High-grade porcelain is the same in the shape of the historical traces of the fetal glaze

High-grade antique porcelain is produced in the same way. “A new imitation porcelain, whether it is appearance or ornamentation, or even traces of the history of the tires and glazes, can be done with the same authenticity. Is this not possible?” many Tibetan friends encountered those high imitation porcelains. This kind of incredible feeling tends to occur, and the more you see it, the more it feels true. In fact, with the help of high technology, the current high imitation porcelain really has such a real capacity.

The museum's collection of treasures and porcelain, the information clearly mentions that there is only one in the world, "magic" sellers can come up with a few pieces ... ... What's going on?

It turns out that there are many high imitation porcelains in the antique market, which have caused false results and have caused many Tibetan friends to be deceived. How can the high imitation porcelain be so vivid? A Tibetan friend in Nanning personally went to see the whole process of production of high-quality antique porcelain. What he saw and heard may inspire Tibetan friends.

“A new imitation porcelain, whether it is appearance or ornamentation, or even traces of the history of the tires and glazes, can be done with the same authenticity. Is this not possible?” many Tibetan friends encountered those high imitation porcelains. This kind of incredible feeling tends to occur, and the more you see it, the more it feels true. In fact, with the help of high technology, the current high imitation porcelain really has such a real capacity.

Nanning’s senior collector Zhang Guoxing said that the most direct way to know what the counterfeiters do is to look at the field. A few days ago, Zhang Guoxing and his friend went to Jingdezhen in Jiangxi province and witnessed the production process of a high imitation porcelain one after another. “Currently, the most important areas for the production of high fancy porcelain in China are Jingdezhen in Jiangxi and Longquan in Fujian. In the area around Jingdezhen, there are nearly 10,000 individual kiln factories, many of which produce high-grade porcelain. These high faux porcelains are mostly used as Arts and crafts are sold to domestic cities and abroad, but some are also deceived by criminals as antiques.” Zhang Guoxing said that high-family skilled workers are all masters with a certain level, whether they are making blanks or casting blanks. All aspects of porcelain, such as painting and decorative painting, are very skilled.

“If you want to do something like that, you must use the same raw materials as ancient porcelain. This is the first step in high imitation.” Zhang Guoxing said that for example, the porcelain produced by the Yuan Dynasty and Jingdezhen in the Ming Dynasty should be as close to the Yuan Dynasty as possible. Hemp soil, and even the thickness of the fetal soil, must be strictly in accordance with ancient standards. If you want to imitate the blue and white porcelain of the Yuan Dynasty and the Ming Dynasty, then the blue-and-white porcelain was used as a coloring agent imported from Iran—Su Ma Li Qing. The raw material had dried up in the late Ming Dynasty and was not imported. The counterfeiter used mineral pigments to match the composition of the hemp and the green, which also made high imitation porcelain look more like that.

Expert strokes: Do not blindly believe that "leakage"

Zhang Guoxing said that because of the special emphasis on the use of raw materials for high-quality imitation porcelain, and the refinement of the imitation process, the degree of specialization in all aspects has been continuously improved and the high-fidelity porcelain produced has become more realistic. Some high-quality imitation porcelains, even in wholesale locations, cost as much as a few thousand dollars or even tens of thousands of yuan. Of course, if you just admire it as a craft, you can buy it back, but if you buy it as an antique, you lose it. Therefore, Tibetan friends must first be skeptical when discerning the same porcelain as the ancient porcelain in the museum, historical materials, and museums. They should be discriminated with prudence, and do not think that they are “blind”. I am happy to trade.

Many Tibetan friends pay great attention to seeing painters when they are appreciating porcelain. Through some changes in details, they capture the key clues. For example, the dragon's claws are three-jaw, four-jaw, or five-jaw, and they all pay attention to it, because the dragon's claws are not the same in different periods. However, the ornaments on high imitation porcelain can often be painted with the authenticity of silk.

Zhang Guoxing said that high-impact porcelains generally use real ancient porcelain (or ceramic specimens) as the object of imitation. For the texture of the carcass, the glaze finish and the distribution of bubbles, orange peel, and feel, the accuracy of the molding and the marks, Picking mud marks, etc., the precision of decorative colors and patterns, the style of paintings, the precision of the models, and the size, thickness, weight, etc. of the firestone, the light and even the fired objects are all in place. At a porcelain factory, Zhang Guoxing saw workers first perform a full-scale scan on the objects they needed to copy, copy their patterns and print them on a piece of stenciled wax paper. Using special tools, the pattern on stenciled wavy paper was drilled along the outline with numerous eyelet-sized holes. Then, this stenciled stencil sheet was attached to the surface of the porcelain blank and painting was started.

In general, workers first applied a special layer of pigment on a stenciled wax paper, which looked almost pink. The pigment remained on the surface of the porcelain body through the needle hole. Then the stenciled wax paper was peeled off and left on the surface. Pink thin line ornamentation silhouette. This pigment completely volatilizes in the kiln at high temperatures without leaving traces. At this time, the workers can formally draw, they use the brush to dip the paint, according to the line on the blank carefully drawn, as long as in accordance with the pattern left on the porcelain blank, paint and fill. Zhang Guoxing said that this method is widely used, the patterns of reproduction are more clear, and the imitation work is more accessible to the original.

