: Open Robbery

Although Zhou Zhi recognized Zhang Cheng very much, the interest of Lao Chai and others seemed not to be here.

Lao Chai was even more straightforward: "Lao Zhang, you said that such a large pile is actually of no use to us. Just tell us how to identify this Chongzhen blue and white from a pile of later imitations.

"

"Ah this..." Zhang Cheng didn't know how to say it for a while.

"You think you're doing something wrong, don't you?" Lao Chai seriously criticized Zhang Cheng's attitude: "Once you get to the place where the tendons and meridians are crossed, you become mute. It's like you're afraid that others will imitate you."

Zhang Cheng looked at Zhou Zhi, and both of them saw helpless looks in each other's eyes. Zhang Cheng simply took over Zhou Zhi's work: "I'll brush the bottom, and you'll deal with some live babies!"

"It's not that Uncle Zhang didn't talk about it, but there are so many details about porcelain appraisal that I don't know where to start." Zhou Zhi, who is used to writing articles, thought about how to start explaining: "Blue and White in the Chongzhen Period

, is the pinnacle of the 'transformation period'. The shape of these two cylinder bottles is actually the first of its kind in the early period. There is a name, which is derived from the homophonic sound, called 'Unify the Country Vase'."

"There are actually four characteristics to identify blue and white porcelain: porcelain body, white glaze, blue and white, and painting skills."

"Uncle Zhang just talked about the characteristics of the Chongzhen blue and white period. In the jargon, this is called 'big pattern', which is an important sign to identify the authenticity of ancient porcelain."

"If the general appearance is not correct, then unless the artifacts are excavated from ancient tombs, everything that appears on the market must be questioned first."

"Take this cylinder bottle from "Dream of the High Tang Dynasty" as an example. As you can see, the shape of the banana leaf at the mouth of the bottle is slanted. Unlike the blue and white flowers on the front and back, it is mostly a pattern perpendicular to the center line of the bottle."

"This is called 'Xianfeng Banana Leaf'. Only blue and white porcelain after the transformation period began has this feature."

"Look at the bottom. The area near the bottom is shaved around to form a double-stepped foot. This is a typical pedicure method for porcelain during the transformation period."

"The blue and white hair color is beautiful. Please pay attention here. The cloud patterns, sun, scaly ground patterns, egg-shaped leaf patterns and mountain rocks all have very distinctive characteristics of the times."

"Let's look at the ground pattern. Here, if you look closely, you can find that the ground pattern actually simulates the shades of shadows created by characters, trees, furniture, etc. on the ground. For example, clusters of V-shaped symbols are used to represent grass, but there are deep and shallow.

"

"There are three types of ground patterns in the transformation period. One type is only painted with V-shaped patterns. The ground patterns are composed of extremely fine and dense V-shaped patterns. There is no decoration under the V-shaped patterns."

"The second is to render the base color first and then embellish it with V-shaped patterns. This takes less time than the former, but the decorative effect is similar;"

"The three of them are only decorated with a few V-shaped patterns, which seems a bit perfunctory. This method is generally used by those who have rough patterns."

"Obviously this cylinder bottle uses the first technique, so in addition to being an important feature of transitional porcelain, it is also a sign of the fine workmanship in this type of porcelain."

"The same is true for the painting method of cloud patterns. The most common one during this period was the bracket-shaped cloud pattern. According to the requirements of the picture, the length of the painting was different. The main decorative positions were divided into two types: one was on the back of the object, that is, it was not the main body.

The second part is usually painted with mountains and rocks, with cloud patterns floating in the middle, which indicates the mist and clouds and the feeling of fog in the mountains. The second part is in the main part of the picture, usually above the main body, and draws a corner of the cloud patterns, with a pavilion looming among the clouds.

Buildings such as pavilions and pavilions are used to increase the depth of field and decoration of the picture."

