the level of craftsmanship of the ancients, which is obviously a fake.

Identifying whether Jingdezhen ceramics can be started from these four aspects:

First, look at the color, Jingdezhen porcelain is known as white as jade reputation, when buying, you can first see whether the porcelain is white and blue, if it is white with milky yellow or other variegated colors, eighty percent is inferior porcelain;

Second, listen to the sound, listen to the sound of the ceramic knocking, the sound of the porcelain is like a chime, and it will make a crisp and pleasant sound when you knock it lightly;

Third, the specific hardness, test whether the ceramics are hard enough, the porcelain is high hardness porcelain, with metal tools on the ceramics, there is no trace;

Fourth, measure the heat conduction, test the heat conduction speed, Jing porcelain is a high-density porcelain, compared with other porcelain, it is thicker and heavier, and the heat conduction speed is slower.

Many ceramics are not ceramics produced in Jingdezhen at all, even if they are produced in Jingdezhen, they can only be regarded as stalls, most of them come from Fuzhou, Dehua, Chaozhou and other places, most of them are self-employed in suburban counties near Jingdezhen such as Fuzhou, Boyang and other places, they purchase in Chaozhou and other places, customize the vase porcelain with simple process and low cost, and then pretend to be Jingdezhen porcelain sold online and all over the country, please pay attention to the majority of Taoyou.

One look at the shape of the device. Ceramic identification, modeling is an important basis. It has an obvious epochal character and directly reflects the aesthetics of people in different social periods.

For example, the first treasure at this treasure appraisal meeting ——— the white porcelain bowl of the Song Dynasty provided by a Tibetan friend in Lanxi, with an open flat bottom and a carved relief lotus petal pattern in the bowl, all of which reflect the aesthetic style of the time. In addition, the production of white porcelain kilns in the Song Dynasty is more common, but it is yellowish in color, which is the biggest difference from white porcelain in other periods.

Second, look at the fetal quality. Porcelain of different ages differs in fetal quality. Generally speaking, the age and kiln mouth can be seen from the tire quality and glaze color.

Ceramics is the art of fire and clay, and with the continuous progress of firing technology, the later the quality of the fetal bone, the more delicate the texture, and the more glazing methods there are. This makes the glaze fired in each period have obvious characteristics of the era.

Three look at the ornamentation. The ornamentation on porcelain has obvious national and contemporary characteristics. Ancient Chinese ceramics are decorated with many ornaments, but they can be divided into four categories: figures, animals, plants and decorations.

Ornamentation is a reflection of the social culture of the time. This requires Tibetans to have an understanding of the historical and cultural backgrounds of various eras in our country.

Fourth, look at the style. It is also called the annual model. In some porcelain, the bottom of the vessel, the middle of the vessel or the edge of the mouth, etc., are written with the year name of a certain emperor, etc., and there are "official kiln" paragraphs and "folk kiln" paragraphs.

These symbols indicate the artifacts produced by a certain dynasty, and the pigments used in different dynasties are different, and their fineness is also different. The identification of style recognition is an important link in the identification of ancient ceramics. It is possible to identify the age and value of an ancient porcelain.

Fifth, look at the bottom foot. Due to the different firing processes of each period, the ways and methods of support during firing are also different, which makes the bottom foot of the ceramic vessel have obvious differences, because the bottom foot has supports, the concave and convex points are different, some glaze, some unglazed. These are important features in identifying the porcelain age.

Identifying the authenticity of ceramics is a science, uh ......I recommend you to find books on this subject, I don't know much about it, I'm afraid I can't teach ......

It is difficult to distinguish the real from the fake with the naked eye, and you need to have a special instrument.

Ceramics are both real and fake.

Look at the trim line or break the ceramic to see the interlayer.

You can do a carbon 14 radioactivity test.

There is no real or false porcelain, only good and bad To distinguish between good and bad, it depends on where you use it.

It's practical, it doesn't matter if it's true or not, if it's a collection, who collects whom?

Methods for identifying ancient porcelain.

a) Look at the styling.

Different eras and regions have different production techniques, living habits and aesthetic standards, so the porcelain produced has different modeling characteristics. It provides a basis for the identification work. In addition to mastering the modeling characteristics of porcelain in various eras and regions, it is also necessary to observe the methods of its modeling, and carefully observe the edges, abdomen, feet, ears, streams, handles, and ties of the utensils, and summarize the rules.

b) Look at the tire glaze.

