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The Longquan kiln porcelain of the Ming Dynasty is decorated with characters and stories, as well as the characters Huatuoji, Fu, Shou, Jinyumantang and other characters.

It is particularly worth noting that the bottom of Longquan kiln porcelain is very characteristic, and it is different in each dynasty.

For example, from the mid-Northern Song Dynasty to the mid-Southern Song Dynasty, cakes were placed inside the ring foot, and the bottom of the foot was unglazed. The bottom of the bowl and the plate are thicker, which is related to this method of loading and firing;

In the early Northern Song Dynasty, it was burned with a bead pad, and the bead marks were left on the bottom of the vessel;

After the mid-Yuan Dynasty, pot-shaped cushions were adopted, with a circle of scratched glaze in the middle of the outer bottom of the utensil, and a glaze in the center, which looks like an astringent circle;

From the late Southern Song Dynasty to the mid-Yuan period, cakes were used to support the entire vessel and the foot pad was fired. The foot end was unglazed and generally had a cinnabar bottom;

In the Ming Dynasty, it was resumed to put cake pads in the ring feet and burn them, and the outer bottom was unglazed.

From the modeling point of view, it is necessary to grasp the typical utensils of different eras, as well as the modeling characteristics of the same utensils in different eras.

Taking the Li-style furnace as an example, this shape was more common in the Song Dynasty.

Furnaces in the Song Dynasty are generally short, with sharp outlines, protruding boards along the mouth, cinched waist, protruding abdomen, tight three-legged legs, obvious undulations in outline, and a beautiful and delicate overall shape.

The overall shape of similar furnaces in the Ming Dynasty is relatively rigid, and the outline is not smooth enough.

Looking at the details, the soles of the stoves of the Song Dynasty are round, while the feet of the stoves of the Ming Dynasty are flat and hoof-shaped.

From the perspective of the carcass, the color of the soil of the Longquan kiln wares in the Song Dynasty is white and gray.

Orange red kiln red can be seen at the exposed tire of the bottom foot, and the carcass is moderate.

Compared with the carcass of Yuan and Ming Dynasties, it is much thinner.

The body of Longquan porcelain in the Ming Dynasty is thick and thick, the color of the body is grayish yellow, and the bottom foot shows ocher brown kiln red.

Judging from the glaze color, the typical Song Dynasty Longquan enamel layer is relatively thick.

The glaze color is verdant, the luster is soft, and there are bubbles in the glaze layer, which are distributed widely and sparsely.

The glaze layer of Longquan enamel in the Ming Dynasty is relatively thin, with a high degree of vitrification, good transparency and strong surface gloss.

The glaze color may be green with brown, close to moxa green, or yellow with gray, both of which are very unsightly.

Judging from the ornamentation, the Longquan kiln wares of the Song Dynasty were purely glazed, with very little ornamentation.

Even if there are decorations, they are mostly engraved decorations supplemented by grate dots and scratches, as well as patterns such as waves, clouds, and banana leaves.

The composition is extremely concise and the technique is vivid.

On the other hand, the decorations on the wares of the Ming Dynasty are more complicated, and the patterns have obvious symbolic meanings, which is a relatively common decoration method for Longquan kiln wares in the Ming Dynasty.

Because Longquan kiln porcelain has been fired for a long time and has spanned many eras, there are many handed down works handed down to the present.

However, in modern times, there are many imitated Longquan kiln porcelains.

Chen Wenzhe wants to make Longquan kiln porcelain, so he naturally wants to collect one piece of Longquan kiln fine porcelain from various periods.

As long as there are specimens, he can obtain a complete set of firing techniques for Longquan kiln porcelain.

Then, it is more important to identify the authenticity of Longquan kiln porcelain.

To determine the age and authenticity of ancient porcelain, it is necessary to grasp the characteristics of artifacts in different periods.

These characteristics should be obtained from the shape, carcass, glaze color, ornamentation and inscription of the utensils.

The typical feature is the business card of the utensils of the times.

While understanding the characteristics of the age of utensils, it is also necessary to memorize the standard utensils of different periods by heart.