""Dream of Gaotang" is an allusion to "Ode to Gaotang" in Volume 19 of "Selected Works of Zhaoming". It tells the story of King Xiang of Chu and Song Yu who traveled to Yunmeng Terrace and looked at Gaotang. There were clouds on it. The king asked why it was cloudy.

Song Yu replied that it was Chaoyun, and asked what Chaoyun was, which led to a dream of Gaotang. According to Song Yu, in the past, King Huai of Chu traveled to Gaotang and slept during the day. He dreamed of a woman who said she was a Wushan girl.

A guest from the Tang Dynasty heard that the king visited Gaotang and wanted to be his pillow. After King Huai came to visit him, he built a temple for him, named "Chaoyun". The dream of Gaotang was later used to describe the encounter between men and women, and the term "Wushan Yunyu" came from this.

.”

"Wang Daokun, a dramatist of the Ming Dynasty, created "Dayatang Yuefu", which included four stories: "Dream of Gaotang", "Sorrow of Luoshui", "Journey to the Five Lakes" and "Distant Mountain Drama". He changed the romance into a drama and conveyed the

A kind of elegance and sentiment among the literati at that time."

"Therefore, the cloud pattern on this cylinder bottle uses the curved wave pattern as the line to outline the layers of clouds, and renders it in light color within the line to give a feeling of cloud.

Different from the flowing clouds and mist effects presented by the bracketed moire pattern, the image of the bottle is divided into two spaces, expressing the feeling of one layer of reality and one layer of dreamland."

"The painting style of Appreciating Bottles is elegant and the colors are light and elegant. Whether it is the King of Chu lying on a mat or the goddess maid in a dream, the painting style is very different from the majestic and majestic style of the Kangxi Dynasty. It is more delicate and graceful.

It presents a different kind of fresh beauty.”

"There are roughly three types of rendering techniques for the clothing patterns of the figures on the vase: one is the flat painting method, which uses dark lines to outline the outer outline of the clothing, and then simply outlines the inner clothing patterns, and then flat-paints blue and white of different shades on the inside to distinguish different colors.

There are differences in the characters’ clothing. When people see the King of Chu’s clothing, they use this way of rendering;”

"The second is to only outline the simplest outline, and the folds of the clothes are represented by rendering them deep. This method is often used to draw small figures. On this vase, the maid's clothes are like this;"

"The third rendering method is similar to the rendering of gongbi painting. The lines of the clothing pattern are rendered in several layers with different shades. It is most suitable for painting the long sleeves of the toga. It can vividly express the layers of folds of the hanging sleeves. In the picture, the clothes with the long sleeves are

This method was adopted for the clothing pattern of the goddess, and the decorative effect is excellent."

"In addition, there is another important characteristic of the era, that is, the clothing of figures in this period will be stained with *-like patterns. This feature is also very obvious on the belts of goddesses and leaders."

"The story of Yunyu in Wushan painted in this work is obviously derived from Zaju prints, but the images and clothes of the characters are typical of the Chongzhen period. Due to the limitation of the shape of the vessel, the platform of Yunmeng is also represented by pavilion railings. This is also

The craftsmen at that time made bold changes."

"Such romantic themes were adapted into dramas in the Ming Dynasty, and were painted on porcelain in the late Ming Dynasty. They were placed in study rooms as desk curios and in front and rear official kilns. It is impossible to tolerate them."

"The above are the details for identifying porcelain. They are called 'small models' in the jargon. The size is fine. Combined with the other characteristics and evidence, if you are confident, you can almost identify the age of this vase. You can

I acted decisively and picked it up."

"You still call this picking up after seeing this?" Lao Chai sweated when he heard this: "Our buying method is to try our luck and pick up the missing. You... you are simply relying on your own knowledge to grab.

ah!"

"When you enter this market, you have to rely on your own eyesight and be willing to admit defeat." Zhang Cheng took out a business card from the cabinet and threw it to Zhou Zhi: "Sir, please leave me your contact information, so that you can contact me when you don't understand.

Many helpers.”
Chapter completed!