Collection, must not buy a large number of people before they understand, do not use the limited funds to collect the real thing, and it is a pity to take countless medicines. There are too many such Tibetan friends.
Collection, you must read the information contained in the collection, in order to be a treasure play. Therefore, the collection is not much, but to understand its taste.
For learning, whether it is true or false, every piece is a specimen. The so-called "real chapter, imitation imitation point" is it. Regardless of the real antique imitation, you must read its point of view, in order not to really collect once, otherwise if you rely on continuous buying "luck", in today's "fake imitation is really difficult to find", the result can only be senseless for the massive low imitation in vain to spend money to buy a room of low imitation.
In fact, anyone who is fortunate enough to encounter Dai Zhengu (about a thousand difficult encounters) and massive low imitations (everywhere) can be read in one figure, because after all, gao ancient jade has open door characteristics to peek at the leopard vicissitudes (see "ancient jade steps (159) jade to the high place can not see the opening of the door non-ancient"); only a small number of characteristics are not significant True Gu and a small number of high imitations need to be repeatedly studied to read out where it is.
A partial diagram (Figure 1, hereinafter referred to as "this piece"):
Figure 1
At first sight imitation, low imitation.
Or think: too arbitrary, always have to look at the full map to be sure, right? Not necessarily, because any collection can be managed to peep into the leopard.
This local picture looks at the material, work, type, grain, qin color, and pulp are useless.
One of the most obvious points of interest is the work- the yin carved line (Figure 2).
Figure 2
Ancient jade is eight thousand years old, and there is a line in the generation. This yin carved line is composed of a combination of a wide and a narrow line, which is the carved line feature of the "one-sided slope" of the Western Zhou, and only the Western Zhou slope is such a wide and narrow complementary feature, and there is no other. This yin carved line defines the eight thousand years of ancient jade into the eight hundred years of the Western Zhou Dynasty.
So, did this slope carver go to the Western Zhou Dynasty?
Obviously, the tiger dog was drawn, and the glance was low.
The Western Monday slope is also known as the slope of the Gousao side, and the main body of its construction method is composed of the combination of the "hook" knife (砣) method and the "sprinkling" knife (砣) method.
"Hook" stone is actually the original single yin engraving line, vertically cut inward by the instrument table, theoretically a stone can be cut, the cross section is roughly V-shaped, to the Western Zhou Dynasty due to the combination with the "sprinkle" gong or visual effect with the "sprinkle" knife as the main body, running around the caster, called the hook knife method; "sa" gong is on the basis of the original single yin line, on the side of the yin line to cut a large oblique knife, theoretically to go through two times of stone cutting (straight cut a knife, with a diagonal grinding knife) to complete, forming a slope, the cross-section almost presents a right-angle triangle, It is called the method of throwing knives (Figure 3) (see "Ancient Jade Steps (90): Western Zhou Jade Craftsmanship More Detailed Explanation of Gousao Slope").
Figure 3
The Western Zhou Gousao slope has a characteristic change of the early and late stages in the craft style, both relatively deep and steep knife methods and relatively gentle knife methods (Figure 4). But no matter how it changes, it is not far from the style of the era of hooking and scattering.
Figure 4
Looking back at this piece, it seems to be like a hook and not a hook, and the hook is not a hook, and the style of the slope of DaiXi Monday is the opposite of the style of the slope of Daixi Monday, which is unbearable to see (Figure 5). This imitation worker is just a layman who draws gourds in the same way, so for a low imitation at a glance (of course, if the imitation worker masters the essence of the craftsmanship of the Western Zhou Slope, it can be imitated to the point of god-like, it will require careful examination and examination).
Figure 5
In addition to the work, the rest of the shape, pattern, color, and pulp are useless, and will not be repeated one by one.