golden eye

Chapter 116 The strongest identification method of Yuan blue and white
Chapter 113 The strongest identification method of Yuan blue and white
When Fu Yihong and the others were concentrating on appreciating the Yuan blue and white flat pot, Mo Liming secretly drove the "seven-eyed Buddha spirit" on his left eye to observe it more carefully. In terms of artifacts, it is naturally much more convenient than other general connoisseurs. This advantage is unique. There should be no second clairvoyant in this world.

It's a pity that under normal circumstances, no matter how detailed it is, it seems useless, because he, Mo Liming, knows very little about the identification of Yuan blue and white flowers, and he has no related experience before, although he was in the "long time Ding Company" is doing the work of the Porcelain Miscellaneous Department, but he only knows a little about ancient porcelain. This is his weakness in learning about antiques, but it is also a very important aspect. He has to make up for it in the future. .

Gradually, Mo Liming controlled the bright and clear light and shadow of the Buddha statue to touch the Yuan blue and white porcelain, and faintly penetrated into the porcelain.

In this way, he can see clearly the inside and outside of the porcelain pot, just like someone else is looking at something with a high-power magnifying glass, and no matter how precise and fine the magnifying glass is made, it cannot perform perspective. The ultimate effect from the outside to the inside.

Mo Liming found that the carcass of this pot is relatively thick and dense, which seems to be very hard.

"This seems to be in line with the characteristics of Yuan blue and white porcelain." Mo Liming thought.

Naturally, he had also checked the information about Yuan Qinghua before, and the information was in a mess in his mind at this moment, mixed with many other things he had learned by himself in a mess, and he couldn't tell which one was used for. Describe the blue and white porcelain of the Yuan Dynasty.

Then, from the glaze color of the porcelain to the blue and white, Mo Liming made subtle observations, and he noticed that the glaze of this Yuan blue and white porcelain is white with a slight green glint, which is shiny and translucent.

As for the glaze color, apart from what Mo Liming saw, Yuan blue and white porcelain also had white or blue varieties.

The blue-and-white glazes on bottles and jars in the middle and early Yuan Dynasty (Yanyou Period) were covered with transparent bluish-white glazes. When you touch the glazed surface, it feels like glutinous rice. It is yellowish-brown, and there are sparse white dots sticking to the blue-and-white glaze. A small number of body glazes can be seen on the fine leather shell layer. Oblique light sees through the tire glaze and shows slightly irregular glaze thread stripes. The white-glazed, shufu-glazed and egg-white-glazed blue-and-white porcelains that were fired during the Zhizheng period were mostly white in color with slight flashes of blue. They were blue-tinged white glazes with a transparent glass texture.

As for its blue and white characteristics, Mo Liming also had some experience, and felt that everything was right, as if there was not even a single flaw.

In fact, the hair color of Yuan blue-and-white porcelain is unstable, and the blue-and-white color is dizzy. The surface of the blue and white glaze is uneven, which is the unique coloring effect of the imported "Suni Boqing" material; The blue is grayish or the hair color of blue and white is blue and grayish.

In the Yanyou period, the peony pattern of blue and white hair color goes deep into the fetal bone and takes on the shape of clouds, as if lurking on the fetal bone, showing a three-dimensional effect and seems to flicker. There are thick black threads and small dots on the glaze surface, and the blue-and-white decoration is close to the glaze surface, which is slightly concave, which is also the basic point of identifying JDZ Yuan blue-and-white porcelain.

After looking at the blue and white, it is the turn of the decoration. The decoration of blue and white porcelain in the Yuan Dynasty can be divided into two categories. One is the painting decoration of imported materials, which has the characteristics of dense composition, rich layers and neat painting. The patterns of bottles and cans are mostly composed of three to eight layers of pattern decorations. The patterns have the characteristics of harmony between the guest and the guest, and are complex and not chaotic. Fish and algae, lotus ponds, double phoenix flowers, consecrated branches, bamboo and stone flowers and fruits, etc. The flower patterns have the characteristics of large flowers and large leaves. White bead-shaped, the auxiliary variant lotus petal patterns are mostly spaced, and the interior of the frame has the characteristics of blue and white. The other type of blue and white is painted with domestic materials. Its pattern has the characteristics of smooth and unrestrained. It is most common with various flower decorations.

The ornamentation presented in front of Mo Liming is impressively composed of lotus flowers and figure pictures. There are four groups of character stories painted in the four lotus petal-shaped consecrations of the ampulla. According to what Mo Liming saw The order is "Wang Xizhi loves orchids", "Zhou Maoshu loves lotus", "Meng Haoran loves plums" and "Lin Hejing loves cranes".

Wang, Zhou, Meng, and Lin were all high scholars in ancient times, while Meng Haoran and Lin Hejing both lived in seclusion.

The orchid grows in the deep valley and spreads its fragrance far; the lotus grows out of the mud without being stained;

The "Four Love Picture" on this Yuan blue and white flat pot is lifelike and exquisite, and the unique brushwork and painting make each person and object natural and elegant, which is a rare work.

This pattern has such a theme, which shows that people in the Yuan Dynasty admired the seclusion of immortality.

