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Chapter 559 During the exchange meeting (6/62)

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    After lunch, everyone chatted for a while before being reminded by the staff that it was their turn to appreciate it.

    Everyone is very curious about the secret color porcelain, but they also know that among them, Meng Zitao has the best eyesight, so Meng Zitao is asked to appreciate and study it first.

    Meng Zitao walked to the table where the auction items were placed, took the gloves from the staff and put them on, and studied them carefully under the eager eyes of several staff members.

    This is a dragon pattern sunflower water wash with exquisite shape and round shape.  The rim is in the shape of six sunflower petals, and the porcelain body is rimmed with four hoops, divided into two upper and lower sections. The middle is decorated with Tang grass branches and creepers. The most rare thing about this vessel is that when viewed from top to bottom, it looks like a blooming sunflower. The petals are folded and cute.  The bottom wall is carved with flowers like the stamens of a sunflower.

    The depiction of the surface of the objects does not seek to be comprehensive, but often reaches the point of view without the brush. It is flying and agile, which has the painting style of Wu Daozi's brush, which is quite Tang style.

    If you want to identify the authenticity of secret-color porcelain, you must judge from aspects such as the body, glaze, and firing methods.

    "Secret color porcelain is the best of the Yue kilns in the Tang Dynasty. According to research, its glaze has two types: blue and green. It is matte and has a jade-like texture. It is used for tribute.  But this so-called secret color porcelain is a little less tasteful. Although it is a fine celadon, it still looks different from the real secret color porcelain.

    As for why Meng Zitao knew it, the reason was that Zheng Anzhi had a fragmented specimen of secret-color porcelain. He had carefully compared and studied it before, and now he could of course see the problem once he compared it.  Although the difference may not be huge, it is only because of the slightest difference between authenticity and authenticity that the difference is thousands of miles away.

    Let¡¯s talk about the firing method. The secret color porcelain is not made by putting the porcelain in contact with the fire. Instead, the secret color porcelain body is put into a porcelain sagger for firing. One vessel is in one box, and glaze water is used to seal the space between the box and the lid.  gap.

    The sagger firing method is an invention and creation of porcelain firing techniques by Ding kiln porcelain masters. It was founded in the Tang Dynasty and had extremely important technological progress significance at that time.  There are two main shapes of saggers. One is cylindrical, which is suitable for firing taller-shaped bottles, jars, statues, etc.; the other is funnel-shaped, which can be used for firing taller-shaped vessels such as washbasins, plates, and bowls.  Low works.

    The advantage of firing in a sagger is that the vessel is not directly contaminated by flames and soot in the kiln, which would damage the smoothness of the porcelain glaze. The firing in a sagger is not only suitable for firing various special shapes, but is also very suitable for the atmosphere.  The restoration is undoubtedly of great benefit to improving the quality of the product. Therefore, as soon as this firing method came out, it was imitated and learned by all the major kilns. As a result, it became popular quickly and widely.

    Of course, the porcelain made by this method also has its own characteristics. For example, on several pieces of porcelain unearthed from Fangmen Temple, you can clearly see a circle of dot-like marks on the unglazed areas of the soles. These are the clay balls used when firing porcelain.  Traces formed by the bottom.

    As for Yue kiln, from the late middle to late Tang Dynasty, a large number of box firing techniques were used, using thin spacers. Therefore, the distribution of clay dots also used pine nut-shaped clay dots, which were more beautiful than bean-shaped ones, and were arranged in a dense manner.  This is exemplified by the impressions left on the round cushions.  The outer bottoms of bowls, plates and other utensils made from box-fired jade bis have slight pink granular traces. These traces are a reflection of the iron oxide in the carcass.

    However, although this Dragonite water wash also has such traces, it is somewhat different from the real thing and looks more scattered.

    But you have to say that this is a fake made now, and it doesn¡¯t look like it, so after careful observation, Meng Zitao finally used his superpower, and the results confirmed his guess.

    Meng Zitao returned to his seat. After a while, Shu Ze and the others came over after looking at it and asked, "Zitao, what do you mean, is this secret color porcelain?"

