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Chapter 690 Treasure Appraisal Activities (8)

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    While Meng Zitao was observing there, an expert on porcelain next to him said: "Say, Lao Gao, your piece of sweet white glaze is cheap, but I'm not trying to knock you. At first glance, this thing does look impressive.  , but when I look closely, I always feel that the color is a bit strange, and the patella does not look natural."

    Mr. Gao glanced at him: "What's unnatural? I think you have pink eye, Mr. Zhang."

    ?????????????????????????????????????????????????????????????????????????? Old Zhang: "I guess you don't know what you are doing, otherwise, given your character, how could you still take things out?"

    Mr. Gao has a habit of keeping good things secret and rarely sharing them with others. If he hadn't been thinking about it, Mr. Zhang would not have believed that he would let Meng Zitao appreciate it.

    Elder Gao spoke slowly and said, "Is it possible that I am in a good mood today and want to discuss it with Xiaoyou Meng?"

    Mr. Zhang smiled and said nothing. Whether there is a problem or not depends on what Meng Zitao says. If Meng Zitao also thinks that there is no problem, then there is probably no problem. Why he believes in Meng Zitao so much is because he and Wang Zhixuan  We are friends, so we have heard about Meng Zitao's level.

    Originally, he was actually a little doubtful, but after listening to some of Meng Zitao's opinions at the dinner table just now, he believed that Wang Zhixuan was not lying and that Meng Zitao's level was indeed very good.

    After a while, Meng Zitao put the jade pot and spring vase back on the table. Mr. Gao quickly asked how it was?

    At this time, some experts gathered around, and some even asked Meng Zitao to give more details.

    Therefore, Meng Zitao talked eloquently: "First of all, let's talk about the glaze. The color of the Yongle sweet white glaze is beige, and there is a lake green phenomenon in the glaze accumulation. Although the imitation glaze of the Qing Dynasty is white and fine, it is also artificially drawn.  , but the carcass is thicker and relatively even from top to bottom, the glaze is flat, the workmanship is regular, the glaze color is fine white, and there is sometimes a precious light, but there is no lake green phenomenon in the glaze accumulation. "

    "As for modern imitations, the mechanical pottery body, grouting molding, tire repair and glaze lack of exquisiteness, the glaze color is mostly mixed with chemical materials, the hair color is extremely unnatural, the precious light cannot be seen, and the 'stealing light' is obviously easy to see."

    "If you use light to identify it, the light transmittance of Yongle sweet whiteware gradually weakens from top to bottom. This is because Yongle porcelain gradually becomes thinner from the bottom, waist to mouth."

    "However, the Qing Dynasty imitations have a uniform carcass thickness throughout the body, so the translucency is basically the same under the light. Modern imitations are rough and have more impurity particles, so uneven carcasses are more common under the light."

    "Looking at the bubbles under a 20x microscope, we can see that large, medium and small bubbles coexist in the Yongle Sweet White Ware. In the Qing Dynasty imitation wares, the bubble sizes are sparsely distributed, while in the modern imitation wares, the bubble sizes are evenly distributed In summary, from these few  From one aspect, there should be nothing wrong with this jade pot spring vase, but"

    Elder Gao originally breathed a long sigh of relief, but the words "but" made his heart rise again: "but what?"

    Meng Zitao said regretfully: "I feel a little regretful. This jade pot and spring vase has been repaired."

    "What? Repaired?!" Everyone around was in an uproar. If you simply said it was true or false, there is no problem at all, but everyone is an experienced expert. How could they not even notice the repaired porcelain?  This is really impossible!

    Seeing everyone¡¯s expressions of disbelief, Meng Zitao felt that this was normal. The level of the repairman was really too high. Even if he did it himself, he might not be able to reach this level.

    Mr. Gao couldn't help but ask: "Where was it repaired?"

    Meng Zitao pointed to a location at the bottom of the bottle and said, "The area is not big. There is a relatively long punch line in almost a quarter of the bottom. We can use a strong flashlight to vaguely see the repair location."  .¡±

    While he was talking, Meng Zitao picked up a strong flashlight and shined a light on the location he mentioned. After his guidance, everyone did see a faint line, but it was really not very obvious and could not be noticed at all under normal circumstances.  .

    When everyone could no longer see clearly, Meng Zitao continued: "This problem can also be discovered using a relatively simple method."

    Meng Zitao took out a key and tapped it gently on the repaired part, and then on the intact part next to it. The sounds on both sides were obviously different.

    Mr. Gao had a bitter expression: "This method is indeed very simple, but under normal circumstances, no one would knock the entire porcelain, right?"

    ??Everyone has said that this is indeed the case, unless you have the ability to find a repaired place, otherwise you can only rely on luck.