The so-called standard utensils are the utensils with the most typical characteristics of this period, which can best illustrate the characteristics of this kiln mouth, or can best represent this variety of glaze color.

Once you master the standard device, you will have a standard for judgment.

You can use this as a comparison to judge the age and authenticity of an artifact from different aspects.

Let’s talk about the type of utensil first. The imitation firing often chooses the typical products of Longquan kiln in each era.

Such as the holding pot and five-tube bottle in the Northern Song Dynasty.

Lotus petal bowls, phoenix ear vases, and Li-style furnaces from the Southern Song Dynasty.

Large vases with peony patterns, large plates with carved flowers, various incense burners and other utensils from the Yuan Dynasty.

Fake products are seldom imitated and fired against the real ones, so the lines on the shape are dull and lack charm.

Often the turning of the neck and shoulders is very stiff, the ends of the feet are too neat, the proportions of the utensils are out of balance, and the specifications and sizes of the utensils are not standardized enough.

The glaze and body of Longquan kiln have its specific composition and corresponding firing process in each era.

Longquan kilns in different ages have different body colors, roughness and fineness of texture, and glaze color and texture.

For the imitation firing of pink green and plum green glazes, the general glazes do not use chemical formulas, but use traditional formulas.

That is, plant ash is selectively added to the porcelain clay, although the texture of the glaze is very similar.

However, it lacks the introverted sense of thickness, and it is often superficial.

The bean green and dark green glazed porcelain of the Longquan kiln of the Ming Dynasty has thick walls and rough bottoms, which are easier to master in modern imitations. Such products need to be carefully identified.

An important process of making fake utensils is to deglaze the glaze surface of the utensils, mainly using strong acid solution corrosion, soil burial and some industrial technical polishing.

In recent years, experts and scholars have shown different images of surface damages that have undergone old treatments under high-power microscopes.

Summarizing and summarizing can improve the scientific level of discriminating counterfeit ancient ceramics.

Then there is the decoration, the engraved patterns of the counterfeit products of Longquan kiln products are not as smooth as the lines of the genuine products.

The decoration of applique technology is not as vivid and natural as the real product.

The exposed body is the most distinctive decorative craft of Longquan Kiln in the Yuan Dynasty.

The unique light green glaze color of the Longquan kiln in the Yuan Dynasty and the ocher red with exposed body provide a recognition point for counterfeit products.

The last thing to pay attention to is the method of loading and firing. The technology of loading and firing is different in each development period of Longquan kiln.

On the burning tools, it can be summed up in two categories: gaskets and pad cakes.

But in different eras, the padding parts on the ring feet are different, leaving different firing traces in different eras.

Especially the "iron feet" and "cinnabar feet" of Longquan kiln products in the Southern Song Dynasty are often irregular.

The traces of gaskets in the Yuan Dynasty and the ring feet of the objects in the Ming Dynasty exposed the fetal part, revealing "flint red".

The early products of Longquan kiln are very complete and rare, and there are some defects, mainly in the ring foot part.

Therefore, counterfeiters often use the method of "slightly crushing rice on the bottom or edge" or sticking kiln slag to deceive people.

Knowing the characteristics of Longquan kiln porcelain in various periods and knowing the standard wares, imitation firing is relatively simple.

The traditional firing technique of Longquan celadon is based on porcelain clay, purple gold clay, limestone and quartz in Longquan area as raw materials.

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The whole process is a traditional manual technique of firing celadon with high temperature kiln (around 1310c) using hand-drawing molding technology, family-inspired ingredients.

The traditional firing technique of Longquan celadon is similar to that of other kilns.

There are mainly multiple processes such as crushing, washing, aging, mud refining, casting, drying, trimming, decoration, biscuit firing, glazing, boxing, kiln loading, and firing.

There are also many characteristic traditional techniques, the first being the green glaze preparation technique.

The main raw materials for glaze making are purple gold soil, china clay, quartz, limestone, and plant ash.

The preparation process is that the above raw materials are roasted, pulverized and elutriated respectively, and then mixed in proportion to make glaze slurry.