The basic common sense of tire glaze modeling, color style, etc., is the key issue involved in all articles on Tang Sancai's identification of counterfeits. But from the high imitation of the three colors seen, there is no fundamental difference in these aspects, even the percentage of various chemical elements and physical characteristics of the tire glaze is basically the same, what "light age", "the aging degree of the glaze" and so on, imitation masters are still at your fingertips. Therefore, in front of the high-imitation three-color ware, it is meaningless to talk about the basic tire glaze characteristics, modeling style, and "light age glaze age". Therefore, this paper focuses on a few special points that show that high imitators cannot imitate or imitate realistically.

The millennial sense of oldness. Before the genuine product was unearthed, it was placed in a damp burial chamber, or buried in the soil, eroded by thousands of years of earth, moisture and soil, and some were placed indoors for a long time after being unearthed. 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. High imitation three-color tires, although there is a sense of obsolescence after the old treatment, but there is no genuine tire through the erosion of the years and reveal the natural sense of vicissitudes of life, the old only in the fetal surface does not enter the muscles, the new feeling is vaguely recognizable, and there will be no phenomenon that the old sense penetrates 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.

A new section of the fetal soil that changes color when exposed to air. Due to the long time, part of the new section of the fetal soil meets the air, the color of the fetal soil will gradually change from white to black, this process is generally about 100 days, and there are some genuine Sancai washed after the surface of the fetus will also appear this phenomenon. The author has knocked on the lids of several genuine jars several times to observe, and the results have been consistent. The new section or tire surface of the high-imitation three-color tire is three or five years, and its white tire soil will not change significantly. This phenomenon needs to be further studied by experts. Regarding the subtleties of the real and fake Tang Sancai tires, Mr. Cheng Jinkui also has this statement in the article "Tang Sancai New Knowledge of Distinguishing Fake and Fake" (see the 13th issue of "China Collection"): "Put the genuine exposed part into the water, and after taking it out, it will appear moderately pink, and the exposed tire of the imitation will be earthy white when put into the water. I have tried it many times, and the results are the same. However, this medium pink is slightly pink compared with the dead gray and white of the imitation tire, and it seems to be more suitable for Henan tires alone. For example, the imitation tire color copied in Luoyang and other places is slightly pink, and it shows a more eye-catching pink when placed in water.

3. Some genuine three-color exposed tires will give birth to very fine dark red, light brown, black and other colors of rust such as the tip of the needle. Dense or sparse, more or less appear on the surface of the exposed fetus, some appear on the edge of the mouth, some appear on the pedal, and some appear in the utensils. Rust is not innate, nor is it generated in one day, thousands of years of gestation so that some element molecules in the fetal body overflow from the fetal surface and become an integral part of the fetal surface. High imitation three-color tire surface will never appear soil embroidery, imitation of the rust is extremely unnatural, imitation out of the kiln and then to the exposed tire "seed" on the rust and the natural growth of the real rust color difference is very large, the growth of and strong addition, a natural, a stiff unnatural.

Rust seems simple, but it is extremely difficult to imitate, so most of the high imitation Sancai in order to minimize artificial flaws, simply do not do rust. When it comes to rust, many people understand rust as a dirty layer of soil that can be washed off with water on the surface of the soil. In fact, the so-called rust is the product of chemical changes in matter, such as rust, patina, etc., it is inseparable from the original.

Tang Sancai's glaze is essentially a kind of bright glaze, just fired into the time bright and dazzling, brilliant luster, after a hundred years of luster gradually faded, warm and crystalline, the glaze gradually became soft and natural, the essence of the light is contained, the treasure is overflowing. Tang Sancai's glaze according to the artifacts unearthed in the tomb, its glaze is always soft and warm, except for the glaze corrosion is serious, otherwise the Sancai genuine will not lose its soft luster.

Most of the Tang Sancai glaze will appear clam light due to the long time, it is the shadow of the millennium wind and moon left in the Tang Sancai table, and no imitator can let his imitation pass through the millennium. Clam light is colorful no matter what color the glaze is, and it is also the same color no matter what kind of light it is in. The treasure light of the whole body of the genuine three-color utensils is in a trance, such as a dream floating on the gorgeous and colorful glaze, and all the high imitators will feel helpless about this dream light.

