Signaling to everyone, Chu Chen took the plate in his hand and observed it carefully, the tire and glaze of this plate, as well as the treatment of 'rust spots', do have the characteristics of the Yongzheng period.

But as I just said, there are no conditions and examples for imitating Yuan blue and white in the Ming and Qing dynasties, is it just based on the points mentioned above, as well as the Yuan Dynasty style left at the bottom, can it be proved that this is Yongzheng's imitation of Yuan blue and white? This is obviously impossible.

So, Chu Chen took out a magnifying glass and began to carefully observe the bubbles in the glaze of this plate.

Using a magnifying glass to see the new and old bubbles on the surface of porcelain, Chu Chen thinks that it is very important, and if you master it well, you will receive fewer imitations.

Some experts deny bubble analysis, Chu Chen feels that this is because he has not made effort to specialize, seeing bubbles is like seeing a book from heaven, in the clouds, dazed, the most convenient way is to deny. But there are many people who will study tirelessly and will find a way to read through the heavenly book.

Look at the new and old bubbles, we must compare them by age, and we must compare them by varieties, such as Yuan blue and white flowers, and we must compare them into Su Ma Liqing material Yuan blue and white bubbles, and compare them separately. You can't mix and compare the bubbles of various categories and eras of porcelain, and there will be no comparison when you mix them together, and you will see flowers in a fog.

The analysis of bubbles, if you want to achieve something, the conditions are easy to find, as long as there is a magnifying glass or it is best to use a microscope, and the specimen is even more as long as the porcelain piece can be, it costs not much money but it takes a lot of effort, and it is also very boring and boring, if you don't have perseverance, you really can't study it.

In addition, the use of bubbles to identify authenticity is not necessarily a one-size-fits-all approach. And with the improvement of the level of science and technology, as well as the restoration of technology. It is also possible to create bubbles that are identical to the real thing.

But. Chu Chen immediately saw the authenticity of the plate in front of him, because the method of counterfeiting this bubble was similar to the bottle he had seen in Ning Yi before, so needless to say, the maker must be Gu Gongyi.

Everyone saw Chu Chen put the plate back, and was about to ask about the authenticity of the plate, but saw Chu Chen walk aside and take out his mobile phone to make a call.

The reason why Chu Chen called Gu Gongyi was because he wanted to ask him if there was also a mark on this plate, there was another main reason. I just want to ask what is going on with this plate, because Gu Gongyi clearly said that he made a high imitation of Zuò without leaving his own style, except for Ning Yi's bottle, the others were put away by himself, so what is going on with this plate?

Gu Gongyi was quite surprised when he heard the news, and he said that he was indeed in December last year. I have made such a plate, but it was obviously put away by him, how could it spread outside? So after he told Chu Chen the secret note he left, he hung up the phone. Hurried home to check.

Chu Chen put away his mobile phone, and then walked back to his original position, Xiang Facai asked, "Teacher Chu." I think I heard you mention this plate on the phone, don't I? ”

"Wait a minute."

Chu Chen was not in a hurry to answer. I picked up the plate again and looked at it before I said, "Now I can be sure." This plate is indeed made by my friend. ”

After listening to Chu Chen's answer, Lao Chang said with a look of disbelief: "Boss Chu, have you made a mistake?" ”

"Everyone, please look here......" Chu Chen directly pointed out the secret mark deliberately left by Gu Gongyi, which was exactly the word "Gu".

Seeing this secret mark, Lao Chang directly showed an expression as if he had seen a ghost, and Duan Xuefeng and Xiang Facai were also amazed.

Duan Xuefeng was amazed and said, "Brother Chu, that friend of yours is really amazing, and he has done such a good job in secret memory. ”

Chu Chen just smiled slightly, and didn't say anything, Gu Gongyi will make some high-quality imitation Tang Sancai from time to time in the future, for safety, he doesn't want Gu Gongyi to enter everyone's field of vision.

At this time, Xiang Facai asked with a smile: "Old Chang, what are you going to do about this?" ”

In the face of such a result, Lao Chang can only smile bitterly, he can only blame himself for this matter, he has obviously heard that from the Ming and Qing dynasties to the Republic of China, he has not imitated Yuan Qinghua, but because of greed and luck in his heart, he bought the plate, and finally met Chu Chen, who knew it.

"It's really a bad year!"

Lao Chang sighed secretly, and then became distressed, because, except for a heavyweight thing in his hand, everything else is just some gadgets, which are not worth a few dollars at all, if these things are used to compensate Xiang Facai, Xiang Facai will not be satisfied, not to mention, it is likely to cause his anger.

