The inheritors headed by Guo Baochang made porcelain under the name of "Jurentang", and its embryo quality, glaze color and painting all reached a fairly high level.
19151February 12, Yuan Shikai proclaimed himself emperor, changed the Republic of China into the "Chinese Empire" and stipulated 19 16 as the "first year of Hongxian". In order to follow the example of the Ming and Qing emperors, Jingdezhen set up an imperial kiln to burn precious porcelain and write down the year number for the use of the court. The "Jurentang" and "Jurentang System" handed down from ancient times and Guo Baochang, a pottery official of Jingdezhen Imperial Kiln, later fired some porcelains with his nickname "Zhai Zhai" as a clue, which was valuable. Porcelain named "Red Fairy" is an excuse. 19 16 On March 22nd, the monarchy was abolished and the title of Hongxian was cancelled.
Antique style prevailed in the late Qing Dynasty and the early Republic of China. No matter what age and kiln mouth, the antique scope includes porcelain, glaze color and painting, and blue and white ware is no exception. Indeed, a few artifacts have reached the point of "chaos" in skills. For example, during the Republic of China, Mr. Sun Yingzhou specialized in copying the blue and white wares of the former Ming Dynasty. His imitation of Yongle and Xuande blue-and-white plates and bowls, with dignified crystal blue-and-white dots penetrating into fetal bones, is similar to the real Yongle and Xuande blue-and-white wares, and it is extremely difficult to identify them.
New famille rose in the early years of the Republic of China. Compared with the traditional famille rose, the new famille rose porcelain painting absorbed the nutrition of modern painting in terms of modeling, lines, luster and color. The works are excellent in workmanship and rich in color, which is more in line with the appreciation level of the general public.
Wang He and Pan, as the pioneers of new pastel porcelain painting, influenced the style of Jingdezhen porcelain painting. 1928, at the initiative of Wang Qi, painters such as Wang Dafan, Cheng Yiting, Wang Yeting, He Ren, Xu Zhongnan, Deng Bishan, Tian Hexian, Bi Botao and Liu Yucen set up the Moon Festival, which was called "Eight Friends of Zhushan". At the same time,,, Wang Dacang, Yu Hanqing, Zhang,, Cheng Yunnong and others are also famous painters as the Eight Friends of Zhushan. Most of the new pastels are porcelain paintings, including square bottles, cylindrical bottles, Yin He, water pots, flat pots and other simple objects.
In order to save China's traditional ceramic craft, national industrialists and businessmen further reformed China's ceramic handicraft industry and set up a number of new porcelain factories. When Guo Baochang supervised the firing of Jingdezhen porcelain, he hired famous artists such as painting, color filling, glaze pouring, modeling and kiln burning, and established Jiangxi Porcelain Company as a joint venture between government and businessmen. The fired objects have thin fetal bones, white glaze, pure and bright color and exquisite painting. Cultural relics of the bottom tribe "company" These artifacts are called "the only flower of revival in the history of China porcelain industry" by ceramic appraisers. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 In the achievements of modern porcelain making, except Jingdezhen, the underglaze color in Liling, Hunan Province is unique. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Liling is located in the east of Hunan, producing high-quality porcelain clay. From the early Qing Dynasty to the late Qing Dynasty, the porcelain industry flourished several times, but the technology was backward, and only coarse porcelain for daily use was produced. In the early years of the Republic of China, Xiong Xicen, a Hunan native who was then Prime Minister and Minister of Finance of the State Council, went to Japan to inspect the porcelain industry. After returning to China, he founded Xiang Porcelain School and Xiang Porcelain Company in his hometown. With the help of Jingdezhen artists and Japanese porcelain makers, they created underglaze colors. This unique underglaze color is rich in color, crystal clear and moist, elegant and lively, and has a unique flavor. There are red, orange, yellow, green, purple, black, gray and other colors. Each color is subdivided into several tones, reaching the artistic realm of "gorgeous but not vulgar, light but not spiritual". It is simple and elegant, it is bright and colorful, and it is rich. Artists at that time included Zhang Xiaogeng, Peng, Fu Daohui, You and Wu Shouqi. Liling underglaze color came out only for more than 20 years (1909- 1930), and won the gold medal in the domestic and foreign porcelain competition four times, which was all the rage. There are few works handed down from generation to generation at present. