Chapter 365 History of Fraud in the Past Dynasties
Deputy Director Liu is not an inexperienced person. Several literary bigwigs in Sichuan have much better earning power than Zhou Zhi, and he knows that Zhou Zhi’s stamps are auctioned. People with a lot of money know that Zhou Zhi looks young, but in fact he has strong financial strength, not less than this small 200,000 yuan.
He was even more surprised that Lao Cao was optimistic about Zhou Zhi, and hurried to finalize the agreement.
But when he thought about sending Zhou Zhi off to say goodbye to Mr. Gu, Deputy Director Liu no longer felt strange.
Regardless of age, students who can be recognized by the Gu family will at least have an absolute advantage in academic or literary pursuits.
Thinking about it this way, it doesn't feel strange anymore.
After signing the agreement and saying goodbye to Editor Cao, who represented the publishing house, I realized that Manager Fei had already arrived for a while.
Zhou Zhi has a lot of things to bring back this time, and they are extremely precious, so Manager Fei does not dare to neglect them.
I got four kinds of ancient paper this time. The most valuable is of course Chengxintang paper from the Southern Tang Dynasty, followed by Jilin paper from the Song Dynasty, Wannianhong and Jianyang Kou from the Ming Dynasty, and Taishi from the Ming and Qing Dynasties. even.
These things cannot be regarded as cultural relics now. There are still many in the National Palace Museum in the capital, but they can't help but use them.
As the country pays increasing attention to the restoration of calligraphy and painting cultural relics and ancient rare books, the consumption of these restoration papers is also increasing. In less than five years, there will be a shortage of these papers. In another ten years, these papers will be used. It is listed as a cultural relic and cannot be used without authorization.
As for the restoration work of calligraphy and painting cultural relics and rare ancient books, how will it continue? Then, depending on the grade of the cultural relics and the criticality of the restoration, we should first rescue those that are extremely precious and those in urgent need of restoration. As for the rest, we should first keep them in their original state and seal them.
On the other hand, we need to increase efforts in research and development, such as crossbreeding wild silkworms with modern silkworms to make them "return to their ancestors", and obtain silk with the same thickness as the silk of the Han, Tang, and Song Dynasties, and then use the silkworms at that time Use pharmaceutical dyes for dyeing to obtain the appropriate colored silk, which can then be used to weave fabrics with the same thickness and mesh as that era, and then proceed to the next step of imitation and restoration.
The same is true for other calligraphy and painting, porcelain, pottery, and bronze.
The techniques are becoming more and more sophisticated, and they are more and more similar to the real thing. What is even more ridiculous is that except for high-end products such as calligraphy and painting, which are only flooded with imitations in modern times, and ancient calligraphy and painting are difficult to imitate, the rest of porcelain, bronze, Jade, pottery, tricolor, etc., the masters are really among the people.
Then there will be a legend that experts from the Palace Museum spent 100,000 yuan to buy high imitations of Northern Wei Dynasty glazed figurines from Panjiayuan.
There are different reasons why porcelain has become the hardest hit area. The counterfeiting of porcelain did not start from now on, but the stable period of every dynasty will without exception set off a collection craze, and the counterfeiting of porcelain in the past dynasties has The imitation of high-quality porcelain from the previous dynasties was made with perseverance and perseverance.
In modern times, it is still extremely difficult to imitate antique porcelain. Except for the two batches of high-imitation antique porcelain that were produced in the early days of the founding of the People's Republic of China and the early period of reform and opening up when the whole country concentrated on research and development, the rest are mainly It is to use the ancient porcelain of the previous dynasty to pretend to be the ancient porcelain of the previous dynasty.
This is a job that tests your eyesight. For example, in the Qing Dynasty, the porcelain making technology was constantly improving, and the style of antiquing became popular. By the Qianlong period, the antiquing technology of porcelain had reached the level of being able to use it at will.
At this time, the variety of antique porcelain was all-encompassing and had been divided into several series.