    Mr. Zhang said to Meng Zitao: "I have never seen such a superb person before.p; Meng Zitao was responsible for appraising calligraphy and painting works, which was consistent with his identity as a calligrapher. He was a little uncomfortable at first, but he adapted quickly. As he passed several antiques, he became more comfortable appraising them.  At first, Mr. Cai next to him helped him take a look, but later he saw that his technique was skillful and there were no mistakes, so he relaxed and started looking at the calligraphy and painting works in front of him.

    Of course, it¡¯s not all smooth sailing, because although Meng Zitao has superb calligraphy, who knows if he also has superb appraisal skills?  In addition, he is too young, so there will be cases where the treasure holder is unwilling to appraise Meng Zitao.

    At this time, Mr. Cai stood up and explained to the treasure holder, and said that Meng Zitao's eyesight was as good as his own, so the treasure holder reluctantly agreed.

    But if the result of the appraisal is authentic, then it is easy to say, but if it is a fake, it will be a bit troublesome. Several treasure holders did not believe Meng Zitao's judgment, and asked Mr. Cai to appraise it. They were not satisfied until Mr. Cai also gave the result that it was a fake.

    This greatly affected the speed of appraisal. When the person in charge saw that this was not possible, he came up with an idea to let Meng Zitao and Mr. Cai conduct inspections on the collections of the five treasure holders in front of Meng Zitao and Mr. Cai respectively.  During the appraisal, both of them wrote down each appraisal result on paper to see what the result was.  If the results are all correct, then Meng Zitao has passed.

    The treasure holders all expressed their agreement, and Meng Zitao and Mr. Cai also readily agreed.

    Ancient folk paintings, especially those by famous calligraphers, have a very low chance of being authentic. Among the ten people, Meng Zitao and Cai Laolian looked at eight of them, and they all had problems of one kind or another, and all of them were fakes.

    Meng Zitao and Mr. Cai gave a pair of results, and both of them wrote the word "false" on the paper.

    By this time, Meng Zitao's vision has been recognized by everyone, and he no longer talks about his youth.

    At this time, Mr. Cai, who was in the process of appraising it, suddenly let out a light sigh: "Hey, Xiao Meng, why don't you come and take a look at this painting?"

    Meng Zitao looked over and found that it was a painting of a lady signed by Chen Hongshou.

    Chen Hongshou, nicknamed Zhanghou and Laolian, was a painter in the late Ming Dynasty. He was good at poetry, calligraphy, and was especially good at painting.  In his early years, he learned from Lan Ying and Li Gonglin, and later became his own painter.  His paintings cover a wide range of subjects, including figures, landscapes, flowers and birds, bamboo, stone, grass and insects, etc. He is particularly famous for his figure paintings.

    After the fall of the Ming Dynasty, he became a monk in Yunmen Temple and named himself Hui Chi, also known as Lao Chi.  The paintings of flowers, birds, grass and insects, bamboos and rocks are detailed in outline, bright in color and full of decorative interest.  Flowers are also painted using the freehand brushwork method of ink and ink, with the brush and ink flowing freely.  With concise and concise lines and colors, and calm and implicit expression techniques, he created a unique and unique artistic style, which reflected the painter's aloof and stubborn personality.

    The figure's torso is majestic, and the clothing lines are thin, vigorous and round.  In his later years, the figure paintings in his works were exaggerated, and some of the images were abstract and weird to highlight the characters' personality traits.  His figure paintings enjoy a high reputation, and he is known as "South Chen Bei Cui" with Cui Zizhong, another figure painter in the late Ming Dynasty painting circle.

    Speaking of which, Chen Hongshou¡¯s personality is like that of Picasso, and the wine woman is his source of inspiration.  Mao Qiling wrote in "Chen Laolian's Farewell Biography": "Gu was a good woman in her life. She would not drink if she was not a woman. She would not sleep well if she was not a woman. She would often go to her to beg for paintings with her wife."

    Chen Hongshou also brought his love for women into his paintings. Compared with previous traditional paintings of ladies, he changed the traditional image of women with vengeance, transforming the women in the paintings from the role of being looked at to the role of autonomy, giving them  Their own emotions express their inner world equally, with sympathy and praise.

    This painting is also the same. The woman has a floor-length dress, a wide robe with big sleeves, a hairpin on her head, and her face is represented by the "three white method"; she is plump and beautiful, plump and plump. She holds a folding fan in her left hand and a fan in her right hand.  Waist, with a sachet on her body, she looks dignified and inviolable.  The lines are thin and even, with multiple turns and changes in weight, which is a legacy of the Tang Dynasty, and appropriately expresses the character's spirit.  She seems to be the incarnation of Chen Laolian herself, looking down on all the injustices in the world and looking noble and elegant.

    (1762) (Remember the website address: www.hlnovel.com
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