Take a look at the process.

The horse's ears are up, his eyes are wide open, and he stands upright on the pallet, showing a serene demeanor when standing. Wearing a veed head, wearing a chest and autumn belt, hanging apricot leaf-shaped ornaments, a saddle on horseback, an outer saddle, a carved pad and mud barrier, and a tail knot. The whole body is glazed with white, green and ochre.

This Tang Sancai work is accurately shaped, well-proportioned, and the tall and powerful legs are particularly vividly depicted.

No wonder everyone like Gu Fangzhou would look away and do it so realistically, if it weren't for Zhang Tianyuan's ability to appreciate words, if it weren't for his earthly energy, then he would really be able to look away.

"The reason why horses were valued in the Tang Dynasty was related to the nomadic ancestry of the Li Tang Dynasty itself. Li Shimin regarded horseback hunting as one of the three great pleasures of the husband, and asked Yan Liben to draw a sample of the six horses of Zhaoling, and ordered the craftsman to carve it into a stone relief, which would always accompany him. Tang Xuanzong Li Longji domesticated dancing horses and tapped and danced on the Qianqiu Festival on his birthday. The poet Li Bai chanted the good sentence of 'five-flowered horses, thousands of gold qiu, Hu'er will exchange for fine wine, and sell eternal sorrow with you'. Horses are an indispensable part of the life of the Tang people, and there are many three-color horses unearthed in the tombs of the Tang Dynasty, reflecting the Tang people's love for horses......"

In order to avoid embarrassment, Zhang Tianyuan was talking while carefully observing what could be seen in these things.

Although these features fully show the style and artistic achievements of Tang Sancai's era, you can't find any flaws at all. But Zhang Tianyuan believes that it can't be fake, and it can't be fake, as long as you look carefully. You will definitely be able to find the clues.

There is a saying that the genuine Tang Sancai has a sense of oldness and millennium obsolescence.

The genuine product may be placed in a damp burial chamber before it is unearthed. Or buried in the soil, eroded by thousands of years of earth, moisture, and soil. Some of them have been placed indoors for a long time after being unearthed, and under the influence of changes in air and cold and warm, their tire surfaces have no new ideas, and they are old and natural. The old feeling of the genuine product is extremely natural, rich in layers and deep into the muscles, with a hard object lightly, it can be seen that the old feeling penetrates into the fetus, if possible, you can gently tap one or two places on the fetal surface in an inconspicuous place to find that the old feeling is penetrated from the fetal surface to the inside.

The high-imitation three-color tire has a sense of obsolescence after being treated as old. However, there is no genuine fetus that has been eroded over the years and revealed a natural sense of vicissitudes, the old is only on the surface of the fetus and does not enter the muscles, and the new feeling is vaguely recognizable, and there will be no phenomenon of the old feeling seeping into the fetus. Tap the fetal table to see that the "old" is only a layer of the fetal surface, is the "clothes" of the fetus, unlike the real old feeling and the tire are one and inseparable.

But this kind of thing, with Zhang Tianyuan's current skills, he really can't see it, if he wants Tang Batian to see it. Then it's even more unlikely. Maybe Gu Fangzhou could find out if he spent a few days and nights carefully appraising, but in that case, Tang Batian would think that this matter was Tang Sancai, who was in cahoots with him Zhang Tianyuan and deliberately wanted to pry him off. That's not good.

So in this matter, in fact, the most important thing is to let Tang Batian understand it himself, so that Tang Batian thinks that this thing is a fake. Only then can the matter be settled. Otherwise there is no point.

Carbon 14 detection?

Zhang Tianyuan shook his head, although since the adoption of the method. Samples that have been carbonized include charcoal, wood, twigs, seeds, bones, shells, leather, peat, lake silt, soil, hair, pottery, pollen, frescoes, corals, blood residues, cloth, paper or parchment, resin, water, etc.

Among them, there is indeed the identification of pottery.

But this technology also has its drawbacks. One is that the accuracy is not enough, and the older the age, the greater the error, sometimes reaching hundreds of years. So scientists invented the wooden wheel dating correction curve, which can be combined to narrow the error to a few years or even a year or two. Second, carbon-14 requires a large amount of sample, which not all sites can provide.

Isn't it a bit too extravagant to use this method to identify high-quality imitation pottery?

What's more, the level of fraud is so high nowadays, since we know that carbon 14 dating can do such a test, is there also a way to deceive this test?

Zhang Tianyuan can't answer this question, and it is estimated that many antique experts can't answer it either, so in this world, there is really no absolutely reliable detection method.

Suppose there is one thing that almost all antique connoisseurs say is true, and carbon 14 dating detects that it is a modern imitation, who is to believe?

Do you believe the results of the carbon 14 test? But what if it's really wrong? Antiques are irreversible things, once they are destroyed, don't think about repairing them again, even if you repair them well, it will be broken, and it is still different from the intact one.

