Gaogu Ceramic Identification Method

Concerned about the glazing color and other types of antique art artifacts have been different since ancient times, ancient ancient ceramic imitation phenomenon is rare. “The market demand determines the quantity and quality of fake products. Taking the Song Dynasty porcelain fraud as an example, it began to gradually increase from the 1990s, and most of them are concentrated in the five famous kilns, and the number of fake products is far less than that of Ming and Qing porcelain. With the increasing demand for the high ancient porcelain market, in the current antique market, there are more and more ancient porcelain counterfeiting and collectors are easily fooled,” said Yang Hua, an antique dealer.

Yang Hua told reporters that “apparatus patterns, ornamentation, identification, glazes and craftsmanship are important indicators in the traditional sense of identifying the authenticity of ancient ceramics. First, from the perspective of glazed counterfeiting, the glaze peeling is done with electric pens. There are pits on the surface, and the natural glazing on the ancient ceramics is flaky or granular, angular, and the whole body is visible.In addition, the natural weathered enamel ancient porcelain, the glazed surface is usually glossy, and the acid-treated products are The surface is dark and dull.From the traces of the years, the fakes were artificially sandpapered, and the direction was obvious and unnatural, while the use of ancient ceramics was untidy and unregulated.It is worth noting that the methods are no longer good forgers. It can't even imitate the quality of ancient porcelain.The ancient porcelain was artificially made by mud, and the mud was placed for many years, resulting in the looseness of the baked ceramic material, and the fine pores were seen when you look at them. , very fine and smooth."

The shape and glaze of the ancient ceramics have a distinctive imprint of the times and are the important basis for judging. "The essentials of the period of generation are mastering the ceramics' styling and glaze characteristics. For example, cobalt-blue glazed porcelain, the upper limit of which is not earlier than the Yuan Dynasty. For example, plum bottles, which became popular in the Song Dynasty, have Yuan, Ming, and Qing dynasties, but the curves of each period are different. Differently, the plum vase of the Song Dynasty was slender, full-circle, and quaint and simple, but in the Yuan Dynasty, it was bolder and larger in size, and in the early Ming Dynasty, its mouth was changed to a rolled lip and the lower body was fatter. In addition, judging from the glaze color, the white enamel of the kiln, the celadon of the Yao kiln, the Yaozhou kiln, the Yue kiln, and the Longquan kiln, the black glaze of the kiln, and the purple glaze of the kiln are all significant features. “Yang Hua suggested that collectors should be familiar with the history of Chinese ceramics as much as possible, and read more to see the museum’s collections and catalogues.

“In addition, the presence or absence of air bubbles in the glaze of ancient ceramics is also a method of identification. However, there is currently no uniform understanding of the characteristics, formation reasons, and changes of the air bubble characteristics of the artifacts at different times.” Yang Hua said, “When experts identify The weight of a porcelain, if you know the porcelain of each era, you can know the true and false with your hands, and if you listen to it, you can listen to it with your finger and listen carefully to the echo, which can also help you identify the authenticity. The echo is crisp and long, while the echo of the fake is short and turbid. Of course, these intuitive authentication methods are based on long-term accumulated experience."

Starting from the collection of porcelain pieces, however, some experts have proposed that there are always misunderstandings about the identification of Chinese ancient ancient ceramics. A senior expert told reporters that the so-called "bubble identification does not fly." He said: “The suggestion of porcelain bubble identification is too exaggerated and there are suspicions. Many people are keen to observe the bubbles on porcelain with a magnifying glass. However, the formation of bubbles is a natural phenomenon, and there is no law to follow, nor can it be used as identification. Is an important basis."

In this regard, Yang Hua believes that porcelain in the same kiln mouth has certain similarities in terms of bubbles. “The same kiln mouth porcelain has similarity in raw materials, formulation, glazing, firing temperature, etc. Therefore, the bubble characteristics after firing should also have some common rules. The premise of identifying ancient ceramics with bubble characteristics is It is very familiar with the kiln mouth, craftsmanship, and bubble characteristics of the artifacts, and has the experience of identifying the relevant authentic products.” Yang Hua told reporters that Dawning was once one of the important criteria for the identification of porcelain. “However, the dawn can no longer serve us. The identification work provided greater help, because the current counterfeiters can even realistically make light, so that the counterfeit products produce colorful light under the refraction of light. In addition, instrumental inspection of high ancient porcelain can not be too superstitious, now The imitation can be achieved at the same level as the true elemental ratio."

“The first step in the collection of ancient ancient ceramics should begin with the collection of porcelain tiles.” Yang Hua said, “To improve our eyesight, reading books on light books does not work. We should feel more and study the texture of ceramic tiles. We have developed a good feel. And now, in the collection circle, the collection of porcelain tiles has begun to take shape."