Originally, Yan Liqiang had something to do at night, but when he heard that Wu Wengu was going to do an appraisal in the office at night, he immediately pushed off all the qiē activities. Now Wu Wengu is staring at Chen Village every day, and after returning to the city at night, he is not easy to disturb. Yan Liqiang has not seen Wu Wengu for a long time.

Although Yan Liqiang's comprehension of antiques is not enough, his enthusiasm for collecting antiques is really not low. Although Yan Liqiang identified it, it was Kangweihao's thing. And these antiques, even if they are authentic, will not be sold to the public. But he still felt that being able to watch Wu Wengu identify antiques was much more interesting than his so-called entertainment.

"Lao Kang, hurry up and take out your good things?" As soon as Yan Liqiang arrived at Wu Wengu's office, he immediately shouted. He and Kang Weihao have met before, but they are not very familiar. We had a meal together tonight, and both of them like to collect, so they naturally became friends.

"I said Mr. Yan, what good things haven't you seen?" Kang Weihao said with a smile. His high-footed bowl with red three-fruit pattern in the glaze has been sent to the museum for archiving. He opened the lockbox and took out another glaze red reed goose pattern.

When Yu Lifei first started, he thought that this glazed red reed goose pattern was a plate. After Kang Weihao took it out, he found out that it was only a squirrel. 匜, this word, may not be recognized by many people, it sounds the same as "Yi". It is one of the pre-Qin ritual vessels in China, which is used for the ritual of wo luo, that is, for the guests to wash their hands. The water vessel used by the Zhou Dynasty for the gift of Wo Xuan changed from a combination of a plate and a bowl to a combination of a plate and a plate.

The shape of the plate is like a plate with a groove and extends to the outside, as if a plate has an extra handle. Or rather, like a flattened scoop.

"Old Wu, what kind of glaze red is this?" Yan Liqiang didn't know the red reed goose pattern in the glaze, and saw that this plate was not like a plate, and the scoop was not like a scoop. I was puzzled to ask.

"Lifei, Xiao Yan doesn't know, you should know, right?" Wu Wengu did not answer Yan Liqiang's question, but asked Yu Lifei instead. Yan Liqiang loves to collect, purely for the sake of collecting. But his understanding of antiques is far inferior to that of Yu Lifei.

"Elder Wu, this should be Qian, right? The red reed goose pattern in the glaze is rare. Yu Lifei smiled and said, he still didn't get started, just turned this one and looked at it. Said with a sigh in his mouth.

"Yes, you've seen it before?" Wu Wengu asked in surprise, there are not many things like this on the market. Yu Lifei just glanced at it, and immediately recognized this red reed goose pattern in the glaze, which surprised him.

"I've seen it in books, so why don't you ask Elder Wu to tell us about it?" Yu Lifei said humbly.

"This one is molded as a blank, the body is in the shape of a bowl, an open mang, and a groove-shaped short stream. There is a cirrus cloud system attached to the bottom of the stream. The flat bottom is slightly convex upward, and the tire is astringent. The tire color is white and yellow, the glaze is white and blue, and the enamel is moist. The fetal heart inside the box is carved with a wild goose reed ornament. The inner wall of the inner wall is carved with water ripples for a week. The potter uses the carved lines as the basis for coloring, and the glaze is painted red on the top, leaving the white space plain without ornamentation.

The belly of the vessel and the handicap are painted with red spots in the glaze, which is gorgeous. Scattered and dripping, with the blue and white walls, just like the rain and clouds in the sky. The bottom of the vessel cleverly uses the change of red color in the glaze, giving a flying goose with gray red as the ground and dark red as the outline line, swinging its head and tail, painting a reed around the flying goose, and decorating the water ripples with red material in the glaze on the belly of the vessel, in order to symbolize the goose dancing in the reed. Wu Wengu took out a strong flashlight and a magnifying glass, looked at it carefully for a while, and said slowly.

