Methods of counterfeiting black glaze wares from Jian Kiln and corresponding identification methods ③.

The Guangdong Provincial Cultural Relics Bureau jointly edited the series Types of Forgery and Identification Methods of Jian Kiln Black Glaze Ware ③: Substitution of products from other kilns. The so-called substitution refers specifically to the use of black glaze wares produced at other kiln entrances as false kiln wares. The common kiln mouths are as follows
. Wuyishan Yulinting Kiln
The porcelain of this kiln is light gray, and the kiln temperature is low. Most of the carcass is not completely vitrified, and the glaze water is relatively dry. The face often has brown eyes or hollow-like depressions, and there are no rabbit hairs, oil droplets, or partridge spots, making it easy to identify. Because the Linting kiln could not bake rabbit hairs, manual drawing was used to depict the rabbit hairs and add various auspicious characters. The characteristics of this craft are obvious and easy to identify.
.Nanping tea kiln in northern Fujian
This kiln also produced kiln-type tea sets during the Northern Song Dynasty and exported them. Currently, many Japanese museums collect Tenmu, including gray-back Tenmu, persimmon Tenmu and black rice ware. Kiln fired with partial reflow. Compared with the kiln-building ware, the appearance of this kiln product is rougher, with obvious rolling patterns, the glaze water is dry, and the carcass is light gray. If the kiln temperature is low, if it is made of black rice, the glaze surface will be slightly crimson, with some Transparency.
.Mindong Fuqing Kiln
The products of this kiln are most similar to kiln-building utensils, except that there are no chamfers on the bottom feet, most of which are slope-shaped, and the texture is thicker, the glaze is slightly dry, and various types of rabbit hairs are rare. and oil droplets.
.Northern kiln mouth black glaze vessel
The bottom foot is flat without chamfers, the texture is thick and porous, gray brown or fragrant gray, most of the oil drop spots are dark red when viewed from the side, and a few are It is brown-red or brown-yellow, while the kiln oil droplets and silver rabbit hair appear silver or flashing blue when illuminated from the side. In addition, the porcelain kilns in the north use steamed bun kilns, which have high furnace temperatures, are easy to maintain heat, and the atmosphere in the kiln is easy to control. The kilns in the south use dragon kilns, which have lower furnace temperatures, poor insulation, and because there are multiple fire doors on both sides, the atmosphere in the kiln is difficult to maintain. , so the porcelain kilns in the north have more oil droplets, the porcelain kilns in the south have more rabbit hairs, the oil droplets in the north are mostly raindrops, and the oil droplets in kilns in the south are mostly beaded oil droplets.
If other kiln products are used as substitutes for counterfeiting, it is not appropriate to use thermoluminescence detection for identification.
The author concludes: In the development process of Chinese culture, the Yuan Dynasty was a watershed: before the Yuan Dynasty, elegant culture occupied a dominant position in social and cultural life, but after the Yuan Dynasty, it gradually transitioned to secular culture, and the transition was completed in the Ming Dynasty , popular culture occupies a dominant position in social and cultural life. The Song Dynasty was the peak era of refined culture. The connotation and denotation of all crafts and artworks, including porcelain, were all reflections of this deep cultural psychology of society. Among all the famous porcelain kilns in the Song Dynasty, Jian Kiln undoubtedly occupied a very important position. The beauty of kiln-building utensils is very unique. It is a representative of reverse thinking and advocating for natural beauty.
Chinese ceramics have been developed according to traditional aesthetic ideas since they were first fired: the color is clear and light, and the shape is light and thin. The kiln-building ware is just the opposite, with deep colors and thick shapes. It is a model of ingenuity but clumsiness and elegance but vulgarity. Moreover, the soil, enamel, and production process of the kiln-building utensils remain unchanged, but the appearance of the utensils produced is ever-changing, non-identical, completely natural, and a manifestation of one's own temperament. This is exactly what Chinese traditional culture advocates and admires.
Overseas, kiln-building wares have always been the focus of research by collectors or scholars of ancient Chinese porcelain kilns. In recent years, kiln-building wares have suddenly emerged in the domestic collection circle and the art trading market and have occupied an important position. It is under such circumstances that the identification and counterfeiting methods of kiln porcelain have become issues that researchers urgently need to solve. This article only briefly discusses the forgeries of kiln construction and identification methods from the perspective of visual inspection. In order to prevent forgers from understanding the key points of identification, the details are not listed in the description. We hope that this article can serve as a starting point and that more researchers will continue their efforts, pay attention to this topic and publish results one after another.
The article is selected from: Xinchang Silver Artwork Appraisal Database (public account zh), which aims to provide everyone with high-quality art collection and appraisal knowledge and is updated every day.