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Among the porcelains of the Republic of China, the most cultural feature is the porcelain painted by fashionable figures. This innovative fashion figure painting porcelain shows the new fashion in the Republic of China. The colorful new pastel techniques are adopted in porcelain painting, which makes China porcelain figure painting take on an epoch-making new posture. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Before the Republic of China, most of the paintings on porcelain were landscapes, flowers and birds, auspicious patterns, and most of the figure paintings were stories of literati, Taoism and opera. Very few housewives in real life. Fashion figure painting porcelain depicts the life scenes of housewives in many ways, some dressing up in front of the mirror, some playing the piano, some arranging flowers for each other, and some playing with children. The description of modern women's family life in Fashion Porcelain is unprecedented in the history of China ceramics. This provides a basis for studying the evolution of customs and the development of women's clothing in the Republic of China. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt The third chapter is the influence of China ancient ceramics on foreign countries and southeast regions.
& ltP & gt& ltFONT face=Verdana>。 ? A considerable number of China ceramics were sold abroad in the Tang Dynasty. Since the Song Dynasty, the export of China Song Dynasty porcelain has been increasing. China's Song Dynasty porcelain is found in many countries in eastern, southern and western Asia, as well as in Africa and coastal areas. During the Ming and Qing Dynasties, China porcelain was sold to many European countries and regions, such as Holland, Germany, France, Portugal and Spain. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Some porcelains are completely fired in accordance with the European favorite style in terms of modeling and decoration, which has the characteristics of combining Chinese and western. For example, the turmeric pattern on porcelain is the national flower of the Netherlands. In particular, the artistic style of painting on ceramics in the Tang Dynasty was earlier than Picasso, the representative figure of modern French painting, 1000 years ago. 1708, Botger (1682- 17 19) fired white and transparent European hard porcelain. After Germany, France fired real porcelain similar to China. Wedgwood (1730-1795) in Britain first adopted the decoration technology of steam engine and cliche transfer, and introduced ceramics to the mass market at low price. /kloc-After the mass production of porcelain in Europe at the end of 0/8, the export of China porcelain to Europe has been a spent force. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 China ancient porcelain had a great influence on the production of Korean and Japanese porcelain. Since the Han and Tang Dynasties, there have been frequent cultural and artistic exchanges between China and China and Japan, and a large number of Japanese ceramics have been sold to Korea and Japan. Especially in Song Taizu and Ming and Qing Dynasties, porcelain represented by Jingdezhen was exported to North Korea and Japan, and was welcomed by people from all walks of life. Influenced by China's blue-and-white and multicolored porcelain, Korea's Koryo and Lee Dynasties successively successfully fired blue-and-white and multicolored porcelain with China's porcelain-making technology and Korean characteristics. The Japanese also successfully fired blue-and-white porcelain in 16 16, and fired colorful porcelain very similar to China in 1643. By the Qianlong period, Japan had become a ceramic power. China ceramics not only lost its huge traditional Japanese market, but also won a strong rival for the export markets of Europe and West Asia. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt 1. Korean celadon. