63, melon seed slices: associated with fish roe patterns, broken rice patterns, turtle cracks, indicating the size of the open pieces such as melon seeds, Ru kiln azure glaze is the most common, ancient porcelain pieces sewn large, sewing colors are diverse, and the imitators are basically one color. In addition, using other identification bases, it is not difficult to identify.
64, blue dots: Tang Blue Flower Jun, Song Jun Azure Glaze, Duck Egg Blue Glaze, etc., most of which can be found in the glaze blue mineral dots. All glazes with blue dots will change color, long-term light avoidance color will become lighter, and the sun color will become darker. The viewing angle is different and the color is different. According to the previous people, it contains agate juice. It is worth noting that the blue and white flowers of the pre-Ming Dynasty and some of the Qing Dynasty will also change color, with Su Ma li qing material as the most obvious.
65, crushed rice grain: the lobe is larger than the caviar stripe, and smaller than the melon seed slice. There are imitations but there are differences in sewing colors. Broken rice grain is also related to the variety of porcelain, such as it often appears on white Ru porcelain, if it appears in Azure Ru, Guan, Brother, it may be wrong.
66, fish roe pattern: shaped like a splinter of fish roe, the piece of small gap is large, black color, difficult to imitate.
67. Stitching black beads: Crab claw patterns similar to Ru kilns are more common in Hutian kilns and shadow blue porcelain. This kind of porcelain itself should not be opened, but it is affected by factors such as seeing the sky and drying the piece, resulting in some irregular piece seams. Because there are many small bubbles in the glaze, they become black through the penetration of the seam, so they are called black beads. Black beads are polluted by organic matter, the colors are not the same, some even appear multicolored light, and the new product is a pure black hue.
68, tubular seam: the Northern Song Dynasty official Jun inferior porcelain is the most prominent, the seam is thick and straight, the sides are smooth and neat like iron pipes, visually visible, feelless. Hua Jun and Min Yao Jun are thinner. Tang Huajun also has it, but it is thinner. There will be metallic light in the seams of the tubular threads, and there will also be segments of metal-like pipelines. In addition, the Northern Song Dynasty official kiln iron wire broken porcelain is also seen, but the pipeline is thinner. Extinct after the Song Dynasty.
69, turtle crack: ancient porcelain turtle crack piece seam large, black color, ru porcelain is the most significant. The seam color is formed after the kiln. Formed thousands of years ago, there must be signs of tubular patch seams. The colorlessness that has been introduced in the past hundred years.
70, black film seam: visual feeling that the film seam is polluted into black, under the magnifying glass is mainly black, and mixed with purple yellow and so on.
71, red sheet seam: porcelain with more iron, the piece seam is red, and the theory is the same as the flint red.
72, yellow seam: porcelain seams containing more ferrochlorine are yellow, and there is also a phenomenon of yellow seams and red sheet seams on the same piece of porcelain, which is related to the environmental differences it has been in for thousands of years.
73. Brother Brother Scar Face: One of the unique phenomena of the Brother Kiln. Because the kiln temperature is too high, and the makeup soil is separated from the tire, and then the glaze scar is left on the porcelain, so it is known as the shrinking glaze scar face. There is imitation, but it does not show the bronze tire color, nor does it show the pig liver tire color. This scar is not something that came out of the kiln, but was transformed over thousands of years. The brother's scarface is very different from the glazed scars of other kilns. The scarred edges of Brother Scarface's face are particularly hypertrophic and easy to distinguish.
74, Sui and Tang pipe seams: exist in the Sui and Tang Dynasty flower jun, significantly thinner than Song Jun's tubular line seams, and the other pipe seams are more brighter than the metallic light in the pipe seams.
75, polyglaze lumps: polyglaze features are particularly numerous before the Song Dynasty, which can be traced back to the Han Dynasty. On the glaze, there are thick glaze points raised from the surrounding to the center, ranging from soybeans to broad beans, and the central part is often accompanied by extra-large bubbles, with signs of corrosion from the wind and rain of thousands of years.
76, shrinking glaze scar face: shrinking glaze scar face, is the center to expose the fetal bone, glaze water to the surrounding retreat, exposing the tire or exposing the makeup soil. It is probably round or elliptical, with a few long strips. Where the fetal bone is exposed, it is a pig liver fetus, a bronze tire, etc., and has the characteristics of yellow-skinned white and red-skinned white- The phenomenon of shrinking glazed scarred faces is common in thick glazes, such as Song Guan, Song Jun, Song Ge, Longquan, Fenjing Guan Kiln, Great Song Guan Kiln, Tang Jun Porcelain, etc. The surrounding area of the glaze is often accompanied by kiln changes, and most of the people with the glaze scar face are defective products in high-end artworks.
77, shrunken glaze hemp face: refers to a feature that is much slighter than the phenomenon of shrinking glaze scar face, which has a shrunken glaze, but the area is not large, generally does not expose the fetal bone, forming an approximately circular glaze pit, and the area of the pit is significantly larger than the most typical orange peel pattern in Xuande porcelain. The shrunken glazed hemp face is often loosely scattered on the glaze of all porcelain.
78. Shedding spots: When the glaze bubbles are ruptured and rubbed, the cracked remnants come together. Before and after friction, the glaze is observed under a magnifying glass. Ancient porcelain has weathered over the years and cannot withstand the friction of human hands.
79, winter melon cream: this is a phenomenon of natural weathering of ancient porcelain for thousands of years. Try to wash the ancient porcelain, put it in a closed glass cover, and after two months, you can feel a layer of frost on the porcelain surface. Old imitations will also have winter melon cream, which is yellowish, and the kiln age is not very hot, which is different from the white winter melon cream of ancient porcelain.
80, back to lead flowers: Han Tang to Ming and Qing dynasties will appear on the black glaze. Due to the heavy lead in the black glaze, the phenomenon of returning lead will occur on the surface over time. Because the area of lead return is small dot-like, more scattered, and the edge is irregular like a small flower, it is called lead return flower. Viewed under magnifying glass, it has a three-dimensional feeling, as if floating on a glazed surface. The important feature of the ancient porcelain lead flower is that the edges are clearly demarcated and the white jade light is presented. The pseudo-lead is in pieces, the color appears dull, and the edges have a blurry feeling. The glaze of the ancient porcelain back to the lead flower has no acid erosion, and the more molded, the brighter the oil, and the false work has concave spots.
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