There are many ancient ceramic kiln mouths in China, and the history of burning porcelain is long. Its identification has always been a hot topic in the collection of cultural relics, and it also plagues many collectors. Recently, the reporter from the antique ceramics collection business Mr. Yang, listening to Mr. Yang talk about how to identify overestimated ceramics. Focus on glaze Different from other categories of antique art and artifacts, ancient ancient imitations of ancient ceramics are rare. “Market demand determines the quantity and quality of counterfeit goods. Taking Song porcelain fraud as an example, it has only gradually increased since the 1990s, and most of them are concentrated in the five famous kiln, and the number of defective products is far less than that of Ming and Qing dynasty. With the increasing demand for Gaogu porcelain market, in the current antique market, there are more and more porcelain counterfeiting in the ancient times, and collectors are easy to be fooled,†said Yang Hua, an antique dealer. Yang Hua told reporters that "appliance, ornamentation, literacy, glaze and craftsmanship are important indicators in the traditional sense of authenticity of ancient ceramics. First of all, from the falsification of glaze, the glaze of enamel is drilled with electric stylus. There are pits on the surface, and the natural glaze on the ancient ceramics is in the form of large pieces or granules with angular edges and visible objects. In addition, the natural weathered glazed ancient porcelain, the glazed surface usually has gloss, and the acid treated products The surface is dull and dull. From the traces of the years, the fakes are artificially sanded, the direction is obvious and unnatural, and the traces of the use of ancient ceramics are disorderly and irregular. It is worth noting that the counterfeiters are more sophisticated. It can not mimic the fetal quality of ancient porcelain. The ancient porcelain artificial mud, the tire mud has to be placed for many years, resulting in the ceramic pits that are fired loose, and the fine pores can be seen in detail, while the concrete mud of the modern products is machine-grinding. Very fine and smooth." The shape and glaze of ancient ceramics have a distinct imprint of the times and are an important basis for judgment. "The essentials of the generation are to master the shape and glaze characteristics of ceramics. For example, cobalt blue glaze porcelain, the upper limit is not earlier than the early Yuan Dynasty. For example, plum bottle, the Song Dynasty began to be popular, Yuan, Ming and Qing, but the curve of each period In the Song Dynasty, the plum bottle was slender, full of feet, and simple and beautiful. In the Yuan Dynasty, the lower body was thicker and the body shape became larger. In the early Ming Dynasty, the mouth was changed to a curled lip, and the lower body was fatter. The bottle shape is the most beautiful. In addition, from the glaze color, the white glaze of the Ding kiln, the green glaze of the kiln, the Yaozhou kiln, the Yue kiln, the Longquan kiln, the black glaze of the kiln, and the purple glaze of the kiln are all prominent features. Yang Hua suggested that collectors should be as familiar as possible with the history of Chinese ceramics and read more about the collections and catalogues exhibited by the museum. "In addition, the presence or absence of bubbles in the glaze of ancient ceramics is also an identification method. However, there is no unified understanding of the bubble characteristics, formation causes and changes of the objects in different periods." Yang Hua said, "When the expert identification If you know the weight of porcelain, you can know the true and false by hand when you have a good understanding of the porcelain of each era. There are people listening to the sound, and listening to the echo with a finger on the porcelain can also help to verify the authenticity. The echo is crisp and long, and the echo of the product is short and turbid. Of course, these intuitive methods of identification are built on long-term experience." Start with the collection of tiles However, some experts have suggested that there is always a misunderstanding of the identification of Chinese ancient ceramics. A senior appraisal expert told reporters that the so-called "bubble identification is not reliable." He said: "The statement of porcelain bubble identification is too exaggerated, and there is suspicion of flicker. Many people are keen to use a magnifying glass to observe the bubbles on the porcelain, but the formation of bubbles is a natural phenomenon, and there is no law to follow, nor can it be used as an identification. Important basis." In this regard, Yang Hua believes that the same kiln mouth objects have certain similarities in bubbles. “The porcelain of the same kiln mouth has similarities in terms of raw materials, formulation, glazing, firing temperature, etc. Therefore, the characteristics of bubbles after firing should also have some common laws. The premise of identifying ancient ceramics by bubble characteristics is The kiln mouth, process and bubble characteristics of the utensils are very familiar, and have the experience of identification of related authentic products." Yang Hua told reporters that Shuguang was once one of the important standards for porcelain identification, "However, Shuguang can not do for us. The identification work provides even greater help, because the current counterfeiters can even make a vivid light, so that the fakes produce seven colors of light under the refraction of light. In addition, the instrumental inspection of the high ancient porcelain can not be too superstitious, now The imitation of the product can reach the same level as the element of the real thing." “The first step in the collection of high ancient ceramics should start from the collection of porcelain.†Yang Hua said, “To improve your eyesight, it is impossible to see the catalogue in the light reading book. You should touch and study the texture of the ceramic tile so that you can I have a good feel. And now in the collection circle, the collection of porcelain has begun to take shape." 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