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Korean celadon. It refers to celadon produced during the 470 years from 9 18 to 1392 during the reign of the Korean dynasty. Korean celadon has been used by nobles and courts since its appearance. Korean celadon is deeply influenced by China porcelain. At that time, there was a close relationship between the Koryo Dynasty and the Song Dynasty, especially the import of China porcelain, which greatly promoted the emergence and development of Koryo celadon. North Korean celadon in this period mostly imitated Song porcelain, and its patterns and shapes faithfully followed the styles of Yue kiln, Ding kiln, Yaozhou kiln and later Ru kiln and Longquan kiln. According to Xu Jing, a famous painter in the Song Dynasty, the book "The Map of Xuanhe's Mission to Korea" records: "The blue color of pottery is called beauty." He added, "Sister-in-law is fragrant and beautiful. There are lying beasts above and lotus flowers below. All musical instruments are the best. " The rest are the ancient secret colors of Yuezhou, and the new kilns in Ruzhou are similar. Here, Xu Jing compares Koryo celadon with Rusong porcelain and Yueyao porcelain. It can be seen that Korean celadon was precious at that time. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 The glaze color of Korean celadon is close to Longquan celadon, with pink and scarlet as the main tones. Glaze has luster, fine stripes and black and white ornamentation. The popularity of cyan black in Korean celadon is still related to its national origin. According to "Korean History", "China began with hoary head and finally became wise. Its potential is water as wood, black as mother and green as body. Customs prosper when they follow the soil, but perish when they go against it. People's customs, clothes, crowns, music and ritual vessels are also used for official purposes. In the future, all civil and military officials will wear black clothes and green hats ... anyone who uses copper and earthenware will follow suit. Follow it. " From then on, it is not difficult to see the root cause of the popularity of cyan black in Korean celadon. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt II. Porcelain of the Li Dynasty
& ltP & gt& ltFONT face=Verdana>。 Li dynasty porcelain refers to porcelain produced by 1392 to 1883. Influenced by China white porcelain in the late Yuan Dynasty and early Ming Dynasty, the porcelain in the early Li Dynasty had a deep glaze color, and the white porcelain burned was as white as snow. The Li Dynasty advocated honesty, and the Confucian concept of innocence was deeply rooted in the hearts of the people, so white porcelain ran through the whole Li Dynasty. Porcelain in the Li Dynasty can be roughly divided into three periods: from the first year of Taizu to the twenty-seventh year of Renzu (1392- 1649). The middle period is from the first year of Xiaozong to the twenty-seventh year of Yingzong (1650- 175 1 year). In the later period, from the 28th year of the British Emperor to the 20th year of the Emperor Gaozong (1752- 1883). This book introduces a precious colored porcelain jar of Liguanyao, with a height of 1 1.5cm, a caliber of 14.6cm, a bottom diameter of 12cm, a flat lip and a short side. White glaze is applied to the inside, outside and bottom of the vessel, showing ivory white and fine lines. The glaze layer is delicate and shiny, the tire soil is white and delicate, and the feel is heavy. There are six prominent dots arranged in a five-pointed star shape at the bottom, which is the symbol of the official kiln products. On the front, there are three dragons flapping their wings in the clouds, and the dragon patterns are painted in black glaze. Ganoderma lucidum clouds are covered with bean green and light blue shadows. This painting is similar to China's fighting color. There are two bean green patterns on the edge of the outer wall of the utensil. Both sides of the jar have reliefs of lion's head. The lion has round and bright eyes and a ring in his mouth. It is magnificent, and the blue and white color is green and bright, glittering and translucent and smooth. The words "I am boundless" are written in black paint from right to left on the back. It fully embodies the level of the official kiln in the late Li Dynasty, and its exquisite craftsmanship is a rare treasure. By the mid-plum period, the glaze color of white porcelain was slightly blue, and at the same time, white porcelain dyeing appeared, such as red in glaze and brown in glaze. At this time, the pattern of blue and white porcelain is naive with a pen, and the weak streamline can be condensed to the point of cherishing ink as gold, similar to Jingdezhen folk kiln porcelain in the early Ming Dynasty. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt III. Yimali kiln and Wu Xiangrui blue and white porcelain, etc.
