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For example, the blue and white dragon-pattern golden bell bowl of Zhengde style is an outstanding representative of this kind of porcelain bowl.

This kind of Jinzhong bowl has a skimming mouth, a deep arc belly, and a ring foot.

Inner and outer blue and white decoration.Both the inner and outer walls are painted with dragons wearing twining lotus patterns.

The inner bottom of this blue-and-white dragon-pattern golden bell bowl, that is, the blue-and-white double circle, is also painted with a dragon wearing twining lotus patterns, and the outer wall of the circle foot is painted with Ruyi head patterns.

The shape of the Jinzhong bowl in the Ming Dynasty is also very unique. Even if you look at the name, you should know that the shape of the Jinzhong bowl is like an upside-down Jinzhong;

Admiralty bowls are shaped with skimming mouth, narrow neck, and deep arc abdomen;

In the Ming Dynasty, Jinzhong bowls had a relatively high base and walls;

The shape of Jinzhong bowls in the Ming Dynasty was relatively large, and the diameter of the bowls was generally around 15cm;

It looks like a Ming orthodox-Tianshun blue and white golden bell bowl, with a height of 10.5cm, a diameter of 14.5cm, and a foot length of 7.3cm.

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The golden bell bowl should be used for Taoist councilors, because most emperors in the early and middle Ming Dynasty believed in Taoism.

Therefore, the Xuande, Zhengde, and Jiajing emperors of the Ming Dynasty all fired porcelain with Taoist meanings.

From the decoration and function, we can see such porcelain.

In the late Ming Dynasty, this kind of porcelain used for Taoist councilors, especially the porcelain like the golden bell bowl, stopped burning with the economic decline of the Ming Dynasty.

However, in the Qing Dynasty, it was also seen that the imitation of the porcelain golden bell bowl of the Ming Dynasty was fired.

In the late Qing Dynasty, it also imitated the golden bell bowl porcelain from the Xuande period of the Ming Dynasty.

In addition to firing in official kilns, Jinzhong bowls were also fired among folks in Ming and Qing dynasties.

Especially in the Qing Dynasty, there are also very good collections of golden bell bowls fired by folk kilns.

Chen Wenzhe knew that in the ceramic museum over there in Jingzhen, there was a golden bell bowl with colorful flower and bird patterns fired in a folk kiln.

This is a fine product, with a curled mouth, a round belly, shaped like a golden bell, thick tires, and white glaze.

The inner edge is decorated with plum and bamboo brocade patterns on the sandy ground, the inside of the light is painted with chrysanthemum patterns, and the bottom center is painted with a rose;

The outer wall is painted with roses, pomegranate flowers, lake stones, birds and colorful butterflies among the flowers.

The base is a branch of Versicolor versicolor painted inside the double circle, which is a good product in folk kilns.

Of course, the most authentic one is the Golden Bell Bowl from the Xuande period.

So in the end, Chen Wenzhe imitated a Ming Xuandeji red-glazed golden bell bowl.

As long as it is red glaze and the color is fairly correct, this level of porcelain is considered a national treasure.

There are really a lot of porcelain achievements in the Xuande period. It really takes a lot of time to imitate all of them.

Therefore, Chen Wenzhe just imitated some of the unique and representative ones, and it was over.

Next, he still needs to continue to imitate some high-quality goods according to the list of emperors in the Ming Dynasty.

For example, during the Chenghua period of the Ming Dynasty, there were many porcelains in this period, which are worthy of his fine imitation.

Not to mention Doucai, just say that the three-color plum vase of Chenghua Jindi in Ming Dynasty is worth imitating one.

The golden ground, yellow in disguise, really can't be called yellow glazed porcelain.

To imitate the real yellow-glazed porcelain, you still have to look at the Hongzhi period.

Among the collections of the 2022 Jiudingchun Auction, there is a Daming Hongzhi Yellow Earth Glazed Porcelain Pillow with Auspicious Elephant Cloud and Crane Pattern.

In addition, there are many yellow-glazed porcelains, and they are all from the Hongzhi period.