This can be deduced from historical facts. The ethnic discrimination policy implemented in the Yuan Dynasty and the abolition of imperial examinations for scholars left the vast number of literati with nowhere to go, and no way to serve the country. Disdain to associate with the rulers of the Yuan Dynasty, so the majority of literati are detached and indifferent to the times, longing to go back to the mountains and forests, away from the world, so they admire the lives of ancient hermits and sages.

"This pattern is really beautiful!" Mo Liming couldn't help admiring secretly.

After looking at the pattern for a while, Mo Liming switched to inspecting other parts of the Yuan blue and white piece.

He did not find any inscriptions on the bottom feet, indicating that there may be no possibility of additional inscriptions in Yuan blue and white.

The bottoms of blue-and-white porcelain vases and pots in the Yuan Dynasty were mostly in the shape of concave ring feet, with wide and thick soles, and a small number of soles were beveled on the outside. Most of them are beveled on the outside, but whether it is a cutter or a round tool, the circle of the foot has a sense of regularity and irregularity. Some sandy tires on the soles of the feet such as bottles and cans have a tight feeling, and some tires have a firm texture. Slightly loose, small trachoma and black pockmarks are clearly visible, some soles are slightly raised in the shape of a heart, there are many swirl marks on the soles of bottles and cans, which are flint red and ocher red, and some circle bottoms and soles are slightly loose. Sparse and small stones at the bottom are clearly visible, with sparse black glaze spots of different sizes sticking to them, and appearing to explode naturally.

That scene of supernatural light moved up from the soles of the porcelain feet, and now Mo Liming began to drive his eyes to focus on its inner substance.

To identify a Yuan blue and white, it is also very important to look at the color and bubbles in it.

Among the blue and white flowers of the Yuan Dynasty, the outer foot rings of bottles and jars are generally thicker in polyglaze, showing water green, and sometimes showing duck egg blue, and the glaze surface of the body often shows bluish white, light blue, or yellowish brown. , the blue and white porcelain vases and jars in the middle and early Yuan Dynasty have obvious color development. The color development is to show the different colors of the glaze surface with the change of dryness, humidity, temperature and seasons in the air.

In the middle and early Yuan Dynasty (Yanhu period), blue and white porcelain glazes such as bottles and jars sometimes appeared weak sweating phenomenon, usually in hot weather, and most of the blue and white glazes and Shufu glazes in the middle and early Yuan Dynasty It is free of air bubbles.

The blue and white porcelain, white glaze and egg white glaze fired from the Zhizheng period will have bubbles on the blue and white, but there will be two kinds of large and small bubbles, and there are many small bubbles.

Mo Liming didn't pay attention to this point. At this time, he was just using the perspective light to observe the internal situation of the porcelain in detail.

The inner walls of blue-and-white porcelain vases and pots in the Yuan Dynasty are usually not glazed, and the inner walls are made of sand. The body is generally made of segmented and glued, so there are often obvious tire joint marks on the belly and bottom of the vase. Most of the tires are not repaired, so there is a rough feeling. The tire seams on the inner wall are mostly raised by about 1 to 2 mm, and the thickness is irregular. It has a round and delicate texture to the touch. The sand tire on the inner wall of the bottle is slightly yellowish. , trachoma on the inner wall of the tire and thin small stones on the inner wall are obviously visible. Generally, there is no tire repair treatment on the upper part of the abdomen, and there are many tire repairing patterns from the lower part of the abdomen to the bottom. The thin trachoma on the inner wall of the bottle is obviously visible, and the inner wall is thin when viewed obliquely under strong light. There are starlight spots in the trachoma, which emit bright light, also known as "yin and yang spots".

…………

"Uncle Ji, the reason why JDZ is famous all over the world in making porcelain is that it started in the Yuan Dynasty, right?"

At the same time, Fu Yihong and Ji Mindong started discussing after viewing the Yuan blue and white porcelain.

Ji Mindong nodded solemnly and replied: "Yes, Yihong, you are right. Yuan blue and white porcelain ushered in a new era of transition from plain porcelain to colored porcelain. It is quite different from the traditional aesthetic taste of the Chinese nation. It is really a wonderful flower in the history of Chinese ceramics. At the same time, it also made JDZ the center of the world’s porcelain industry in the Middle Ages. As we all know, Yuan blue and white porcelain is a hot topic in today’s collection circles. A piece of Yuan blue and white flowers, especially a large pot with characters like "Gui Guzi", can be said to be a blessing from the previous life, and it is also the highest state in the collection. Therefore, in a sense, the popularity of Yuan blue and white flowers has surpassed that of Ming Dynasty. Qing official kiln porcelain, the successful auction of 'Guiguzi' for 2.3 million yuan, pushed Yuan blue and white porcelain to the top of ancient Chinese porcelain."

Ji Mindong spoke eloquently, Fu Yihong and the others nodded in agreement, and James was very happy when he heard it, because it was a great appreciation of his things.

However, they didn't realize that at this moment, Mo Liming's expression suddenly changed, as if he saw something on the porcelain that shocked him.

(PS: Thank you *doll* for casting a valuable monthly ticket to this book, and rewarding you with 100 starting coins if you want to become a soldier. Woohoo, thank you!)

(End of this chapter)