But the trouble is that Zhang Tianyuan can't think of any other way now, it seems that he really can't find a second way except for carbon 14 dating, it's really damn it.

"Is there something I haven't looked at closely, or is it the wrong way?"

Because there are more things, Zhang Tianyuan only selected a few things that he thought were of high value for appreciation, and then used the word appreciation trick, so he couldn't see anything that could distinguish the real from the fake, but what if he took a closer look at them all?

At this time, Zhang Tianyuan thought of the ideological and political classes he had studied in high school, which included some knowledge of materialism.

For example, we should not look at the problem one-sidedly, but look at it as a whole.

I used to think that learning these things was useless, but at this time I suddenly thought about it, but I felt that it was too useful, he just saw the same thing, and did not look at these pottery as a whole, if these things are all from the same person's hand, and they are all matching, then this thing is worth playing.

The King of Concealment used a single mark, that is, to leave his own mark on each of the fakes he made, so that as long as he had a deep foundation, and carefully observed, he could definitely find out.

Of course, Zhang Tianyuan is an exception, and he can see it at a glance by relying on the word appreciation.

"But ......"

Zhang Tianyuan suddenly thought of another possibility, could it be that the Heavenly King became humble because of his appearance, and gave up the habit of leaving marks on those antiques?

If that's the case, who is to blame for this?

No, no, no, it is impossible, with the character of the King of Heaven, and the same conceit as Zhang Qisheng, how could he give up the habit that he had insisted on for many years because of just one Zhang Tianyuan? Not to mention that there is only one Zhang Tianyuan in this world, and it is impossible to see all the works of him to hide from the King of Heaven, so he doesn't have to care too much.

Therefore, the producer of this thing can only be another person, and the level of this person is only a little more powerful than that of the King of Concealment, at least in terms of heat.

"Tang Batian, let your people take out all those pottery and put them together of the same type. Zhang Tianyuan said suddenly.

"Boss Zhang, what are you doing here?" Tang Batian was a little puzzled, and he couldn't figure out what Zhang Tianyuan was going to do all of a sudden.

"Just do what I say, don't ask why, you'll know when the time comes, maybe you can see a good show today." Zhang Tianyuan already had some kind of conjecture in his heart, so now is the time to confirm it, as for how to confirm it, he naturally knows it, but he can't do it alone, he has to let Tang Batian cooperate.

"Okay, since Boss Zhang said so, you guys will listen to him. Move all the tables and chairs to the side, take out all the things, put them together in the same category, be careful not to break them, although these may be fakes, but the price is not cheap, even if it is 10,000 a piece, it will cost more than 1 million, and you can't afford to pay for it. Tang Batian commanded.

Tang Batian's subordinates, under the command of Zhang Tianyuan, placed all the pottery together according to the same type.

Then Zhang Tianyuan ordered them all to sit next to him, and he took a few steps back and began to observe the whole thing.

"Damn, this! I'm just guessing, I didn't expect it to be like this, this guy is too amazing, he can do this, just by virtue of this method of leaving a mark, it is much more clever than the King of Concealment, who is this guy, so powerful?"

After more than half an hour of observation and rearranging those things, Zhang Tianyuan finally found the clues.

As he had previously thought, these pottery were not without markers, but rather left them as puzzle pieces.

It is only when these pottery objects are placed together, arranged and placed in a certain way that the mystery can be seen.

Each set of pottery is composed of a character, and these characters are all the same, a "time" character.

Although this word is often heard or seen, such as hours, clocks, etc., but if it is used as a surname, it is rare, and the only one who has heard of the surname is only two, that is, the purple clay pot master "Shi Dabin" and the thief in "Water Margin".

Shi Dabin is a generation of master craftsmen of Yi ~ Xing Zisha art, the grandson of Shi Yan of Song Shangshu, the son of Shi Peng, and his life activities are between the Wanli Dynasty of the Ming Dynasty and the Shunzhi Dynasty of the Qing Dynasty.

Dabin pot art enjoyed a high reputation in the Ming Dynasty, and it was mostly seen in literati accounts. Ming Xu Cishu "Tea Shu".."In the past, the spring teapot was made, and recently it was made by Shi Bin, which was greatly cherished by the people of the time." After offering spring, Shi Dabin created many special tools for making pots, created many pot styles, and trained a group of apprentices such as Li Zhongfang and Xu Youquan. Connecting the past and the next, the art of purple sand has been developed. Shi Dabin's early works are firm and elegant. Good imitation of the spring pot. Since he traveled to Loudong, Suzhou, and handed over to Chen Meigong's ancestors, the style of pot making has changed. The pot is made from large to small. It is said that Shi Dabin's creative attitude is extremely serious, and whenever he encounters a work that he is not satisfied with, he will destroy it. Even if it is broken eight or nine times out of ten, it is not hesitant to smash it, at that time the tea style was prevalent, and the requirements for pot art were very high. (To be continued......)