Add Bookmark | Recommend this book | Back to the book page | My bookshelf | Mobile Reading

Free Web Novel,Novel online - All in oicq.net -> Romance -> Appreciating treasures in life

Text Chapter 963: Uncovering the Second Floor

Previous page        Return to Catalog        Next page

    After signaling to everyone, Chu Chen took the plate in his hands and observed it carefully. The plate's body and glaze, as well as the treatment of 'rust spots', did have the characteristics of the Yongzheng period.  ?  . But as I just said, there were no conditions and examples for imitating Yuan blue and white during the Ming and Qing dynasties. Could it be that just the points mentioned above and the Yuan Dynasty mark left on the bottom can prove that this is the Yuan Dynasty imitation made by Yongzheng.  Blue and white?  This is obviously impossible.  So, Chu Chen took out a magnifying glass and began to carefully observe the bubbles in the glaze of the plate.  Chu Chen thinks it is very important to use a magnifying glass to look at the appearance of bubbles on the surface of porcelain. If you master it well, you will receive fewer imitations.  Some experts deny bubble analysis. Chu Chen feels that this is because they have not put in the effort to study it. Seeing bubbles is like reading a book from heaven. It is foggy and confused. The easiest way is to deny it.  But there are many people who will study tirelessly and find ways to decipher the heavenly book.  To see whether the bubbles are old or new, they must be compared by age and type. For example, Yuan blue and white, Yuan blue and white bubbles must be compared with Suma Liqing and Yuan blue and white bubbles, and domestic blue and white bubbles should be compared respectively.  You cannot mix and compare porcelain bubbles from various categories and eras. If you mix them together and compare them, there will be no comparability, and you will be looking at things in a fog.  To analyze bubbles, if you want to be successful, the conditions are easy to find. All you need is a magnifying glass or preferably a microscope. For specimens, you only need ceramic tiles. It doesn¡¯t cost much but it takes a lot of effort.  At the same time, it is also very boring. If you don't have perseverance, you really can't figure out the reason.  In addition, using bubbles to identify authenticity may not always work.  And with the improvement of technological level and the recovery of craftsmanship.  It is also possible to imitate bubbles that are the same as the original ones.     but.  Chu Chen immediately recognized the authenticity of the plate in front of him, because the method of forging the bubbles was similar to the bottle he saw at Ning Yina before. Therefore, it goes without saying that the maker must be Gu Gongyi.  "Everyone saw Chu Chen put the plate back, and was about to ask about the authenticity of the plate, but saw Chu Chen go aside and take out his mobile phone to make a call.  The reason why Chu Chen called Gu Gongyi was not only to ask him if there was a mark on the plate, but also for another main reason.  I just want to ask what happened to this plate, because Gu Gongyi clearly said that he made high imitations without leaving his own mark. Except for Ning Yi's bottle, he put away the rest by himself, so what about this plate?  What happened to the plate?  Gu Gongyi was quite surprised when he heard the news. He said that he was indeed in December last year.  He had made such a plate, but it was obviously put away by him. How could it be spread outside?  So he hung up the phone after telling Chu Chen the secret message he left.  I hurried home to check.  Chu Chen put away his mobile phone and walked back to his original position. Xiang Facai asked: "Teacher Chu. I seem to have heard you mention this plate on the phone, right?" "Wait a minute." Chu Chen didn't.  eager to answer.  He picked up the plate and looked at it again, and then said: "Now I am sure. This plate is indeed made by my friend." After hearing Chu Chen's answer, Lao Chang said with a look of disbelief: "Boss Chu, do you have any  Is there a mistake? " "Everyone, please look here" Chu Chen directly pointed out that the secret mark Gu Gongyi deliberately left was the word "Gu".  Seeing this secret note, Lao Chang showed an expression as if he had seen a ghost. Duan Xuefeng and Xiang Facai were also amazed.  Duan Xuefeng marveled and said: "Brother Chu, that friend of yours is really amazing. He can do secret notes at such a high level." Chu Chen just smiled and didn't say much. Gu Gongyi will make some high imitations of Tang Sancai from time to time in the future.  , for safety's sake, he didn't want Gu Gongyi to come into everyone's sight.  At this time, Xiang Facai asked with a smile: "Old Chang, what are you going to do about this matter?" Faced with such a result, Old Chang could only smile bitterly. He could only blame himself for this matter. He obviously  I have also heard that from the Ming and Qing dynasties to the Republic of China, there were no imitations of Yuan blue and white, but because of greed and luck, I bought the plate. In the end, I unfortunately met Chu Chen, an insider.  "It's such a bad year!" Old Chang sighed secretly, and then became distressed, because except for one heavyweight item in his hand, the rest were just gadgets, not worth much at all.  , if these things are used to compensate Xiang Facai, Xiang Facai will not be satisfied and may even arouse his anger.  However, he already has a buyer for that heavyweight item, and the buyer will come in a few days. If Xiang Facai is given a fortune, what will happen to the buyer who has already booked it?    