& ltP & gt& ltFONT face=Verdana>。 In the sixth year of Zheng De in Ming Dynasty (15 1 1), Dr. Ito Gorosuke, a Japanese ceramist, came to Jingdezhen, Jiangxi, China, and studied porcelain-making technology with Japanese envoys, and changed his name to Wu Xiangrui. Returning to China two years later was called "the good fortune of Dr. Ito Goro" to show his memory of China. Before Japan became fat, he opened a kiln in Imari. With the spread of blue-and-white porcelain production technology in this kiln, Japan called it blue-and-white porcelain dyeing, which made an important contribution to its development. His works are generally characterized or written as "Wu Xiangrui" or "Dr. Wu Xiangrui of Wulang" and "written by Dr. Wu Xiangrui of Wuliang", which is called Xiangrui School. Its shape, pattern and glaze color are obviously influenced by China porcelain. Because the green materials used for firing blue and white at that time were very expensive, most of the blue and white porcelain wares produced in this kiln were used by the Japanese emperor and the royal family. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 In the Qing Dynasty, Imari Kiln continued to burn blue and white porcelain, and a considerable number of export porcelains were fired, among which the company's English abbreviation V OC was fired for the Dutch East India Company. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 China's porcelain-making technology has a great influence on Japanese ceramics. The blue-and-white glazed porcelain fired in Japan not only absorbs the traditional ceramic technology of China, but also has the characteristics of Japanese porcelain making. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt Chapter IV Imitation Porcelain in China and Others.
& ltP & gt& ltFONT face=Verdana>。 A topic that people in the collection circle often talk about: imitation. Historically, China has a long history of imitation. There have been three antique peaks in Song, Ming, late Qing and early Republic of China. Imitation products can be divided into official imitation and folk imitation according to jargon. According to the quality theory of imitation, it can be divided into high imitation and general imitation. Imitations that have no appraisal value are also called fakes. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt First, official imitation.
& ltP & gt& ltFONT face=Verdana>。 Official imitation refers to the imitation of the artifacts of the former dynasty by the official kiln because of the emperor's hobby or because of the scarcity of some handed down artifacts. According to historical records, the earliest imitation appeared in the Li Shimin period of Emperor Taizong, and Li Shimin loved Wang Xizhi's Preface to the Lanting Pavilion. Please ask the famous calligrapher to copy again and again. The Preface to Lanting Collection, which we are fortunate to see today, is a copy of the past. We want to thank the old gentlemen who made imitations. Otherwise, who can watch The Lanting Preface? Song Huizong, the Yongle and Xuande emperors of the Ming Dynasty, and the Kangxi, Yongzheng and Qianlong emperors of the Qing Dynasty all loved cultural relics very much. They all ordered the imitation of famous porcelains of past dynasties. Many of the six famous kilns in the Song Dynasty are modeled after Han Dynasty artifacts, such as the three-legged statue and the four-legged Fang Ding. At the same time, it also copied bronzes from Shang and Zhou Dynasties, Spring and Autumn Period and Warring States Period. Both Beijing and Taipei National Palace Museum have works of Yongle and Xuande in Ming Dynasty imitating the previous generation, such as Yongle imitating Longquan kiln statue, three-line jar cover, Xuande imitating Ru kiln plate and so on. In Qing Dynasty, the official kilns copied the five famous kilns in Song Dynasty, namely Ru Kiln, Official Kiln, Ge Kiln, Ding Kiln and Jun Kiln. At the same time, there were also products that imitated this dynasty in Ming and Qing Dynasties, such as Jiajing imitating Yongle, Xuande and Wanli imitating Jiajing. Qianlong imitated Kangxi. Most of the artifacts copied by our ancestors follow the rules of ancient porcelain making, and try their best to imitate the style and charm of ancient porcelain in terms of tire soil, blank painting, glaze color, decoration, shape and weight. There are few suspects who plunder the beauty of the ancients and take it for themselves. