The Ming Dynasty was an important stage in the history of Chinese ceramics. The number of kiln fields increased unprecedentedly. The Ming Dynasty living ceramics, architectural ceramics and other types of ceramics manufacturing greatly exceeded the previous generations, demonstrating the great development of the ceramic industry. Due to the continuous improvement of the porcelain craftsmanship technology and the implementation of the “official enthusiasm for the people†system, that is, the craftsmen can complete the officially mandated tasks, they can conduct free business operations, and objectively promote the enthusiasm of the industrial workers. The folk kiln not only produces more than the official kiln, but also burns many high-quality porcelain that can compete with the official kiln. The blue and white, multicolored, and colorful porcelain in the Ming Dynasty is the mainstream of porcelain production.
Method for identifying Ming Dynasty porcelain:
Modeling : The shape of Ming Dynasty porcelain is an important basis for authenticity. This is because all kinds of models can accurately represent the living habits, aesthetic standards, customs and technical achievements of this era. If you are skilled and good at recognizing its shape and appearance, you have mastered a more reliable method of identification.
For some typical models of the Ming Dynasty, especially the valuable varieties, it should be more familiar with the heart, forming an inherent authentic concept. The more valuable the variety, the more people will copy it. In the identification, with the accurate concept of the device, you can see through the inferior products without any need to look at it; with the accurate concept of the device, you can see the fakes that look like real products after careful observation and measurement. Find out the nuances of the detachment; with the accurate concept of the model, you can be good at understanding the different styles and demeanor of each era. For those replicas of Vishaw, you can be discerning and seeing Xiao is not a subtlety, so he can see the flaws. At the beginning of the Ming Dynasty, the blue-and-white porcelain in the Hongwu period was dark, mainly due to the frequent wars at the end of the Yuan Dynasty and the beginning of the Soviet Union, and the use of domestically produced green materials.
In the Yongle and Xuande years, the porcelain system was also in a rising stage like the national power of the Ming Dynasty. In particular, the blue-and-white porcelain reached a new peak, which was called “Yongxuan Porcelainâ€. Its main feature is: Because Zheng He went to the Western Sea, he brought back the "Su Ma Li Qing" material from the Islamic countries of Central Asia. Under the proper fire, it can burn the bright color of the gemstone, but due to the high iron content, it will often appear black and white spots in the blue and white part.
While mastering the characteristics of various varieties of porcelain in various eras and the style of the times, we should focus on the different styles of the ancient style, the thick, the thick, the beautiful, the exquisite, the gorgeous, etc., and analyze and compare them in detail to find out the evolution law. Over time, you can make full use of different features and skillfully identify authenticity. During the Yongle period of the Ming Dynasty, the ancient styles of the Ming Dynasty were beautiful. Some of the fine works that appeared at that time, such as the white glaze, the dark-flowered bowl, the blue-and-white hand-pressed cups, etc., were all far from unmatched in terms of styling; Increased, and exquisitely crafted, ingenious, and some are unprecedented, if you do not have a high level of technology, it is difficult to copy success.
Therefore, the Yongxuan blue-and-white wares only saw the imitations of the Qing Dynasty during the reign of Emperor Kangxi, Yongzheng and Qianlong, and the works of the Republic of China, except for other periods. As for the Chenghua period, the shape of the instrument was only slim and small, and its bowls, cups, and cans all represented the style of the light and beautiful at the time, and it was far from the imitation. Although there were not many varieties in the Hongzhi and Zhengde periods, they were dignified and elegant. After Jiajing and Wanli, the type of the instrument became more and more complicated, and there were many innovative works. The style was thick and heavy, and the style was light and gorgeous. It was only rough compared to the works of the Yongxuan period.
For the shape, we must observe from the following points: the mouth, belly, bottom, handle, ear, neck, flow, system, enough to the device. If you can measure the body part frequently, the weight is thick, and the size is well remembered, which is more beneficial for the identification work.
Decorative ornamentation : The ornamentation on porcelain is also the same as the shape, with distinctive characteristics of the times. The unique phenomenon of dizziness and concave marks on the Yongxuan blue and white flower in the early Ming Dynasty cannot be accurately reproduced in the replicas of the descendants.
