Compare the methods of ancient porcelain identification before identification. Typological classification is a common method for visual identification of ancient materials. Generally, utensils are classified according to their shapes and ornamentation, or bowls of different times are systematically arranged, or multicolored, blue-and-white and monochromatic glazes of different times are systematically arranged respectively. In the comparison, we should make full use of the five points mentioned above to solve the four main contents of the appraisal. When the products of a certain era have not yet obtained the standard instruments, the method of looking at both ends and verifying in the middle is adopted. For example, when American Pope identified Hongwu blue and white flowers, he first looked at the blue and white flowers in Yuan Dynasty, and then looked at Yongle in Ming Dynasty. Xuande has blue-and-white porcelain in the official kiln. Those blue-and-white porcelain that seem to be different from the blue-and-white porcelain in the Yuan Dynasty but have some characteristics of the blue-and-white porcelain in Yongle and Xuande of Ming Dynasty are the blue-and-white porcelain in Hongwu of Ming Dynasty. Because the products of any period are bound to have many factors connecting the past with the future. When appraising, look forward, think backward, think left and right, and you will come to the correct conclusion. When a product that needs to be identified is in front of us, how to analyze its firing age and kiln mouth? That is to say, what aspects of the utensils themselves can reflect their real firing age and kiln mouth? We call the factors that can reflect the firing time and kiln mouth the age factor. Mainly in the following aspects: 1. Shape: mainly depends on the shape characteristics of the mouth, neck, shoulders, abdomen, wall, shin, foot, flow, grip and tie of the object, and the thickness and weight of the carcass. Take the bowl products of Jingdezhen in Song Dynasty as an example, there are three categories: inclined wall, curved wall and drum bowl, including lip, sunflower mouth, rolled mouth, straight mouth and circle foot. After repeated comparisons, the changing rules of various bowls are roughly as follows: Time changes: from the early Northern Song Dynasty to the late Northern Song Dynasty to the early Southern Song Dynasty, The height of the hoop foot is from low to high —————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————————— For example, the hand-pressed cup of Yongle in Ming Dynasty, the chicken cylinder cup of Chenghua, the phoenix tail statue of Kangxi in Qing Dynasty, the white deer statue of Qianlong and the heart-turning bottle. Only by remembering the shape characteristics of the real thing can we see through the fake at a glance. 2. Decoration: including decoration methods (painting, glass, engraving, painting, carving, carving, folding, rubbing, printing and pasting, etc.). ), theme, composition, pattern image, painting style and color materials, as well as the characteristics of the times and kiln mouth. Because decoration changes with the changes of modeling, technology, materials and people's aesthetic requirements, the upgrading and changes of decoration are more common and active than those of other appraisal factors, so it is more important to analyze this factor in appraisal. Take Jingdezhen's glazed porcelain as an example, which appeared in the middle and late Yuan Dynasty. At that time, there were only three colors of red, yellow and green, and the painting method was the same as that of Yuan blue and white, with hooks, hooks and dots, which were rough and bold, vivid and natural. In the early Ming Dynasty, Hongwu not only inherited the painting style of Yuan Dynasty, but also appeared double-sided alum red. In Yongle and Xuande, there were blue and white hats and red hats, with magnificent patterns and dignified and gorgeous colors. Chenghua is famous for its fighting colors, neat strokes, vivid patterns and rich and ancient colors. There are various ways to use color in Chenghua Doucai, such as coloring, covering, dyeing, adding and filling, but all of them are flat-coated, without the dark side of flowers or the reverse side of leaves, and the appearance is light and beautiful. The multicolored colors of Jiajing and Wanli are mainly painted with glaze pigments. Painted blue and white, but the proportion is small. At this time, a new emerald color was produced, and the black material was marked with glue, but the middle of the black line was slightly brown. The pattern layout is more gorgeous than Chenghua's fighting color, and the pen is loose and simple. The multicolored color of Kangxi in Qing Dynasty was deeply influenced by the layout illustrations in the early Ming Dynasty, with balanced and full composition and generalized images. Exaggeration, soft and obscure lines, bright and clear colors, bright red and green, antique. The black in Kangxi's colorful paintings is deep and bright, and it is no longer slightly brown. The black material and alum red are mixed with oil, and the principal is also used in the colorful paintings. Kangxi's multicolored colors deeply influenced later generations and were imitated by Ting Anne and Daohou, but they were not as vivid and natural as Kangxi's multicolored colors and beautiful Gu Zhuo. 3. Tires and glazes; Because the raw material selection, formula and refinement of tire and glaze are different in different kilns and different times, the molding and glazing methods are also different, and the firing temperature and atmosphere are not completely consistent, which makes the tire glaze of products have their own characteristics. For example, the celadon of Jingdezhen in the mid-Song Dynasty was white and delicate, thin and light-transmitting, and its glaze color was crystal clear as water, which was obviously different from that of other kilns in the same period. Another example is the sweet white glazed porcelain of Yongle in the Ming Dynasty, and the fetal bones are slightly red. When Chenghua, the porcelain tire is white or pink when exposed to light. The fetal bones of Kangxi in Qing Dynasty gave people a delicate and firm feeling. Yongzheng porcelain tire reflects microscopic bluish white when it meets light. These characteristics are beyond the reach of later imitators. It