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Since the founding of New China, there have been three official imitations of porcelain. The first time was at the turn of 195 1 spring and summer. Following Mao's instructions, the General Office of the Central Committee decided to present the "Water Margin Story Porcelain Plate" to Stalin as a national advanced gift, demanding that it be "advanced, specially made and beautiful", fully embodying the "national characteristics" of China ceramics. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 The central government decided to focus on Jingdezhen's "Jianguo Porcelain Company" and invited domestic porcelain elites to gather Jingdezhen and * * * to design and burn the "Water Margin Story Disc". One hundred and eight typical storylines of Water Margin are hand-painted on 108 porcelain plates respectively. In order to reflect the profound meaning of Mao Zedong's "Water Margin Porcelain Dish" given to Stalin, we decided to add Jiangxi. Porcelain masters are striving for perfection in every process, such as porcelain clay selection, blank making, modeling and glazing. The masters of painting carefully designed the picture, grasped the personality characteristics of each character, bravely jumped into gentleness, joys and sorrows, lived on the streets, and meticulous brushwork. * * * Fired 3 sets, which are fine antique porcelain. One set is treasured by the Russian National Museum. The other two existing Jingdezhen Ceramic Research Institute. Unfortunately, its special significance and collection value have not attracted the attention of the world for many years. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 The second time is at the beginning of 1975. Wang Dongxing, director of the General Office of the Central Committee, informed the Jiangxi Provincial Party Committee and instructed Jingdezhen to develop a set of porcelain tableware and stationery for Chairman Mao. It is based on the highest state of porcelain praised in ancient times, such as "white as jade, as thin as paper, as bright as a mirror and as loud as a chime". At the same time, it should be able to represent the highest level of contemporary China porcelain-making technology, and the shape should be both beautiful and generous. At the same time, it should also consider the life and life in Mao Zedong. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Jingdezhen transferred more than 40 technical backbones to form a research group to be responsible for the specific implementation. At that time, many famous ceramic artists participated in this work. They include descendants of Eight Friends of Zhushan during the Republic of China, such as Wang Dafan's nephew Wang Xiliang, Wang Yeting's daughter Wang Guirong, Liu Yucen's son Ping Liu, Xu Zhongnan's granddaughter Xu Yafeng, and artists such as Dai Ronghua, Kang Jiazhong, Xin Qingshan, Peng Zhaoxian, Ji Xigui and Zhang Bingxiang. In order not to be disturbed by the outside world, this task is code-named "750 1 project". & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 In order to make the product quality reach the world-class level at that time, the quality indexes of "750 1 Engineering" porcelain such as whiteness, gloss, surface hardness, transparency, chemical stability, thermal stability, mechanical strength and dimensional accuracy were all set higher than the world advanced level. And decided to use a very rare high-quality kaolin produced in Fuzhou, Jiangxi Province as the basic ingredient, and the semi-thin tire high-glaze porcelain made was crystal clear and white as jade. It sounds crisp and pleasant when you tap it with your hand, and it looks translucent to the light. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 More than 4,200 pieces of "750 1 project" were fired at the high temperature of 1.400℃, which is the product of the organic combination of high-tech achievements and high-level artistic achievements, and the reproduction of exquisite technical achievements accumulated in Jingdezhen's thousand-year porcelain-making history. Today, it is unparalleled and can be called a national treasure. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 The third time was in the 1980s, when the Palace Museum took the lead in organizing national famous ceramic artists. It took three years and a lot of manpower and material resources to copy five sets of ancient porcelain. Its imitation quality and artistic value can be called a generation of fine products. To this end, the China Cultural Relics Newspaper made a special report and published the challenge book of "One Million Rewards for Hanging Clones". The essence of imitation and the difficulty of imitation process can be seen. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt Second, folk imitation.