Due to the different components of the tire glaze and the firing conditions, the firing of the texture, tire color, glaze color is different, become an important basis for identification, the identification of the tire color, the tire quality is mainly to observe the bottom, mouth and body glaze shrinkage of the color and texture of the fetus, pay attention to its characteristics. To identify enamel, it is necessary to pay attention to the characteristics of glaze color, gloss and density of bubbles.

3) Look at the process.

The molding process of the utensils is different, the firing method is different, and the different firing temperature and fuel will leave different characteristics on the utensils; These characteristics should also be paid special attention.

4) Look at the ornamentation.

The ornamentation of utensils in each era and region has different styles and characteristics, and its differences are mainly manifested in the pattern themes, decorative techniques, decorative parts, etc., which reflect the different artistic appreciation, living customs, and production techniques of the local people at that time, and become an important factor for reference in identification.

5) Look at the color material.

Glazed porcelain often has its own characteristics in different periods and porcelain sites. Due to the different components of the color materials used, the preparation methods are different, and the firing conditions are different, so the color of the color materials is also different, and some differences are very subtle, and they will be found only after careful observation.

6) Look at the money.

Words that are engraved, scratched, printed, and written on utensils. Different periods of knowledge have different text content, style, penmanship, structure, writing position, number of words, etc. These are also important bases for identification.

The details of some paragraphs of penmanship, such as horizontal, vertical, apostrophe, pinch, hook, pick, point, shoulder and other characteristics, must be carefully experienced and contrasted, in order to see the authenticity.

In short, it is necessary to understand the style and characteristics of all aspects of porcelain, in order to find out the basis for the identification of ancient porcelain. However, when we identify ancient porcelain, we cannot judge the authenticity of a certain aspect of the characteristics in isolation, and we must conduct a comprehensive appraisal in terms of shape, fetal quality, tire color, glaze color, technology, glaze color, and style.

The porcelain with the Qingming Shanghe map printed on it must be a fake.

That is to say, it is a modern product, not ancient porcelain.

Because there is no painting of the Qingming River on porcelain, only modern people like to do this.

Ceramics are the perfect combination of earth and fire, the crystallization of nature and wisdom. China has a long history, ceramic culture is the continuous development and accumulation, from small to large, from less to more, from low to high, from simple to complex, leaving us with unforgettable artistic charm and craftsmanship. From ancient times to the present, ceramic products are closely related to our lives, it is both practical and artful.

It can not only meet the needs of life, but also meet the spiritual pursuit. China is a world-famous country of ceramics, and the number of ceramics that have been handed down to this day is very large, which provides unique and advantageous conditions for the collection and protection of ancient ceramics.

The standard ware in the identification of ancient ceramics includes heirlooms and archaeological excavations. They are carefully summarized and selected by our predecessors, so that we have a reference in the identification. However, this is not enough, it needs to be accumulated.

In recent decades, due to the construction of cities and the expansion of roads, new archaeological discoveries have increased at a shocking rate.

This requires us to record new archaeological discoveries in a timely manner and correct existing theories. Some of the content was originally wrong and needed to be corrected as new evidence became available. There are also some contents that are not comprehensive enough and need to be filled in and fleshed out.

For example, the discovery of the celadon kiln site of the Southern Song Dynasty official kiln in Hangzhou is a process of continuous supplementation. First, the discovery of the official kiln in the suburbs, and then the appearance of the official kiln in the Tiger Cave, the understanding and identification of the official kiln of the Southern Song Dynasty have been continuously improved and improved.

How to judge the true value of ceramics, the key lies in the identification method and its own accumulation. Although ceramic identification is difficult, it is not mysterious. At present, the main identification method is visual inspection, and if the conditions are sufficient, it can also be combined with scientific instruments to test its chemical composition, production age, etc.

The author believes that the identification of ancient ceramics should be studied and thought about from four aspects: first, to grasp the characteristics and types of ancient ceramics; the second is the theoretical burial tremor method for the identification of ancient ceramics; the third is the practical method of ancient ceramics identification; Fourth, how to identify imitations.

Ceramics is the art of fire and clay, and the elements of ceramics are fetal bones, vessel shapes, glaze colors, decorations, colors, and craftsmanship. All kinds of ceramics have their invention and firing periods, and the changes in the shape of the soil and the glaze, decoration, color, and process reform and innovation have their success and popularization periods. This period of creation is the upper limit of its era.