When it comes to the generation and identification of authenticity, it is also important to observe and compare the characteristics of the patterns of other handicrafts in the same period and similar dynasties. For example, the pictures of the two generations of porcelain in the Ming and Qing Dynasties are inconsistent with the contemporary crafts of weaving, bamboo, wood, lacquer, teeth, jade, copper, silver, etc. The sea water is eccentric, and the lotus streak is the same as the pattern on the front of the Jingtai silk crepe. In this way, we can discover the characteristics of the times and find common rules. Whether it is the official kiln or the folk kiln, we should make a lot of detailed comparative analysis, such as Yongle, Xuande porcelain, tangled lotus, sea dragon, and The double-line characteristics of the blue-and-white foot of porcelain, the Hui text of Zhengde porcelain, the Taoist paintings and carving techniques of Jiajing and Wanli porcelain, the double-peony peony of Huixi porcelain, the Huimei, the flower of the Orthodox porcelain and the ball flower, etc. In the suspicion of discrimination, there are important reference values.
The authenticity of the identification can also be based on the brushwork of the ornamentation, the level of the near and dense, the weak pen and so on.
Fetal glaze : As far as porcelain is concerned, the tire is bone and the glaze is clothing. Careful observation of the carcass and glaze is also an essential part of the generation and identification.
When identifying the fetal material, it can be observed from the unglazed part of the foot, pay attention to the purity of the soil and the degree of compaction of the sintering. For example, the famous Yongyi fine sand bottom can be seen in the dark brown star or flint red formed by the natural oxidation of the metal; in addition, the Ming Dynasty carcass has a reddish perspective, while the Qing Dynasty and the Republic of China are Blue and white. For example, the Chenghua carcass, which is known for its whiteness and fineness, is white or pinkish in the light and has a lustrous luster like a fat.
For the different glazed observation methods of the Ming Dynasty, in addition to the eyesight, if necessary, a magnifying glass can also be used. When observing, pay more attention to the thickness of the enamel, the new and old gloss, the thickness of the glaze, and the size and density of the bubbles. For the typical performance of glazed faces of various eras, it is necessary to keep in mind that, for example, the porcelain glazes of the Ming Dynasty flashed different degrees of blue and white. In the early Ming Dynasty, there were often colorless natural opening and shrinking glazes in the early Ming Dynasty; the orange peel glaze of Xuande in the Ming Dynasty, The bloody red dot flashed in the yellow glazed glaze in the late Ming Dynasty.
In addition, the old and new gloss of the glazed surface can also explain the authenticity. The thickness of the glaze in each period, the glaze of the glaze and the dryness, the enamel's dense and loose and concentrated, glazed and other states also need to be mastered, which is also an important factor in the identification of authenticity. For example, the common Yongle white glaze mouth, the bottom corner and the glaze thin white and flash yellow, the glaze thickness flashes light blue. The bubble of the Yongle Cuiqing glaze is dense, the glass is strong, the gray-black tone of the blue glaze of the Ming Dynasty, the brown eye of the Xuande glaze of the Ming Dynasty, and so on. Therefore, the identification methods such as styling, ornamentation, literacy, glaze color, and fetal quality must be used together at the same time to receive the same effect and comprehensive and consistent results.
Opinions : The Ming Dynasty porcelains vary widely from generation to generation. It is also important to judge and discriminate based on the characteristics of the money. To understand the different styles of each generation, you can start with the study of the brushwork, and then compare the real and false objects, compare them to each other, and combine the physical structure, repeatedly review the structure of the font, the arrangement of the font, the location of the payment, and the depth of the color of the font. Shade and so on. In addition, attention should also be paid to summarizing the changing laws of the same period and early and late periods.
Appreciation and appraisal of Ming Dynasty ceramic art as an important development period in the history of Chinese ceramics is not only a compulsory course for cultural workers, but also will become more and more as people's living standards improve and cultural life becomes more and more colorful. The knowledge that ceramic collectors need to know and master by the good and the enjoyment will also become an aspect of improving the cultural cultivation of the whole people.
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