& ltP & gt& ltFONT face=Verdana>。 Folk imitation refers to the imitation of folk kiln. Rare things are expensive. Most imitations of folk kilns are market-oriented and profit-oriented. Since the Song Dynasty, the works of folk kilns imitating official kilns have appeared. The craft and glaze formula of official kiln porcelain are confidential. Folk kilns can only be copied by artifacts handed down from generation to generation, and the copied artifacts reach the point of chaos, which is called high imitation. If the imitation object does not reach the appraisal value, it is called ordinary imitation or fake. During the Ming Dynasty, the Qing Dynasty and the Republic of China, a considerable number of high imitations appeared, regardless of official imitations. Imitators of folk kilns, such as the Xuan and kiln-making devices imitated by Cui, a master of antique porcelain in the Ming Dynasty, are called "Cuigong kiln porcelain, which sells everywhere". Although Zhou Danquan copied the porcelain from a famous kiln in the Song Dynasty, the Bo Gu family, who was good at distinguishing, was also puzzled. In the literature, he said that Wang Ding, an imitation of Ding Kiln, was "lifelike and unparalleled, with a thousand yuan competing for the market". Wei Wu's "Gong Hu Kiln" imitates the porcelain of Yong Kiln and Xuan Kiln, while other folk kilns imitate many famous kilns of this dynasty, such as Song Guan Kiln and Ge Kiln. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Antique style was more popular in Qing dynasty. As there are more and more collectors who like ancient ceramics at home and abroad, a large number of imitations have appeared, covering almost everything from the Tang Dynasty to the late Ming Dynasty. Today, there are common objects that imitate Yue Kiln, Ru, Guan, Ge, Jun, Longquan, Cizhou, Jizhou and other places in the Tang and Five Dynasties, as well as objects that imitate Yongle, Xuande, Chenghua, Jiajing, Wanli and Apocalypse in the Ming Dynasty, among which the fine products are in a state of chaos. For example, Wei Shancheng and Fan Huichuan's imitation of Kang and Gan Guan Kiln can all be vivid. There are also old artists from Henan, Shanxi, Zhejiang, Fujian and other places. Liu Suozi of Pengcheng Town, Cixian County is good at imitating the black flowers of Song Yuanming. Wen Guang, a brother of Lu Guanglu in Yuxian County, Shenzhen, is good at imitating the Song army and carving pearls. King Jing is good at imitating painted pottery and tri-colored pottery in Tang Dynasty, and Sun is good at imitating Cizhou kiln in Song Dynasty. Chang Xiaoru and Yin are good at imitating kilns. Liang Lei helped Meishan imitate the tea glaze bowl of the Song Dynasty; Sun Yingzhou is good at imitating Xuande blue and white, Yue kiln and Longquan kiln in Tang and Five Dynasties; Wang Baiquan is good at imitating Jiajing, Wanli tricolor and multicolored porcelain; Du is good at imitating black pottery and dried flowers. There are also ancient color experts Zhan Yuanguang, Zhan and Wu Zhongying, Zhan, Hong Jiahua, Zhan Fuli, He Mangzi, Liu Yongqing and Yue Huchen. Make good use of real blank to add color, imitate Kangxi multicolored tricolor, Yongzheng dry long pastel enamel. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 In the 1980 s, the wind of antique became more and more fierce. Now imitations are all copied by high-tech means. Some imitations are of high artistic value and can be described as high imitation. Imitations such as blue and white pastel porcelain copied by Hongyunzhai are close to or reach the level of authenticity. Some imitations of folk kilns and small workshops are inferior in texture and neither fish nor fowl, lacking the basic knowledge of ancient porcelain, especially in the modeling, ornamentation, inscriptions and so on. Some shapes are arbitrary, which is very strange. Some decorative patterns are scribbled and ugly. Some of them are famous for graffiti. They are arrogant and lack historical knowledge. This kind of imitation is flooding the market, and it has no artistic value or economic value. It can be described as ceramic garbage. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 As for imitation, we can't totally deny it, nor can we totally affirm it. We should understand its artistic value and economic value with an objective and fair attitude. In the collection circle, whenever imitations are mentioned, they are sneered and dismissed, which stifles the artistic vitality of imitations. Our imitations of Song, Yuan, Ming, Qing and Republic of China are all high imitations in the 1960s after the founding of New China, with high artistic and economic values. In recent years, the artistic value and collection value of some high imitations can not be ignored. But some imitations are another matter. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 & ltSTRONG & gt three. Recognition and appreciation
