Therefore, even the most common type of jar in Tang flower porcelain must be vigilant.

Such black glaze and blue spots are the hardest hit areas in the fraud of flower and porcelain, and Zhou Xia and Xu Yaohui are not allowed to pay attention to it.

Although the price of Tanghua porcelain is generally not high, it is not easy to ignore the money loss. It is quite unpleasant to buy fakes by the eyes. For antique experts, the biggest problem involved in the face is the biggest problem.

Of course, there are certain skills and secrets to identify this Tang flower porcelain.

Zhou Xia has only heard of this and has not really started to identify it.

Xu Yaohui is a veteran. At this time, he was not humble and took the lead in making an appraisal.

On Zhou Xia's side, because the system did not prompt that there were precious cultural relics, he was not in a hurry and just watched it casually.

Although I can't get started, I can still make an appraisal at a certain distance. Especially for some old experts who have seen it too much, you can basically determine whether it is true or false at first glance. If you see it too much, as long as you feel it is wrong or feel a little awkward, you need to be careful. At this time, it is important to avoid finding reasons for yourself and giving up decisively.

At this time, Zhou Xia looked at the shape of the Tang Dynasty flower-glazed porcelain!

It is a double-type jar, which is next to the jar, with two lift buttons, which can be used to lift the jar.

This flower porcelain double-series jar is not too big, it looks only fifteen or sixteen centimeters tall. Just in terms of this shape, it is not a problem, it is natural and smooth, and it will not give people a very strange feeling.

The glaze is applied under the glaze surface, and the one above is blue, but not pure blue, but moon-white.

This is not surprising. This is basically the type of flower porcelain in the Tang Dynasty. It is impossible to judge that it belongs to a imitation because of this.

Moreover, from this point of view, this jar is quite characterized by the Tang Dynasty flower porcelain. This month, blue is mixed with white, and this white is not the kind of white that is too white, and blue is not the overly bright color presented by modern cobalt materials. The excessiveness is still quite natural. There is no obvious modern pigment characteristics. Because the materials used in Tang Dynasty flower porcelain are basically difficult to find in modern times, modern imitations are basically made of chemical raw materials. For Zhou Xia, who has been fighting on the front line of porcelain identification for a long time, it is still quite easy to distinguish the difference.

Since Zhou Xia did not have a particularly in-depth study of flower porcelain, it is impossible to have a clear idea when treating Ming and Qing porcelain like he did.

Then we have to start and conduct the most meticulous appraisal to get the final result.

At this time, he also tried hard to recall in his mind that he had never seen any real objects of flower porcelain in the Tang Dynasty, but only saw some photos. Fortunately, his memory is pretty good now, and most of the things he had seen before could be recalled slowly.

However, Xu Yaohui completed the appraisal quickly and whispered to him a few words, asking him if he had any interest in collecting such porcelain.

Zhou Xia shook his head and asked him to invite him. Anyway, if Xu Yaohui wants to collect it, he can also carefully appreciate it, but the abacus is quite smart.

Xu Yaohui ignored him and asked Zhou Xia to think about the jar first. Then he went to Ma Gan and Mouse to discuss the issue of this flower porcelain.

No one disturbed me. Zhou Xia could also carefully identify the flower porcelain jar.

For those who love ceramics, they will basically understand that the artistic achievements and historical status of Tang Hua porcelain in the history of ceramics are quite prominent.

It first created a liquid-liquid phase separation glaze technology in the world. Liquid-liquid phase separation glaze is a physical phenomenon formed by the reflection of small droplets and tiny particles in the ceramic glaze layer of 50-150 nanometers, which produce Rayleigh scattering on the incident light and produces blue milk light of varying magnitude due to the different degrees of scattering. Its colors can appear moon white, sky blue, and sky blue. It turns out that people believe that the blue spots on the glaze surface of Tanglushan flower porcelain are colored by cobalt oxide as coloring material. In 1970, chief engineer Liu Kaimin of Shandong Silicate Research Institute went through multiple experimental analysis. It concluded that the blue milk light of this glaze surface is made of natural ore as raw material. After the objects are fired in the kiln at high temperatures above 1200c, the glaze surface melts into a solid and reflects the incident light. It is not cobalt coloring. The proposed theoretical viewpoint has solved the eternal problem and is recognized by the ancient ceramics and silicates.

The successful firing of flower porcelain also successfully changed the monochrome glaze situation of Chinese ceramics "blue in the south, white in the north" before the Tang Dynasty.

Flower porcelain also laid the foundation for the firing of Ru porcelain in later Jun porcelain. Jun porcelain is a kiln-changed glaze porcelain, and the reason why it is called kiln-changed is that it has great differences compared with other porcelains. For example, blue and white porcelain is a fixed blue cobalt material, which is a glaze color that can be predicted by artificially. Jun porcelain glaze is a liquid-liquid phase separation glaze. Its color presentation principle is to add copper to the glaze of Tang flower porcelain. The glue copper ions of copper in the reducing atmosphere appear red, and the melting and permeation of red and blue will appear purple to varying degrees, making Jun porcelain present the artistic effect of "one color into the kiln and ten thousand colors out of the kiln". The sky blue and sky blue of Ru porcelain are the same principle.

Therefore, Tang flower porcelain is the origin of Jun porcelain. Many scholars and their works call Tang flower porcelain "Tang Jun" and "Tang Hua Jun".

Moreover, most of the Tang flower porcelains are used in imperial palaces, and have clear documentary records and high evaluation. The Tang Dynasty culture was prosperous, with special royal musicians. The flower porcelain thin waist drum was the instrument that was the conductor when playing music at that time. It flourished in the Kaiyuan and Tianbao periods of the Tang Dynasty. Emperor Xuanzong of Tang was a drum beater. Among the ten palace musical music in the Tang Dynasty, there were Lushan flower porcelain waist drums participating. In the "Jie Gu Records", Tang Nanzhuo clearly mentioned that when Tang Xuanzong and Prime Minister Song Jing talked about the quality and taste of drums, "It is not Qingzhou stone Wei, it is Lushan flower porcelain." It clearly stated that

The name of the porcelain is produced and the glaze was given high praise. This description and praise of Lushan flower porcelain is extremely rare in ancient books before the Yuan Dynasty. The famous Yuan Dynasty writer Wu Lai also recorded that "Song Gongshou was the prime minister, and Lushan flower porcelain was heard and felt restless." Compared with the quality of the famous sage Song Jing at that time, the quality and status of the flower porcelain can be seen. In addition, the shape and blowing methods of porcelain are also mentioned in the Tang Dynasty's "Jie Gu Lu". The flower porcelain thin waist drum is a flower porcelain as a drum cavity, with skin on both ends, a right cane hit, and a left hand slap.

Putting aside these common sense, Zhou Xia’s identification mainly depends on whether the flower porcelain double-series jar in front of him is a genuine or a imitation. There is still a big difference between the two.
Chapter completed!