"Wu Lao, this one is 4.9 centimeters high, 14.4 centimeters in diameter, and 9 centimeters in bottom diameter. Is this size a normal size? Yan Liqiang took out a tape measure, measured the size of this one, and asked.

"Such a big claw was very common in ancient times." Wu Wengu said with a smile.

"Old Wu, is this one a piece that opens the door widely? Which dynasty is it from? Yan Liqiang asked again.

"It looks like the style is from the Yuan Dynasty, but it's not a big open, so let Lifei take a look first." Wu Wengu said with a smile. Although he said a lot just now, he just described this red reed goose pattern in the glaze. It doesn't say that this one is real.

"Mr. Yan, this one must be genuine." Kang Weihao said with certainty that he had carefully looked at the few antiques he brought to the museum. And before, many people have seen it. It was the glaze red three-fruit pattern high-footed bowl, and his confidence was insufficient. But this has been recognized by Wu Wengu as something from the past generation, and he is no longer worried in his heart.

"The glaze of the Yuan Dynasty is red, with copper oxide as the coloring agent, and the painting is on the embryo of porcelain. Then cover it with a layer of transparent calcareous green and white glaze and fire it at high temperature. A strong reducing atmosphere and appropriate temperature control are required during firing. According to the relevant information, the ratio content of copper oxide, the coloring agent, is higher than that of copper red glaze, and the formula is simple. It mainly relies on limestone glaze, porcelain fetus containing kaolin, and superb smelting technology. The red hair color in the glaze of the yuan shows changes such as red purple, black gray, and meat dispersion, mainly because of the strength of the reducing atmosphere and the firing temperature. Yu Lifei didn't get started first, nor did he say the truth of this one, but first said some characteristics of the red in the glaze of the Yuan Dynasty.

"This one doesn't seem to have any changes in red and purple, black ash, and meat scattering." Yan Liqiang was like a primary school student, and when he heard the characteristics of Yu Lifei's words, he immediately looked at this one carefully, and said in surprise.

"Such characteristics are not the only ones, some of the glaze red of the Yuan Dynasty may not have these characteristics." Wu Wengu saw that Kang Weihao wanted to speak, and hurriedly said.

"The Yuan Dynasty glaze red painting technique also has its own characteristics, the Yuan glaze red has white line outline, outline line ignition, painting and depiction, color spots, and combined with hollow stacking, carving and other forms. The color of painting is mostly seen in the early products of the Yuan glaze, and the glaze color is consistent with the glaze color of the Yuan Dynasty, accompanied by carving, carving, canning, and jade pots. Its glaze enamel is full, there are more bubbles, and the pen is natural and atmospheric, and it is not informal. The color is unstable, red, purple, black and gray, and most of the meat is scattered. Yu Lifei said again, he was also carefully observing this one, carefully comparing it.

"Lifei, although you haven't seen the real thing, what you said is very reasonable. The edge of the red reed goose pattern in the glaze, the reed goose pattern on the inner bottom is painted with the outline of the pattern, and the carving knife is used to write on behalf of the seawater and the feathers of the reed goose. If you look at this one, is it also a unique way of painting and depicting it? Wu Wengu said, although he didn't get started, he already had a bottom in his heart.

"All I know is a bit of skin, and even if I do, I can't tell the truth from the fake." Yu Lifei said humbly.

"It's good to know the fur, you can talk about the characteristics of the glaze red in the Yuan Dynasty." Wu Wengu said that Yu Lifei's understanding of the red in the glaze in the afternoon was unexpected. Now Yu Lifei analyzes the characteristics of the glaze red in the Yuan Dynasty, and what he said is also very insightful. He has been with Yu Lifei since the afternoon, and it is obvious that Yu Lifei's analysis is not temporary.