However, that heavyweight thing, he already has a next home, and the other party will come in a few days, if he makes a fortune, what about the next home that has been booked a long time ago?

I thought about it for a while, and I couldn't make up my mind for a while, but when he saw Xiang Facai, who was smiling on the surface and actually staring at him, he still gritted his teeth and was ready to pass the current level first.

"Mr. Xiang, I'm really sorry, I also took a look at this thing, so let's do it, I still have a "Pine Crane Picture" of Xugu here, but the price is ......."

Xugu is a famous flower and bird painter in the late Qing Dynasty, and Ren Bonian, Pu Hua, Wu Changshuo are known as the "Four Masters of the Shanghai School in the Late Qing Dynasty". Really? ”

Lao Chang swore and said: "Sure it's true, after I bought it back, I let XXX and XXX have appraised it, if you don't believe it, you can call them and ask." ”

The two people who often said that they are also well-known calligraphy and painting appraisal experts in Beijing, so everyone believes it a little when they hear what Lao Chang says.

Xiang Facai said: "I said Lao Chang, since you have such a good thing, why didn't you bring it over early for us to enjoy?" ”

Lao Chang smiled bitterly: "It's not that I don't take it, but I've already found a home for this painting, and he will come over in a while." ”

Xiang Facai waved his hand and said, "Okay, don't say more, you better go and bring the painting for us to appreciate first." ”

"Okay, okay......" Lao Chang nodded repeatedly. But he stood still and did not move.

Seeing this situation, everyone really can't understand what is going on. When it came to Xiang Facai's quick brain, he immediately figured out the relationship. smiled and scolded: "You guy can rest assured, I won't take advantage of you." ”

"Good ......" got the promise of making a fortune, and Chang Chang hurriedly went out to get things.

When Lao Chang walked out of the door, Xiang Facai sneered: "This guy has a lot of eyes, if he doesn't want to be annoyed, I have to break his old bones." ”

Duan Xuefeng nodded: "Indeed, Lao Chang can only believe one percent of what he says, and he will draw it in a while, but be careful." Don't follow him. ”

When Xiang Facai heard this, he immediately remembered that Chu Chen seemed to be focusing on the two categories of porcelain and jade, plus calligraphy and painting were the most difficult to identify among the many categories of antiques, could Chu Chen do it? Thinking of this, he couldn't help but feel a little worried.

Chu Chen saw Xiang Facai's expression, and after a while, he figured out what he thought, and said, "Mr. Xiang, the characteristics of Xugu's calligraphy and painting. My master has also introduced it to me in detail, and he has several works of Xugu, and I still have some experience in identification. ”

Xiang Facai breathed a sigh of relief when he heard this, and said with a smile: "Teacher Chu." Needless to say, no matter what, I won't disbelieve you! ”

Chu Chen was a little humble when he heard this. The heart is like what you just looked like. It's strange to believe your word!

After chatting a few words, Lao Chang walked in with a calligraphy and painting brocade box.

Everyone cleaned up the table. Chang Chang took the painting out of the box and unfolded it, and everyone hurriedly looked at the painting.

Xugu Shi is ancient but not ancient, insists on originality, and has won a high reputation with his courage and wisdom, and has become one of the outstanding painters in the "Shanghai School" painting circle in the late Qing Dynasty.

This picture of a plum crane fully reflects the characteristics of Xugu's brushwork. The plum tree began to write with a wet pen and light ink, and then added a hook point with a dry pen, the lines were intermittent and frustrated, and the pen segment was vigorous and pine embroidery formed a clear and void charm. The plum blossom is drawn with a round pen, the petal is like a pearl and jade, and it is childish and simple.

The crane uses a pen to write the head and tail feathers in thick ink. The color of the picture is light, but the top of the crane is awakened by the heavy color of vermilion, which makes the whole painting cold and handsome, simple and intriguing, and it is indeed a rare good painting.

However, when Chu Chen saw this painting, he couldn't help but be stunned, because this painting was at least ninety percent identical to a Xugu "Pine Crane Picture" collected by Liu Lao, and the layout was completely identical, and even the inscription and the content and location of the bell seal were exactly the same.

You said that the inscription is the same as the bell seal, then there is a certain possibility, but the position is the same, then it is too much nonsense. You know, creating a painting is accidental, and it is not a photocopier, and it is obviously impossible for two works to be exactly the same except in some places.