is also very important to carefully examine the color, thickness, compactness, firmness and brittleness, thickness, transmittance and knocking sound of the tire size. 4. Manufacturing technology and installation and firing method: With the progress of science and technology, porcelain-making technology and installation and firing method are constantly improving and perfecting. With the appearance of new technology and the use of new kiln furniture, installation and firing methods, the appearance of products has changed. For example, in Jingdezhen during the Five Dynasties, the multi-Zhi Ding frameless burning method was adopted, leaving about 7- 18 Zhi Ding marks on the ring feet and the inner soles of utensils. At the beginning of the Northern Song Dynasty, three or four Zhi Ding were put on the feet of utensils, and then put into saggers (one box for each utensil) and fired in the kiln. The bottom of the product left three or four traces of Zhi Ding. Then, the Zhi Ding was abandoned, and the washer-shaped pad cake with a smaller inner diameter than the hoop foot and a little higher than the hoop foot was placed in the inner bottom of the vessel and put into the sagger, leaving traces of the washer or pad cake on the inner bottom of the hoop foot of the product. Due to the appearance of over-burning, Mangkou porcelain was produced in the late Northern Song Dynasty. For example, from Yuan Dynasty to Hongwu in Ming Dynasty, the bottoms of big bottles and jars were connected separately, so it was not needed after Hongwu. In the Yuan and Ming Dynasties, the height of Hongwu high-legged handle cup was connected with the upper cup with mud, and it was connected with glaze after Hongwu. There were many obvious interfaces when bottles and cans were molded in Ming dynasty, but in Qing dynasty, due to the improvement of technology, the interfaces were few and not obvious. These small features caused by technology, assembly and firing can not be ignored in identification. 5. style. Jingdezhen porcelain has officially had the title of emperor since Yongle kiln porcelain in Ming Dynasty, and it is very common to preach virtue. Since then, the form and content of style have become more and more abundant. The common ones are emperor's year number, emperor's year number, fake money, dry branch year, Zhai, Tang, Xuan, household name, personal name, eulogy, auspicious words, paintings, flowers and windows. Because there are special signature potters in the Imperial Kiln Factory in Ming and Qing Dynasties, there are strict specifications for the font, strokes, arrangement, signature position and color materials, so it is difficult for imitators to be romantic. Therefore, when identifying imperial kiln products in Ming and Qing Dynasties, it is important to look at the style characteristics, while the signature of imperial kiln products in Ming and Qing Dynasties is different and the brushwork is random, which is second to the identification of imperial kiln porcelain style. 6. Look at the overall style of the times of porcelain: Like other works of art, porcelain combines local style and personal style into the style of the times, but it is also a component of the style of the times. Therefore, grasping the overall artistic style of China porcelain in different times is also very beneficial for identification. For example, China's Song Dynasty porcelain, with exquisite modeling, exquisite and elegant patterns, has a light, elegant, quiet and elegant style, and Jingdezhen's Song Dynasty shadow play products have also been integrated into this era style. China's Yuan Dynasty porcelain has a heavy matrix, majestic and dignified shape, bold and powerful decorative patterns, and Jingdezhen's Yuan blue and white flowers fully reflect the flavor of the times. In a word, the genuine products of any era are the products of a specific era, and many aspects are marked with the imprint of the times. Although there are many fakes after imitation, or there is a level of authenticity, but after all, it is an antique product of another era, which will always leave traces of Spiderleg in the imitation era. As long as all the factors are considered comprehensively, there is no escape. V. General differences between ancient porcelain and new porcelain 1. The glaze of ancient porcelain has no dazzling floating light (dry light), and its luster is as static as jade; New porcelain has dazzling floating light, but antique porcelain is often treated to remove floating light. The main methods are: (1) coating or dipping in dilute acid, but the glaze is pale and scars can be seen under a magnifying glass. (2) Polished with animal skin, but countless parallel fine stripes are seen under the magnifying glass. (3) Tea leaves with a small amount of alkali are boiled or smoked for a long time, and the glaze color is not correct. (4) Long burial time. 2. The unearthed ancient porcelain rusts into the glaze, and the forger's soil rust adheres to the surface and is removed by washing with water. 3. Porcelain decoration, the real person's pen (knife) is smooth and natural, while the dummy is stiff, artificial, dull and lacking in vitality. 4. The golden color of ancient porcelain is easy to change color or leave only traces after being worn for a long time; The new porcelain is resplendent and dazzling. 5. The low-temperature lead glaze of ancient porcelain has a layer of silver on the glaze surface, and the green glaze of melon skin is more obvious, but the new porcelain does not. 6. Overglazed porcelain (multicolored, pastel and antique) generally has a history of 100 years, and there is a rainbow-like halo around the color under the light. Some glazed colored porcelain that are only 60 years apart will also have this phenomenon, but the longer the age, the more obvious it will be. 7. It has been common since Guangxu, but rarely after liberation. Whether it is a post-hanging color depends on the following aspects: (1) whether the glaze color has the color characteristics at that time; (2) Whether the layout, image and pen of the pattern have the style at that time. After adding color, the painting was stiff, stiff and slender, lacking the style of the time. (3) Whether the pattern is pressed on the glaze scar or not, it is inevitable to add color after this phenomenon appears; (4) After coloring, the gloss is generally strong.