My system is not decent

Although generally similar, the two Song Pagoda Guanyin statues are different from those of the Tang Dynasty in terms of craftsmanship and carving techniques.

So, do these two statues belong to the statues influenced by the style of the Tang Dynasty, rather than deliberately made after the style of the Tang Dynasty?

Is the two Eleven-faced Avalokitesvara merely a link between the past and the future?

These might as well be analyzed through the analysis of the characteristics of the statues unearthed in the Five Dynasties period, such as a Buddha statue in the Five Dynasties period unearthed from the underground palace of Leifeng Pagoda in Hangzhou.

This statue consists of three parts, namely the seated Buddha, the backlight and the pedestal.

The plump face, vigorous figure, and light clothing style of the seated Buddha reflect the legacy of the prosperous Tang Dynasty.

However, the pedestal with its complex structure fully reflects the transformation of people's aesthetic views and the emergence of innovative spirit in the late Tang and Five Dynasties.

The large Yanglian pedestal is very different from the square pedestals, round pedestals and hexagonal pedestals that were common in the Tang Dynasty.

The dragon-decorated pillar in the middle is a mythical symbol with the characteristics of the Han nationality.

Although the image system of "Xianglong Jialian" appeared in the early stone carvings, it has never been applied to bronze statues.

The emergence of this style also shows from the side that the cultural consciousness of the Han nationality is integrated with Buddhist culture, thus producing a new aesthetic concept.

There is also a statue of Shuiyue Guanyin Bodhisattva unearthed in Jinhua Wanfo Pagoda, Jiangsu and Zhejiang, which also illustrates this kind of closure.

As the earliest surviving bronze statue of Shuiyue Guanyin in my country, its overall style has basically broken away from the legacy of the Tang Dynasty.

Only in terms of style, it follows the shape of Zhou Fang Miao-Chuang Shuiyue Guanyin in the Tang Dynasty, and the depiction of clothing patterns is more realistic.

From the perspective of the overall shape of this Buddha statue, the secular aesthetics have been greatly strengthened.

It can be seen that advocating nature, emphasizing realism, and being full of innovative spirit are the characteristics of this era.

Although there are only a few decades, the Five Dynasties period can have its own distinctive artistic characteristics of the times.

The two eleven-faced Avalokitesvara statues also unearthed in the Jiangsu and Zhejiang regions, their artistic style is far from the statues of the Five Dynasties period.

They are more imitations of the same powder version of the Tang Dynasty.

Therefore, these two statues should be an imitation of the style of the previous dynasty, and they do not have the unique atmosphere of the early Song Dynasty.

Through the analysis of the artistic style of this statue of Avalokitesvara, combined with the social ethos of collecting antiquities in the Song Dynasty, it can be preliminarily judged that this statue should be a Song imitation of the Northern Zhou Dynasty.

However, more research and comparison are needed to completely confirm that this statue was made in the Song Dynasty.

We can also use some scientific and technological means, such as X-ray detection, material analysis, etc. to assist our judgment.

In short, the identification of "antique" style statues is more distinguished by the charm of the times and some subtle characterizations.

Today, it is difficult to have an accurate and systematic identification method.

Throughout the thousands of years of cultural and artistic history in our country, "imitation of ancient times" has always been accompanied by the development of cultural and artistic development in various periods.

It can be said that imitation of antiquity is the remembrance and respect of the artistic styles of predecessors in various historical periods, and it is also the basis for the development of art in various periods.

The eras that really had the feeling of "antiquity", and promoted this "feeling" from top to bottom, should be the Song and Qing dynasties.

Song Dynasty was dominated by Huizong, while Qing Dynasty was the Qianlong period.

The "antique" statues in the Song Dynasty are a field that many people do not usually pay attention to.

No matter in the collection field or in the academic field, few people care about it.

For a while, Chen Wenzhe just thought of these two groups of statues, trying to understand and understand the identification method and causes of the statues affected by the "antique atmosphere".

It is different from the court imitation statues of the Qianlong period in the Qing Dynasty. It is a kind of artistic aesthetic taste of citizens consciously produced under the influence of the social atmosphere of respecting and admiring the ancients in the Song Dynasty.

It is also a form of artistic expression that coexists with the realistic, civilian and secular style of statues in the Song Dynasty.

This retro and archaic artistic tendency exists in many periods of history.

In fact, under the concept of "respecting the ancients", it should be a reflection of previous regulations and coexist with the artistic style of the time.

When recognizing and identifying the "antique" statues of the Song Dynasty, we should still pay attention to some forged works of later generations, especially the statues of the late Qing Dynasty and the Republic of China.

However, due to the limitations of different craftsmanship, aesthetic characteristics and materials used in each era.

Therefore, imitations in different periods will still show the unique craftsmanship characteristics of this era.

Different eras will also reveal the charm of the time.

This requires researchers with rich experience and excellent discrimination ability.

This is easy to say, but it is really not easy to be able to combine reality and get something.

Chen Wenzhe saw some characteristics of the times, so he could see the six steeds of Zhaoling Mausoleum and the eleven-faced Buddha statue in front of him, all of which had unique characteristics of the Song Dynasty.

This is the most obvious imitation of Song Dynasty, that is to say, this is not a pure technology, but a characteristic of the times.

To be precise, this is a special product produced in a special era.

I have to say that because good antiques like to be collected, the level of imitation in Song Dynasty is really high.

Of course, modern people use the techniques and skills of the Song Dynasty to imitate the six steeds of Zhaoling in the Tang Dynasty. Although the imitation has achieved a high level, the flaws are also obvious.

Therefore, modern people who do not stick to the rules must have changed.

This is not only reflected in the six steeds of Zhaoling Mausoleum, but also in the eleven-faced Buddha statue.

At least those obvious differences between the Tang Dynasty and the Song Dynasty, they are trying their best to avoid.

Unfortunately, sometimes some things cannot be easily changed.

In some places, as long as there is a change, it will become completely different.

Therefore, these works all retain some traces of the Song Dynasty, which is why Chen Wenzhe can recognize this technique at a glance.

"The imitation is so good that it can pass off as an antique."

Seeing Li Jinli's expectant eyes, Chen Wenzhe immediately satisfied his expectation.

"Huh? Is this Buddha statue also a replica?" Li Jinli is really a smart person.

Chen Wenzhe was noncommittal, could this thing be genuine?

It should be occasional for people to imitate the six steeds of Zhaoling, but it should be professional for imitating Buddha statues!

"Really?" Li Jinli's face became very ugly.

Chen Wenzhe looked at him strangely: "Could it be that you have collected a large number of Buddha statues?"

Li Jinli said helplessly: "I thought that kid was a prodigal son who sold all the things hidden by his ancestors. I didn't expect that he was pretending to be a pig and eating a tiger!"

Well, this is another classic case of wanting to pick up the leak, but finally taking medicine to get the eye.

The fake Zhaoling Six Horses are fakes, everyone knows that.

But counterfeiters with this kind of technology, can they not have something good in their hands?

So, the so-called good things that Li Jinli bought were all fakes?

(End of this chapter)