& ltP & gt& ltFONT face=Verdana>。 When it comes to authenticity and imitation, it's about identification and appreciation. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 What is identification? Is to identify and determine the authenticity and artistic value of items. There are many specific identification methods, mainly including classification, comparison and identification. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Classification. It refers to the separation of mixed objects according to categories for preservation and research. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Compare it. It refers to finding out the similarities and differences between similar ancient porcelain, and then summarizing them, such as the monochromatic glaze in Sui, Tang and Song Dynasties, several official kiln wares and their series, the three major producing areas of blue and white wares in Yuan Dynasty, and the "Yuxi Kiln" that people pay more attention to in modern times. From these artifacts of different ages and the products of several kiln mouths, we compare and identify them and find out some regular things. Especially in the Ming and Qing dynasties, there are many kinds of artifacts, complicated styles and inscriptions, and it is more difficult to classify them, which requires us to explore hard. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Identification. It refers to the comprehensive analysis and judgment of ancient porcelain and the correct conclusion. In the process of identification, it must be based on practice, supplemented by visual inspection and inspection of modern scientific instruments. To identify an ancient porcelain, we must identify it from its carcass, shape, glaze color, decorative pattern, foot and inscription, so as to correctly judge its authenticity, age, kiln mouth and artistic value. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 What is appreciation? It is the identification and appreciation of artifacts, a phenomenon of advanced thinking and a pursuit of beauty. It is the synthesis of people's feelings, imagination, understanding, appreciation, judgment and collectors' personal sentiments. This comprehensive process is an elegant behavior. In other words, in the process of appreciating ancient porcelain, emotional pleasure will naturally arise and sublimate into a judgment. People can inspire people's thirst for knowledge by appreciating the rich historical knowledge and the beauty of civilization and art condensed on utensils. Through appreciation, we can discover and excavate the artistic value and economic value of cultural relics. The process of appreciating cultural relics is not only the process of identifying and judging authenticity, but also the process of connoisseurs constantly improving their appreciation ability and level. & lt/FONT & gt； & lt/P & gt；
& ltP & gt& ltFONT face=Verdana>。 Appreciation is not a collector's personal behavior, but a combination of historical knowledge, scientific culture and aesthetic art, with profound connotation. Some people appear preference and mentality orientation in appreciation, lose balance, produce deviation and misjudgment. This attitude is not desirable. Especially the cultural connotation contained in ancient ceramics is profound. Modern people are most concerned about the artistic value and economic value of ancient ceramics, and discovering and excavating this value itself is a process of improving their self-cultivation. No wonder the ancients thought that appreciating art itself was artistic enjoyment and the best way to prolong life. According to historical records, Wang Shimin, a great painter in Qing Dynasty, enjoyed Wang's "Mangrove Map of Western Hills" for several days before he cured his cough. To sum up, appreciation is an elegant behavior for people to improve their own aesthetics. This practice is bittersweet, and only when they have the ability to appreciate it can they enjoy it. Otherwise, you will be cheated, and countless identification mistakes will make you miserable and difficult to correct. Song Mifei hit the nail on the head. Collectors can be divided into two categories. First-class collectors know how to appreciate and are good at appreciating, so they can be called appraisers. A second-class collector who doesn't appreciate or ignores appreciation can be called a good person. Mifei's point of view was accepted by ancient and modern collectors. & lt/FONT & gt； & lt/P & gt；