The first is the antique glaze color. The five famous kilns of the Song Dynasty and the famous kilns of the previous dynasties, such as Longquan Kiln and Yue Kiln, were the hardest hit areas for imitation by Qianlong's porcelain masters. Especially Ge Kiln and Longquan Kiln, Qianlong's official kiln could already imitate them. Better than blue.
The second one is antique blue and white. The hardest hit area is the blue and white of Yongle and Xuande in Ming Dynasty. From the color of blue and white to the shape and decoration of utensils, they are fully copied. However, one advantage of blue and white is that in the Yongle and Xuande dynasties, the blue and white materials of the Ming Dynasty were mainly made of the fine Suma Liqing brought back from Zheng He's seven voyages to the West.
The rich and beautiful color of Su material, coupled with the vigorous and bold style of Yongxuan porcelain, made Yongxuan blue and white porcelain admired by the past dynasties and became the supreme blue and white porcelain.
The later Chenghua blue and white also used some Su materials, but more of them used the domestic "Ping Ping Qing", also known as "Pitang Qing" due to the scarcity of raw materials.
This kind of green material produced in Leping, Jiangxi Province has a light and grayish blue color. It is clear and elegant. It is lined with white and warm glaze and delicate patterns. It makes Chenghua blue and white become the representative of blue and white art in the mid-Ming Dynasty. It is exquisite and unique. , treasured by the world, imitated by all dynasties.
Thanks to the elegance of Pingpingqing, this blue and white porcelain style continued through the Chenghua, Hongzhi and Zhengde dynasties.
From Jiajing, Longqing to the early Wanli period, blue and white materials began to use a blue-to-purple material, which was produced in Huijiang and became Huiqing material.
This kind of blue and white porcelain has a large output, but the craftsmanship is rough and the quality of the porcelain has been reduced. Blue and white porcelain has also declined since then.
Decline does not mean that it is not taken seriously, but it means that it has changed from a single one to a hundred porcelains contending and keeping pace with each other.
Therefore, from the analysis of the materials, it can be concluded that among the blue and white porcelains that have the most imitations from the previous dynasties, the Jialong Evergreen blue and white porcelain is mostly produced by private kilns, and the official kilns are too lazy to imitate it.
The second is Chenghong Zhengping blue and white. This type of blue and white is the most imitated in official kilns. The craftsmanship is exquisite and the colors are all the same. Even the withdrawals are divided into two types. One is the Qianlong style of this dynasty. , one is the most evil former dynasty money.
The most eye-catching part is this part of porcelain. It is also the part of porcelain that has the most magical stories.
The most noble and elegant Yongxuan Sumali blue and white is better. With Qianlong’s family background and strength, it is difficult to imitate these "kings of blue and white". There is no problem with the craftsmanship. The key point is... ...The evil Su Ma Liqing... is gone.
Therefore, although there are just as many imitations, and there are also models from the previous dynasty, the rich and beautiful Suma Liqing gem color is unique and difficult to reproduce, so imitations and genuine products are relatively equal. Blue and white are better to distinguish.
The third type of imitation disaster area is doucai. Chenghua doucai in Ming Dynasty is the focus of imitation firing, and the techniques are mainly inherited.
Doucai developed into the Qianlong Dynasty, and it has entered a period where people can do whatever they want. The new varieties of doucai in this period include even imitating antique bronzes, imitating red carved lacquers, and imitating animals and plants, such as Xiangsheng porcelain. All the gadgets were made, and they were able to accurately express the color and texture of the objects they were imitating. It was a masterpiece of craftsmanship and formed a major feature of Qianlong porcelain.
With such strength at hand, it would be impossible for Qianlong Lord not to attack Doucai's ancestor, Chenghua Doucai.
So among the batch of antique porcelain, many were fired according to the orders of Emperor Qianlong.
In the Qing palace archives, we can see many approval documents that this man gave to the pottery supervisor. From the approval documents, we can see that he had very specific instructions for the firing of porcelain.
In a word, the Chenghua Doucai Chicken Cup, which everyone was familiar with later, is not familiar to everyone, but it is the small Tianzi Doucai cup that according to the legend in the collection circle, Emperor Chenghuaer customized for the magical concubine Wan Guifei. I imitated them all.
(End of this chapter)