For the early generation of researchers in the founding of the People's Republic of China, there was almost no problem with identifying things.

Because there was no such high-tech as today, and a large number of 1:1 high-quality imitations copied in proportion.

Almost all the porcelain that passed by during that period were genuine.

But for our current generation of researchers, that's a problem.

If you are still only in the fourth grade of elementary school and do not understand the basic principles of physics and chemistry, it will be difficult to break through the height of following the crowd. You know the reason but not the reason.

Of course, in addition to these scientific identification knowledge, you also need to understand a lot of historical and humanities.

The colorful Ru kiln firewood kilns that Song Huizong had to stop and not talk about the money he brought with him.

Because if you continue talking, you will be scolded.

Why not say it? Because I can't explain it clearly.

I told you that there is no daffodil basin in Ru kiln, and it is necessary to verify whether there is a daffodil plant like the Northern Song Dynasty.

We have to verify who first called it the Narcissus basin? We have to verify what it is not called the Narcissus basin?

These are all brain-consuming and time-consuming.

What's more, it's not worth it to explain clearly to people who can't explain it clearly.

Back to the original story, this time I will talk about the Yongle Flower Watering in the collection of the famous Palace Museum.

Currently, researchers in the cultural and museum circles have only studied the cultural relics of Yongle blue and white porcelain and Xuande blue and white porcelain at the height of imitating brass ware in the Middle East.

In addition, Mr. Geng Baochang said in the book "Ming and Qing Porcelain Identification" that if the Xuande flower is watered, there is no dragon handle, and if the Yongle flower is watered, it is watered to the dragon handle.

Yongle has a long neck and a round belly, while Xuande has a short neck and a flat belly.

Chen Wenzhe once specially found the original version from the Middle East and compared it with Xuande's.

It is to compare and identify and find out whether these theories are correct or perfect.

Let’s look at the original Middle East. In addition to the bottom foot being a ring foot, the edge of the mouth is convex, and the lower part of the dragon handle is a kind of spacer similar to Jewish stars. Yongle porcelain should be a relatively perfect copy of the elements of the original Middle East.

Including the original utensils, the body of the utensils is engraved with gold and silver utensils and a circle of bulges on the neck.

A convex edge below the edge of the mouth is expressed in this Yongle cultural relic collected by the Palace Museum, which is very well imitated.

The Yongle instruments collected by the Palace Museum are imitated from the Middle East, and there should be no major mistakes.

In other words, when this thing was sent to Jingzhen for fire, it must have been a model from the palace, and Jingzhen was like this.

This proves very well that during the Yongle period of the early Ming Dynasty, there must be trade exchanges between my country and the Middle East.

But is this thing really a flower watering? This is doubtful.

Who gave the name of watering this flower? This thing is definitely wrong when drinking water, and it seems to be possible to water the flowers.

But those who have grown flowers know that this thing is easy to break when watering flowers, and it is heavy and can't contain much water.

When it comes to watering flowers, it is still reliable to make iron sheets and not afraid of bumps and bumps.

Are you mistaken? By the way, this thing is not used to water flowers at all, but is similar to the ancient Chinese turtle, which is used to wash hands.

People in the Middle East often use their hands to grab their meals, without knives and forks or quicksells. They must wash their hands according to the doctrine before eating.

For wealthy families and the palace, washing hands is to sit in a seat and wait for the waiter to come and hold water in copper utensils, and there is a tray underneath to collect water.

This so-called flower watering is used in the Middle East.

In the Ming Dynasty, the food was fast, and the habit of washing hands before meals was gone.

So what's the use of this thing? You can't use it to drink tea and wine? It's too heavy to use it to drink wine.

Only by understanding its purpose can you name it correctly.

The correct name of this instrument should be the collection of the Palace Museum: Ming Yongle blue and white hand purifier, not flower watering.

As for the difference between Yongxuan, there is also a record of the atypical Xuande flower watering cultural relics in the collection.

It can only be said that according to the discovered information, the hand purifier cultural relics without any funds should be early cultural relics from Yongle to Xuande.

The hand purifier with the model is a cultural relic after the mid-term Xuande period.

Such a conclusion should be more scientific.

Finally, let’s talk about something scientific. Most of the blue and white cultural relics in Xuande, Yongle in the Ming Dynasty, use imported Su Maliqing. One of the major characteristics of Su Qing is that it is "diffusing".

Because firing Yuan blue and white, especially high imitation Yuan blue and white, must face Su Maliqing's fatal flaw.

If you are ordinary glaze, or blue and white devices imitating the middle and late Ming and Qing dynasties, you naturally don’t have to worry, because Su Maliqing is no longer there during this period.

This problem was inevitable in the Yuan Dynasty, or in the early and mid-Ming Dynasty.

Why did blue and white flowers easily dissipate in the Yuan Dynasty and the early Ming Dynasty, while blue and white flowers were not easily dissipated in the Qing Dynasty?

In the blue and white paintings of the Yuan Dynasty and the early Ming Dynasty, the lines and outlines on the pictures are not clear, and this phenomenon is called "diffusing".

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Due to the dizziness, there are few figure paintings with clear facial features, eyebrows and hair during this period.

Blue and white porcelain in the middle and late Ming and Qing dynasties rarely dissipated, so the beards and eyebrows of the figures were clear.

For example, during the Yongle period, due to dizziness, there were few figure paintings with clear facial features, eyebrows and hair during this period.

The blue and white porcelain in the middle and late Ming and Qing dynasties rarely dissipate, so the beards and eyebrows of the figures are clear.

The so-called "diffusing" means that the coloring material diffuses from the coloring area to the non-coloring area in scientific terms.

The research results show that the degree of diffusion, the formulation of the main colorant, is related to the development of calcium feldspar crystals on the reaction layer.

Generally speaking, adding more flux to the coloring material is beneficial to color.

In the Yuan Dynasty and early Ming Dynasty, when the production process of blue and white porcelain was not yet mature, this was necessary to improve the yield rate.

In early blue and white porcelain, because cobalt-containing high-iron and low-manganese Sumali blue material, they all had the basic characteristics of the Sumali blue material.

And halo is the most basic feature of Sumali blue material, which is formed on porcelain.

It can be said that using Sumaliqing cobalt material will inevitably cause dizziness.

At the same time, many of the other characteristics of Suliu on blue and white porcelain are related to the existence of "dispersed".

Therefore, the phenomenon of dizziness is like a key, which is the key to open the door to identify the authenticity of early blue and white porcelain.

Generally speaking, there are two main manifestations.

The first type is the mold lake or dispersion state formed by these bead-shaped small dots and halosses formed by the edges of the condensation spots.

The second type is the painted base pigment, which is like the opening state of ink dripping on rice paper, and its area is larger than the former.

The first type of scattering of bead-like condensation spots, also known as dispersion, must be based on the second color base that is opened.

That is, the dispersion of the former is based on the cause of the latter.

It should be emphasized that in reality, the first bead-like diffusion situation is more than and obviously the second bead-like diffusion situation.
Chapter completed!