Since ancient times, collectors of ancient porcelain have loved blue and white. The artifacts that have been handed down from the official kiln and the good appearance are now rare. They are seen, and the price will be too high for the average person to bear. Therefore, in recent years, the kiln's good quality products have attracted more and more attention, and the price is also heating up, but at the same time, the fake and old is also appearing. Therefore, the collector Liu Deming reminded Tibetan friends to master some of the identification methods of porcelain before buying porcelain.
First of all, we must understand the porcelain characteristics of the dynasty. For example, the Ming Dynasty porcelain is full, thick and simple, and the lines are soft and round, giving a sense of simplicity and solemnity. The carcass of porcelain is divided into a scorpion and a round. The squatter refers to a three-dimensional shape. For example, bottles and statues are relatively heavy; rounds refer to flat shapes, such as plates and bowls, and the carcass is thicker than the Qing Dynasty. In the Ming Dynasty, the blue-and-white porcelain was dizzy in the early stage, and it was beautiful in the middle and dark in the late stage. In the Ming Dynasty, there were many traces of flint red in all the porcelain exposed tires. The foot is large, the big piece is mostly sand bottom, and the Yongle and Xuande big plates are all white sand bottom. In the early and late Ming Dynasty, the soles of the rounds often had bottoms, sands, and radial scraping marks, which were more obvious at the end. The shape of the foot is straight circle foot, inwardly looping foot, lying foot, stepped foot, extroverted oblique foot, straight cut foot, wall foot, flat circle foot, shallow circle foot, scraping flat foot Wait.
Then it is to understand the style of each generation of porcelain. For example, in the Ming Dynasty, there were many books in the town of Dezhen in the foreground; after Yongle, the text of the dynasty was written on the official kiln. In addition to Yongle, Xuande, Hongzhi, and Wanli, there are many other books, including six characters and four. The word double acts as the main character, and there are also very few single-line cross-sections, ring-shaped models and vertical models.
Different from Ming Dynasty porcelain, in the style of porcelain in the Qing Dynasty, Shunzhi and Kangxi were relatively ancient, full and honest. When they arrived at Yongzheng, they were very beautiful and timeless, while in Qianlong, they were regular, and then after Jiaqing and Daoguang. The childish is bulky. The carcass of the Qing Dynasty porcelain is generally thin and moderate, and the rounds are thick and thin. The body weight of Kangxi was hard and fine. At the time of é›, there is a light, thin and fine whiteness. After the road light, the carcass is thick and loose. In the Qing Dynasty, the abdominal and neck joints of the sputum were extremely rare. In the Qing Dynasty, the large objects and early objects in the porcelain were mostly smooth sand bottoms. When the Shunzhi and Kangxi porcelains were more diverse, they had a double-bottomed bottom, a beveled bottom, a two-layered bottom, and a foot. What should be understood in the porcelain of the Qing Dynasty is that there are more and less Kangxi, and they are used together. In the late Tongzhi, Guangxu, and Xuantong three dynasties, there were many more sacred books, and the periphery was in the form of a circle or a box. The knowledge of the folk kiln, more casual scribble, the font is sloppy.
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