Identification of Guangqing Daoguang Porcelain in the Qing Dynasty

After the Qing dynasty porcelain was burned, after the peaks of the three generations of Kang, Yi and Qian, regardless of the glaze and the production, the homogeneity was not as good as before. It was a downhill road. Jiadao porcelain has obviously not been able to compare with the porcelain of the dry age. Of course, there are occasional refinements, but overall, most of them are rougher than the previous two. This is a general principle that must be grasped at the time of identification.

Judging from the porcelain tires, compared with the Qianlong Porcelain, the Jiadong Porcelain fetal bones did not change much, but the fetal quality was slightly coarse and loose, and the whiteness of the fetal bones was also poor, and, in particular, the porcelain kiln porcelain bones were Slightly thicker than before, artifacts also appear heavy. These manifestations are particularly evident in Daoguangchao.

The quality of enamel has also gradually become thicker. The glazing is thin, and the glaze is flashed with flashes of ash, or a white slurry. On the glazed surface, fine orange peels are commonly seen, and some utensils are glazed with wrinkles, such as undulating waves, commonly known as “wavy glazes”. This phenomenon is also manifested in the later North Korea. Some artifacts also have glazed glazes, and glazes are particularly evident on the blue ground blue flowers on Daoguangchao. In this period, the surface roughness of the utensils was also worse than before.

The decoration of blue and white flowers basically followed the Qianlong period. The color of early Qinghua flowers in the Jiaqing period was similar to that of the Qianlong period. They were slightly purple in blue, and later they were more pure blue. The sense of hierarchy is obviously inferior to Qianlong, and generally it is one or two levels, and the three-dimensional sense is poor. Daoguangchao has imitation of the artifacts of Kangxi's blue and white flowers, but it has not rendered the various levels of Kangxi's different shades. Therefore, it is easier to identify true and false. During the Jia Dao period, the double-hooked and non-filled pattern of flowers and grasses on the blue-and-white pattern of the blue-and-white flowers of such utensils is lighter. It is not difficult to identify after seeing the authentic products. Since the late Jiaqing period, some of the artifacts had a dull and floating phenomenon in the hue of blue flowers. This situation continued until Daoguang and Xianfeng, and even the Tongzhi, Guangxu and Xuantong dynasties.

During the Jiadao period, there was a blue-and-white powdered porcelain. That is, when burning, the rough shape of the decorative pattern on the femur is first applied with a layer of white powder, and then the blue pattern decoration is painted on the white powder, and then the bean green glaze is put into the kiln and fired. This type of device has a clear contrast between the blue and green celadon hues, with a raised pattern and a strong three-dimensional effect. Forensics should pay attention to the difference with Kangxi porcelain. The pile of powdered blue and white flowers was first seen in the Kangxi Dynasty. Although there were firings in the dry years, they were unsuccessful. It only became popular when it came to Jiadao, and the firing was more successful. The identification method is that the pile of powdered blue and white powder is thicker, whiter, and more three-dimensional.

Jia Dao porcelains are dominated by pastels. However, compared with Qianlong, the material quality is not as fine as Qianlong, and the color is also thicker. The color material contains less powder, therefore, the color is rich and the colors are bright. In addition, the area of ​​color is larger than that of Qianlong, and it is also directly described by white powder. The process of applying gold color on some fine pastels has begun to generalize. In the identification, in addition to the above characteristics, the more important is to see if there is old-fashioned, such as handed down the glaze glaze should see the pulp; color green porcelain, yellow color, blue color above the side view should be visible light, especially Above the green color should be more obvious; there are traces of used on the porcelain surface and so on.

In terms of decoration, there are still some features that can be used for identification. During the Jia Dao period, the ornamentation of the Qianlong style was somewhat maintained. The painting was fine and detailed, but it was not as lively and lively as the Qian Long dynasty. It was more of a pattern-like ornamentation; there were decorative items in the form of red seals. This method has existed during the Qianlong period, but it only became popular when it was in Jia Dao. It must be distinguished from the former when it was forensic; it began to prevail with grassy insects as the main decorative theme. Its characteristic is that the painted insects are larger than the flowers. In addition, the decorative pens are all finer. After Jiadao, the dragon's decorative style was different from that of the previous one. The shape of the dragon was painted like a swimming octopus, and if it is a shrimp, it is commonly known as “fishing dragon”. At this time the enamel is decorated with iron flowers. The so-called "iron flower decoration" is decorated with a pile of flowers and glazes on the enamel. This method has already appeared during the Qianlong period, but it gradually grew up in Jiadao. Moreover, the decorative parts and decorative patterns of the Qianlong period were relatively simple, and they were only enriched during Jia Dao. The decorative parts appeared on the rims, shoulders, abdomen, ears, etc., and the decorative contents were also expanded to be carved on animal faces and flowers. Banana leaves, crisp grain, dragons and phoenixes can be distinguished from the previous ones. There is a kind of imitation in the knowledge of Jiadao Min Kiln. There is a very sloppy "Shenghuanian" 4-character script, there are also characterizations of the "Chenghuanian system" seal or seal script and the paste of glaze dried bean paste paragraph, in this case, according to the tire, glaze, color The performance of materials, decoration, and shape are not difficult to identify.

Of course, some of the above decorative features, modern counterfeiters can be processed by the same method, therefore, to identify the true and false or whether to use tires, glaze, materials and utensils have no real old gas to carefully identify.