"Then I'll be ugly. The Yuan Dynasty glaze red decorative composition is also very distinctive. The characteristics of the glaze red decorative composition of the Yuan Dynasty are mainly expressed in xiàn, the clever use of copper red hair color characteristics, often concentrated in the middle of the vessel. The uniform glaze of this part is conducive to the copper red color, and the firing is the best part, which is not conducive to the copper-red hair. Yu Lifei said.

"Is there any feature of the decorative theme of red in the glaze of the Yuan Dynasty?" Wu Wengu nodded and asked.

"There are not many products found in the glaze, but the subject matter is wide. Such as the four seasons of flowers, pattern decoration, landscape figures, birds and animals, etc., the glaze red on the theme of the table, has its generalization, conciseness and other unique artistic effects. Flowers are generally in the form of chrysanthemums, lotus, Ganoderma lucidum and other folded branch flowers, which are mainly outlined by white lines. The subject matter of the characters is mostly combined with landscapes, and the characters are small and concise, which are integrated into the landscape paintings. Dragons, phoenixes, and rabbits. Most of them use depiction techniques to carve out theme decorations, supplemented by glaze red decorations. Yu Lifei said.

"What about the shape of the red glaze in the Yuan Dynasty?" Wu Wengu asked again.

"Old Wu, I don't know much about this, after all, my knowledge is limited, so please tell us about it." Yu Lifei said with a smile.

"It is difficult to make red firing in the glaze, and there are few surviving species, and there are not many types found. The common ones are mainly jade pots, spring bottles, large and small jars, and only one plum bottle is found. The jade pot spring vase is usually about 22 centimeters high, and there are two major types: about 27 centimeters. Its shape has a certain regularity: skimming, thin neck, round belly, and glazing at the bottom of the circled foot.

The jade pot spring bottle is molded into four sections, with traces of tire. The cans are generally divided into two parts, the largest diameter of the abdomen is connected to the tire, the large tank is connected to the foot, and it is mostly equipped with a cover, the lotus leaf cover is a type, and the mother and child mouth are alternative, with a cover top.

It is usually about 14 centimeters in diameter, and the carcass is relatively light. The picture is decorated on the inner wall and inner bottom of the glaze, such as the red reed goose pattern in the glaze. Wu Wengu said.

"Elder Wu, do you have any other characteristics?" Yan Liqiang also asked with interest.

"The red glaze of the Yuan Dynasty also has certain characteristics. The fetal quality of the red in the glaze is mainly a binary formula, and due to the different iron content of kaolin, there are two tendencies of white and gray fetal quality. At that time, the temperature of the red kiln in the firing glaze was low, and the porcelain fetus often had the phenomenon of raw firing. Due to the use of iron-containing mud cake mat burning, the bottom of the device type is mostly sticky black brown sand.

The glaze can be clearly divided into two categories, one type of shadow green glaze, containing more lime and calcium, obvious bubbles, and many red in the painted and dyed decorative glaze combined with carved ornamentation, such as dragon pattern lid jar, jade rabbit pattern jade pot spring bottle. A type of green and white glaze, the content of calcium oxide in the glaze is less, the content of sodium and potassium is high, and the red hair color in the glaze is relatively stable, which is used to draw more red in the glaze.

The requirements for the combination of glaze red and glaze are very high, so the fetal preparation can not be hard, in order not to deform the porcelain fetus, ancient artists often used kaolin to smear the inner tube of the instrument type, forming a special fetal characteristic. In general, the glaze is mostly gray-blue-white, and the glaze red products that are being fired have a moist glaze and a strong jade texture. Small products have finger prints in the glazing, and large ones are glazed operation methods. The glaze surface of the whole vessel is not rigid, and there are traces of local glaze. Wu Wengu said.

"Lao Kang, according to these characteristics that Li Fei told Wu Lao, there are several things wrong with the red reed goose pattern in your glaze." Although Yan Liqiang had not identified the red reed goose pattern in the glaze, he had just combined these characteristics and found that there were several mismatches. (To be continued......)