Lao Chang thought about it and was undecided for a moment. However, when he saw Xiang Facai, who was smiling on the surface but looking at him with eager eyes, he gritted his teeth and prepared to get through the hurdle in front of him first. As for the original one, the big deal  Just sell him something else and give him a slight discount.  "Mr. Xiang, I'm really sorry. I've also had my eye on this thing. Let's do it. I also have a painting of "Songs and Cranes" by Xu Gu, but the price is" Xu Gu was a famous flower-and-bird painter in the late Qing Dynasty.  Bonian, Pu Hua, and Wu Changshuo are collectively known as the "Four Masters of the Shanghai School in the Late Qing Dynasty". When I heard that Lao Chang had his works, Xiang Facai was surprised and asked quickly: "Xugu's "Pine and Crane Picture"? Is it real or fake?"  "Lao Chang said with confidence: "It must be true. After I bought it, I asked xxx and xxx to authenticate it. If you don't believe it, you can call them and ask." The two people Lao Chang mentioned are also famous calligraphers and calligraphers in Beijing.  Appraisal expert, so when everyone heard what Lao Chang said, they believed it.  Xiang Facai said: "I said Lao Chang, since you have such a good thing, why didn't you bring it over earlier for us to appreciate it?" Lao Chang smiled bitterly and said: "It's not that I don't take it, but I have already found this painting.  We've got home, and he'll be here soon." Xiang Facai waved his hand and said, "Okay, don't say any more. You'd better go and bring the painting for us to appreciate first." "Okay.  Okay" Lao Chang nodded repeatedly.  But he stood motionless.  Seeing this situation, everyone really couldn¡¯t understand what was going on with Lao Chang.  When Xiang Facai arrived, he had a quick mind and immediately figured out the relationship.  He smiled and scolded: "Don't worry, you guy, I won't take advantage of you." "Okay" After receiving the promise of making a fortune, Lao Chang hurried out to get something.  When Lao Chang walked out of the door, Xiang Facai sneered and said: "This guy is very mean-spirited. If he didn't want to bother him too much, I would have to break his old bones." Duan Xuefeng nodded: "Indeed, Lao Chang is very  You can only believe it if it is true, but be careful when the painting comes." After Xiang Facai heard this, he immediately remembered that Chu Chen seemed to specialize in the two categories of porcelain and jade.  , plus calligraphy and painting are the most difficult to identify among the many categories of antiques, can Chu Chen do it?  Thinking of this, he couldn't help but feel worried.  Chu Chen saw Xiang Facai's expression, and soon figured out what he was thinking, and said: "Mr. Xiang, the characteristics of Xu Gu's calligraphy and painting. My master also introduced it to me in detail, and he has several paintings  I still have some experience in appraising Xu Gu¡¯s works.¡± Xiang Facai breathed a sigh of relief and said with a smile: ¡°Teacher Chu, you don¡¯t need to say more, no matter what, I won¡¯t disbelieve you!¡±  " Chu Chen was a little humble when he heard this.  I thought to myself, just like you did just now.  It would be weird if I believed you!  After chatting for a while, Lao Chang walked in with a painting and calligraphy box.  Everyone cleared the table.  Lao Chang took the painting out of the box and unfolded it, and everyone quickly looked at the painting.  Xu Gu learned from the past but did not follow the past. He insisted on originality and won a high reputation with his courage and wisdom. He became one of the outstanding painters in the "Shanghai School" painting circle in the late Qing Dynasty.  This painting of plums and cranes fully reflects the characteristics of Xu Gu¡¯s brushwork.  The plum tree was first written with a wet pen and light ink, and then the dry pen was used to add outlines. The lines were intermittent and frustrated, and the strokes were vigorous and vigorous, while the loose embroidery formed a pure and empty charm.  The plum blossoms are outlined with a round pen, and the petals are like pearls and jade, childish and simple.  The crane uses a minimalist pen to write the head and tail feathers in thick ink.  The colors in the picture are light, but the crane's top is highlighted with vermilion, which makes the whole painting cool and handsome, full of changes, simple and thought-provoking. It is indeed a rare good painting.  However, when Chu Chen saw this painting, he couldn't help but be startled, because this painting actually had at least 90% of the same content as "Pine and Crane Picture" by Xu Gu collected by Mr. Liu, and the layout was even more similar.  It's completely consistent, and even the content and location of the title and bell seal are exactly the same.  You said that the title and the bell seal should be the same, which is still possible, but the position is the same, which is too much.  You must know that creating a painting is accidental, and it is not a copy machine. It is obviously impossible for two works to be exactly the same except for some places.  Therefore, it goes without saying that one of the two works must be a fake. Of course, based on his own master's eyesight, Chu Chen must be inclined to believe that the painting in front of him is a fake.  So, Chu Chen took out a magnifying glass and carefully observed the painting in front of him bit by bit, and soon discovered the flaws in it.  