Expert tricks: to see whether the overall painter is natural Nanning veteran porcelain collector Huang Hai said that many people have such experience as a child, use a more transparent paper to paint on the pattern, or use "Miaohong Ben" to practice writing brush Words, such "masked out" effects are often very good. However, careful comparison can still see unnatural flaws. The ancients didn't need to use this transparent paper to paint the ornament. It was natural to draw, and there was a kind of freehand art atmosphere. This is because the high imitation porcelain Linfen does not come out. Therefore, when we look at the decoration of porcelain, we must grasp from the whole whether the artistry is natural and freehand.

The addition of iron during firing to produce rusted porcelain pigments used in different historical periods has certain characteristics. After firing, the natural changes that occur are also specific. The counterfeiters also take this into consideration. The glazes and pigments needed for the production of high imitation porcelains require repeated comparison tests for the selection of each part of the material.

Zhang Guoxing introduced that the blue-and-white porcelain kiln porcelain of the Yuan and Ming dynasties was the focus of high imitation. When the use of the Su Maqing composition is "low manganese high iron", iron ions in the high temperature burning porcelain will produce a fierce chemical reaction. Makes the surface of the porcelain surface appear concave, commonly known as bubble phenomenon. At the same time, the pigment will also appear brown halo, as well as brown spots, commonly known as rust spots. These are the unique phenomena of ancient blue and white porcelain. However, now that there is no imported cobalt material used in the DPRK, only ordinary domestic materials such as “low-iron and high-manganese” can be used. In order to make these features, high-grade ancient blue and white porcelain must take different measures to obtain special color renderings. effect.

In simple terms, the practice is this: In the hair color part of blue and white, artificially added finely ground iron ore fines, or points on the ornamentation, causing "rust spots." At the same time, in the area where the blue and white flowers are relatively dense, they are stamped with a bamboo stick to create a hollow "bubble." It is noteworthy that the production of high imitation porcelain generally does not use chemical pigments, the use of mineral pigments, counterfeiters deliberately add iron elements in it, so that burnt porcelain decorative hair color brown dizzy effect. In addition, to ensure that the final blue hair color is in place is not easy, in some places that need to cause the cobalt material halo effect, often through the drawing process to use the local increase in pigment, or when the thickness of the glaze distinction, etc. .

Expert tricks: use the high magnification magnifying glass "After time precipitation, its historical traces can not be made in any case." Zhang Guoxing said that to see the true and false "rust spots", the naked eye may not be enough, have to use tools. The specific method is to use a magnifying glass with a light source of 40 to 60 times. The lens is aimed at the observation point. The observation point is selected at the blue-and-white concentration point, and the focus is carefully observed after positioning. Zhang Guoxing's experience is that the rust spots on blue-and-white porcelain in the Yuan, Ming, and Qing dynasties are characterized by luster and shine, and the colors are also rich in levels, like life. The blue-and-white porcelain produced after ** was rusted and dull, of course, including the current high imitation porcelain. Apart from pigments, the most important reason is that the time is too short to produce natural changes.

Many ways to "spy light"

It is difficult to imitate the characteristics of the old time accumulated on the porcelain, the most obvious is the surface of the pulp. The glazed surface of old porcelain is often moist and emits a light that looks like a shell when it is refracted by the sunlight. The folks call it "dawn." The new imitation of porcelain, the gloss is closer to the glass light, commonly known as "thief light." This is also one of the elements for distinguishing old and new porcelain.

Zhang Guoxing introduced that in order to avoid the dissemination of "spiritual light" by porcelain, some counterfeiters do not use electric kilns but use kilns in the production of high imitation porcelains. They try to adopt ancient practices. At the bottom of the kiln, empty shards are used to act as a “football,” and the fireproof material is spread horizontally to ensure that every sampan column is kept level during the firing process. After loading, the kiln began to block the kiln door with kiln bricks, and the gap between the kiln bricks was plugged with yellow mud. Two holes above the kiln door are filled with helium to observe the degree of combustion in the kiln. The middle part of the kiln door shall be sent from the top to the bottom to deliver the firewood and the ignition port, and the ignition hole will be closed within one hour of the firing of the kiln. The bottom of the kiln door is a ash pit, where pine wood in the kiln will fall after being burned. "In addition to taking full account of the temperature of the furnace, the counterfeiters also use pinewood containing more grease. The porcelain glaze that burns out is more moisturized," said Zhang Guoxing.

After the high imitation porcelain is burned out, it cannot be immediately launched into the market. It must go through the last “artificial old” link. Zhang Guoxing said that there are many ways to do the old, and the "quick effort and immediate benefits" approach is to use acidic chemical pigments to soak. The more realistic approach is to either bury it in the ground for a while or put it in open air for a while. When the high imitation porcelain is "tossed," it appears to be "finished," when it is finally completed.

Expert tricks: master the characteristics of ancient porcelain feet Nanning, senior porcelain collector Zheng Xiaoning talked about ancient porcelain should be simple and natural, soles often have distinctive features, thick paste like a layer of "children's glaze" touch It feels lubricated. This is a feature not found in new porcelain ware. In addition, ancient porcelain is used, and movements such as moving, releasing, and moving are all traced during use. This is also reflected in the soles of the feet, and traces of natural wear can be seen. Therefore, when Tibetan friends saw a “suspected ancient porcelain”, they must not miss the observation of the sole.

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