This auction can also be regarded as a special sale, which includes a pagoda-shaped flower pot with yellow glaze engraved with dragon patterns and a vase with dragon and phoenix engraved with a yellow glazed chilong dish engraved by Hongzhi of the Ming Dynasty.

This time the porcelain is all authentic palace supplies, and the price is not low.

It is really not difficult to imitate these porcelains.

Whether it is a porcelain pillow or a dragon and phoenix vase, Chen Wenzhe has made too many, and now it is very easy to imitate.

That is, flower watering, which is relatively rare. This thing is a flower watering device, which was popular in Ming and Qing Dynasties.

Ming Yongle flowers have long necks, round abdomens, and round mouths. They are often painted with patterns of sea water and lotus branches.

The Xuande flower has a short neck, a slightly flattened abdomen, and a wide-band handle.

In the Qing Dynasty, the gate of the Yongzheng flower is made of narrow stream, the neck is thin and long, and the underside of the shoulder is decorated with chrysanthemum petals.

In fact, flower watering is a kind of pot dedicated to watering flowers.

The shape of this kind of pot is imitated by West Asian bronzes, with a flow along one side of the mouth, a straight neck, and a crank between the mouth and shoulders.

It was fired in the Song Dynasty, popular in the Yongle and Xuande periods of the Ming Dynasty, and continued to the Qing Dynasty.

Yongle time vessel has a large mouth, straight neck, round belly, dragon-shaped handle and slender decoration.

Xuande wares have a short neck, a slightly flattened belly, wide handles, and extensive decorations.

The sprue of the flower in the Yongzheng Dynasty of the Qing Dynasty is similar to the Tang Sancai Fengshou pot, with a thin neck, a straight flat round abdomen, and ring feet.

The neck and shoulders have raised string patterns, and the shoulders and lower abdomen are often decorated with raised chrysanthemum petal patterns.

The first time Chen Wenzhe knew about this thing was through a news report.

It is said that there was a local tyrant who spent tens of millions on a flower garden.

However, after identification, it was found that it was not for watering flowers at all!

Of course, this must be a genuine piece of porcelain from Xuande, there is no mistake about it.

However, to say that it is flower watering, after many appraisers appraised it, it is not right.

That is to say, this piece of porcelain is a genuine official kiln, but its function and name may be wrong.

The identification science knowledge here is very rich.

And this is also an important reason that attracted Chen Wenzhe to the road of appraisal.

The identification of porcelain cultural relics is a science.

In addition to the intuitive impressions given by the appearance, looking inward and looking for the real identification code of cultural relics may be the most convincing identification point.

It's a pity, because the science of cultural relic appraisal started late, so it is difficult to pass it on.

Besides, this is also an empirical science, like the older generation of appraisers, all rely on ophthalmology and experience.

Regardless of whether or not he is true and reliable with these ophthalmology and experience, things that teach apprentices to starve to death from their masters do happen from time to time.

In addition, the modern society really lacks the way of respecting teachers. There are too many people who say "Master, Master" face to face, and then curse at their mothers.

Then, who would want to teach students?Unless it's your own child.

And those who engage in scientific testing basically don't understand cultural relics.

For them, these tiles and fragments are corpses, and I will examine and dissect them when you bring them over.

I'll report it to you, and you can figure out the rest by yourself.

Therefore, even if science plays an important role in the identification of cultural relics, it is like alien weapons given to primitive people, but they still cannot play a role.

In fact, learning appraisal is very difficult to say, but it is easy to say, and it is very simple.

For example, the kiln master hired by Chen Wenzhe in South Vietnam not only knows how to watch fire, but also builds firewood kilns.

He can even professionally build corresponding firewood kilns according to the characteristics of porcelain.

It means that he doesn't make ceramics, do you believe it?

Therefore, if you want to learn identification, you must understand silicates. Why?

The ceramic industry is actually the most typical silicate industry.

If you don't know how ceramics are fired successfully, how can you become a good appraiser?

I don’t know the formula of the ceramic production medium, the ratio of glaze, the ratio of blue and white pigments and overglaze paints, the firing atmosphere, and the firing characteristics of different kilns. How can I know the various kiln openings and various histories? Characteristics of period porcelain?

If you don't know these basic things, what kind of appraiser is there?