    "It doesn't look like it to me." Tian Mengmeng shook her head first.

    Ren Kexin asked with a smile: "Mengmeng, have you done any research on secret color porcelain?"

    Tian Mengmeng shook his head: "I have not studied the secret color porcelain, but I have read the relevant poems. At least this thing is very different from the poems, right? I think based on this, we can say that it is not authentic.  "

    Zhong Jinxian agreed: "That is, if this is also secret color porcelain, then some of the fine celadon from Yue kiln can't all be regarded as secret color porcelain!"

    "Zitao, what's your opinion?" Ren Kexin smiled slightly and looked at Meng Zitao to hear his opinion.

    Meng Zitao thought about it for a while, and then said: "Let's look at it from two aspects. This is indeed a piece of porcelain that has opened up to the times, and it can be regarded as a genuine piece. I think it should be from the period from the late Tang Dynasty to the Five Dynasties.  Time, as to whether it is secret color porcelain, it depends on everyone¡¯s understanding of secret color porcelain. After all, the identification of secret color porcelain is not unified yet, and many problems still need to be solved.¡±

    Although Meng Zitao said it euphemistically, everyone still understood the meaning of his words, and he did not agree with it.Himself, so he pretended to look in the direction of his gaze casually.

    The owner of the gaze was a middle-aged man in his forties or fifties, with a thin build. When Meng Zitao looked over, his face immediately changed to a smile, and he nodded towards Meng Zitao.

    Meng Zitao also smiled and nodded in response, but felt very strange in his heart, because this person gave him a feeling of d¨¦j¨¤ vu. However, there was no trace of this person in his memory, which made him quite strange.

    Since he couldn¡¯t figure it out, Meng Zitao put this question in his mind first and appreciated the things on the exhibition stand before talking about it.

    Since it is an exchange meeting, everyone must communicate. As a closed disciple of Zheng Anzhi, many people came to communicate with Meng Zitao. Meng Zitao did not put on airs and responded politely every time, which also gave everyone a good impression.

    Time passed quickly, and nearly half of the people were already holding items on display. Meng Zitao noticed that the middle-aged man who seemed familiar to him also came to the stage holding a Buddhist instrument.  So he went over to take a look curiously.

    Dharma utensils are the utensils used when performing rituals.  Tibetan Buddhism has many kinds of ritual instruments, which are full of mystery.  These magical instruments can be roughly divided into six categories: salute, praise, offering, holding, protecting demons, and persuading.  Each magical instrument has its own different religious meaning, and some magical instruments have multiple uses.

    Tibetan Buddhist instruments are mostly made of gold, silver, and copper, as well as wood carvings, bone carvings, ivory carvings, stone carvings, sea shell carvings, and fabric products such as cloth, silk, and brocade.  They have different materials, unique shapes, ingenious production concepts and huge quantities. They are an important part of the treasure house of Tibetan Buddhist art.

    The instrument brought by the middle-aged man is a Tibetan Buddhist ritual instrument.  There is rice in the box. Whenever important rituals are held, the rice is scattered from the box to all living beings.  It means blessing all living beings.  If a believer can obtain such rice, it will be a lifelong joy.

    This instrument consists of four parts. The top cover is in the shape of a vase. The upper cover is inlaid with a circle of red coral. The middle cover is inlaid with turquoise Tibetan inscriptions. The lower cover is inlaid with a four-armed Guanyin image of turquoise, red coral and lapis lazuli. The main body is decorated with  Inlaid with precious stones and gilt silver.  The four-armed Guanyin is the patron saint of the snow-covered plateau. She wears a crown of five Buddhas on her head, with her middle hands clasped in front of her chest and her right hand holding a crystal rosary.  The eight-petal lotus flower is held in the left hand and is level with the ear. The face is quiet and smiling, the figure is lifelike, and the expression is solemn and peaceful.

    The exterior of the instrument is stacked with lapis lazuli, red coral and turquoise to form a dragon pattern.  The workmanship is exquisite and delicate, and the gilding technology is exquisite, which is enough to show that the level and value of this magical instrument are extraordinary (Remember the website address: www.hlnovel.com
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