Therefore, needless to say, one of the two works must be a fake, of course, with his own master's eyesight, Chu Chen must be inclined to the painting in front of him to be a fake.

So, Chu Chen took out a magnifying glass and carefully observed the painting in front of him little by little, and after a while, he found the flaws in it. In the end, he came to the conclusion that the painting was not a simple fake, but a "two-layered painting".

What is "unveiling the second layer"? In fact, it is a method of counterfeiting ancient paintings and calligraphy, which is mostly done by framers. Because it exposes the heart of the painting into two layers, and the heart of the painting is the soul in the life paper, it is also called the "soul child", and the rest is enough to be a "bastard" who can be fake and real.

Before "opening the knife", the counterfeiter often looks at the rice paper used in calligraphy and painting. Since the Ming and Qing dynasties, rice paper has been commonly used in calligraphy and painting. With the rapid development of flower and bird painting, as well as calligraphers and painters like to use thick brushes and thick ink, freehand techniques, so the Ming and Qing dynasties mostly use thick paper, that is, "rice paper". The so-called "clamp Xuan", that is, re-Xuan, is a two-layer integrated rice paper, such as "Jade Xuan". This kind of paper has good toughness, it is easy to make thick, but it is difficult to make thin.

In addition, when making zuò on rice paper, a very thin layer is made first, and then additional layers can be added as needed. Therefore, there are generally two or three layers of ordinary rice paper, and there will be as many as four or five layers of "clip rice paper". Because the rice paper is very easy to render with ink, almost every layer can be soaked through, so the famous calligraphy and painting in the Ming and Qing dynasties were in the hands of merchants, and merchants often tried to uncover the second layer.

In addition to the paper, the counterfeiter also needs to look at the ink intensity of the original painting and calligraphy. Because the method of "revealing the second layer" is divided into two, it depends on whether the original brush is thick and whether it is strong through the back of the paper, so the calligraphy and painting works that prefer to use thick ink to render are often the victims of "revealing the second layer", such as the modern "Shanghai School" calligraphers and painters.

For example, Xu Gu likes to use dry brushes to scorch ink, and seeks squareness in the side reversal, and his works are very popular with the counterfeiters of "revealing the second layer".

In addition to the above two points, it is also necessary to look at the whole picture of the original work.

Because the rice paper contains a large number of fibers and other impurities, some of the brushwork in the original work will definitely show that there will be gaps in the dyeing of the ink color on the life paper due to the obstruction of fibers and other impurities, which often shows that there are more or less linear gaps in both flowers and leaves and inscriptions, which makes the original work have a sense of looming and wisps of missing, but this does not affect the artistic conception of the calligraphy and painting.

In addition, the brushwork in the original work is inherently dark and dark. Once the second layer is revealed, whether it is the first layer or the second layer, the characteristics of the shade rendering of calligraphy and painting brushes and inks and the blurring of ink color are not prominent, and it will appear monotonous and dull. Therefore, the counterfeiter must be familiar with the artistic conception of the original work, and after completing the "second layer", the second layer of the fake must be beautified to the full color.

When Chu Chen saw the "Pine Crane Picture" collected by Liu Lao before, Liu Lao also sighed that the brush and ink of the painting were a little too light, not quite like the style of Xugu, and it was precisely because of this that the painting would be regarded as a fake and was picked up by Liu Lao. Now it seems that it is actually the kind of situation that is caused by the influence of the second layer.

If the calligraphy and painting meet the above three conditions, there will be counterfeiters who will "expose the second layer" of it.

From the perspective of the process, "unveiling" is only the first step, but it is also a crucial step. After the unveiling is completed, the counterfeiter will make some touch-ups, re-ink, polish, frame, and stamp on the lower layer of paper according to the painting intention of the previous layer of calligraphy and painting.

This is probably the way the painting in front of me is supposed to be, and it may be that there are some places that do not penetrate the back of the paper, so these places are not the same as the original.

After Chu Chen finished reading this work, he couldn't help but secretly praise, as I said just now, the forger must be familiar with the artistic conception of the original work, and after completing the "uncovering the second layer", the second layer of the fake should be beautified to the full color.

And the author of this painting can be said to be a master of this way, if Chu Chen hadn't seen the original work a long time ago, he would definitely think that this painting was the real work of Xugu, because whether it is the pen or the artistic conception, it is simply too similar.

It's a pity that "revealing the second layer" is a method of forgery of calligraphy and painting, even if the counterfeiter paints well, it cannot deny the fact that this work is a fake. (To be continued......)