In the end, he came to the conclusion that the painting was not a simple fake, but a painting that had been "revealed".  What is "revealing the second layer"?  In fact, it is a technique used to forge ancient calligraphy and paintings, mostly done by framers.  because he will drawThe heart is divided into two layers, and the painted heart is the soul in the life sheet, so it is also called the "soul son". The rest is the "bastard" that can be confused with the real one.  Before ¡°taking action¡±, forgers often look at the rice paper used for calligraphy and painting.  Since the Ming and Qing Dynasties, rice paper has been commonly used for calligraphy and painting.  With the rapid development of flower-and-bird painting, and calligraphers and painters prefer to use thick brushes, thick ink, and freehand brushwork techniques, calligraphy and painting in the Ming and Qing Dynasties mostly used thick paper, that is, "rice paper."  The so-called "Jia Xuan", that is, double Xuan, is two layers of rice paper in one, such as "Jade Ban Xuan".  This kind of paper has good toughness and is easy to make thick but difficult to make thin.  In addition, when making rice paper, make a very thin layer first, and then add layers as needed.  Therefore, ordinary rice paper generally has two or three layers, and "rice paper sandwich" has as many as four or five layers.  Because rice paper is very easy to render with ink and can be soaked through almost every layer, once the calligraphy and paintings of famous artists in the Ming and Qing Dynasties came into the hands of merchants, merchants often tried to peel off the second layer.  In addition to the paper, the forger also needs to look at the ink density of the original calligraphy and painting.  Since the method of "revealing the second layer" is to divide it into two parts, it depends on whether the pen used in the original work is thick and strong enough to penetrate the back of the paper. Therefore, calligraphy and painting works that prefer to use thick ink to exaggerate are often the victims of "removing the second layer".  , such as the modern "Shanghai School" calligraphers and painters.  For example, Xu Gu likes to burn ink with a dry pen, and strives to be straight while turning sideways. His works are very popular among those who "expose the second layer" of forgery.  In addition to the above two points, we also need to look at the full picture of the original work.  Since rice paper contains a large amount of fibers and other impurities, some of the ink in the original works will definitely show gaps in the ink dyeing of the paper due to the obstruction of fibers and other impurities. This is often reflected in whether it is flowers, leaves or inscriptions.  There are more or less linear gaps, which make the original work looming and missing, but this does not affect the artistic conception expressed in the calligraphy and painting.  In addition, the pen and ink in the original work are inherently different in shades.  Once the second layer is removed, whether it is the first layer or the second layer, the characteristics of the calligraphy and painting ink rendering and the blurred ink color will not be prominent, and it will appear monotonous and dull.  Therefore, the forger must be familiar with the artistic conception of the original work. After completing the "uncovering of the second layer", he must beautify the second layer of the fake work in full color.  When Chu Chen saw the "Pine and Crane Picture" collected by Mr. Liu before, Mr. Liu lamented that the brushwork and ink in the painting were a bit too light and did not resemble Xu Gu's style. It was for this reason that the painting was regarded as  The work was a fake and was picked up by Mr. Liu.  It now appears that this situation was actually caused by the influence of the Second Layer Uncovering.  If a painting or calligraphy meets the above three conditions, there will be forgers who will "expose" it.  From a process perspective, ¡°uncovering¡± is only the first step, but it is also a crucial step.  After the exposure is complete, the forger will compare the painting meaning of the upper layer of calligraphy and painting, make some touch-ups, refill ink, polish, frame, and add seals on the lower layer of paper. Some of them will draw the seal on the outline of the original ink pad as it is.  , mounted with old paper and old silk.  The painting in front of you should be done in this way. It may be that some places are not strong enough to penetrate the back of the paper, so these places are different from the original work.  After Chu Chen saw this work, he couldn't help but secretly praise it. As I said just now, the forger must be familiar with the artistic conception of the original work. After completing the "uncovering of the second layer", he must beautify the second layer of the fake work to full color.  The author of this painting can be said to be a master of this art. If Chu Chen had not seen the original painting long ago, he would definitely think that this painting is the original work of Xu Gu, because both the brushwork and the artistic conception are so similar.  .  "It's a pity that "peeling off the second layer" is a method of forging calligraphy and painting. No matter how good the forger is, he cannot deny the fact that the work is a fake.  (To be continued, please search Piaotian Literature, the novel will be better and updated faster!
Didn't finish reading? Add this book to your favoritesI'm a member and bookmarked this chapterCopy the address of this book and recommend it to your friends for pointsChapter error? Click here to report