Although the luster of the high-imitation three-color glaze is also soft and warm, it is brilliant in the softness, and the thief light is hidden in the warmth, and the glaze light that is consistent throughout the body has no connotation, and there will never be clam light. Although the glaze of Tang Sancai is a low-temperature glaze, it is still fired at a temperature of about 800 degrees, and the glaze is still quite hard, and the glaze will not change significantly without more than a hundred years of time, and the clam light is the specific light produced after the glaze molecules undergo qualitative change after the aging of the glaze, and the light is refracted by light. Under the irradiation of light, although you can occasionally see light red, light green and other colors, you will find that the color in the imitation is fixed in the glaze, and the real clam light is floating on the glaze surface, and it is five colors and six colors, and the color of the imitation is usually one or two.

The light of the real clam can be captured with a regular camera, but the light of the imitation is not. Therefore, the presence or absence of clam light is a strong standard for distinguishing the true and false Tang Sancai. Of course, not all Tang Sancai have clam light, so it cannot be ruled out that Sancai ware without clam light is also genuine.

From the beginning of the last century to the twenties and thirties, there were a large number of three-color imitations, they have been nearly a hundred years, the glaze fire has faded, soft and warm, it is not excluded that individual utensils will have a faint clam light, but there will never be the real three-color kind of treasure light that overflows from the glaze. As long as you carefully observe the low-temperature glaze of the early Republic of China, you will find that most of the low-temperature glaze in this period is without clam light. Therefore, whether there is an obvious clam light can still be used as one of the hardware to distinguish the three colors of the Republic of China.

The years are ruthless, and the glazed surface of Tang Sancai has undergone the baptism of thousands of years, leaving some traces that are not easy to find but very special.

There is no report of Tang Sancai's heirlooms, almost all of them are unearthed, and their glazes generally show traces of soil corrosion, the difference is only the degree and way of corrosion. Under normal circumstances, the fine pores of the soil bite appear naturally on the glaze surface at will, or appear all over the body or locally, the size and depth of the pores are different, some are dense, and some are like morning stars. The degree of corrosion varies, and some can only be detected by careful observation. Under a magnifying glass, some of the soil bite pores are observed, and the glaze on the edges of them has a slight erosion transition. After being treated with potion and buried, there will be small holes on the glaze surface that bite acid, but it is very regular, stiff and unnatural, the degree of corrosion is more consistent, and there is no transition phenomenon of corrosion. In fact, the high imitators are very contradictory in the treatment of the glaze surface, if it is treated with potion, the luster of the glaze surface is unnatural, and it is easy to be recognized; The glaze is too smooth and novel without using potion, and other elements are added to reduce the brightness of the glaze. When observing the corroded pores, it is necessary to pay attention to distinguish them from the brown eyes of different sizes formed by the glaze in the kiln, the brown eyes only appear on the glaze surface, and the depth is about one-third of the glaze thickness, and the corroded pores penetrate deep into the glaze, and some corrode to the surface of the fetus.

Some of the real Tang Sancai glaze also has a special form of corrosion, which is also a high imitation of Tang Sancai can not be imitated. That is, a very thin layer of glaze water on the surface of the glossy glaze is corroded, leaving a rough glaze and forming corroded patches of different sizes. They appear on the glaze surface with a clear development process, which is from nothing, from shallow to deep, and then from deep to shallow. After Tang Sancai was unearthed, the corrosion no longer developed, and the process stopped on the glaze, giving us a basis for identification.

Let's start with shallow to deep: when corrosion appears, it starts with faintly visible micropores on the glaze. When the micropores first appear, they can be several or dozens, hundreds or thousands, and they are too small to change the luster and color of the glaze when they first appear. With the increase of micropores, the color of the glaze slowly turns light brown. As the corrosion becomes more and more serious, the corrosion area gradually increases, and rough patches appear, which feel prickly to the touch with your hands, and can be scratched with a light stroke of your fingernails.

Let's talk about from deep to shallow: the process of developing the glaze with more severe corrosion to the uncorroded glaze is a gradual erosion process from deep to shallow. First of all, the most serious place of the glaze surface glaze is completely empty, only to see the rough glaze beyond recognition, with the fingers can be wiped out traces, and then there is a slightly more serious place where the glaze surface is very thin and a thin layer remains, but there are extremely fine pores and the glaze is dim, some of the glaze is almost non-existent, with nails can be pinched in, and then transition, the slightly corroded glaze surface looks good at first glance, and the glaze is still natural, but carefully observe the glaze surface can faintly see the corrosion pores, and the traces can be scratched with a knife. This alternating corrosion process from shallow to deep and from deep to shallow is expressed in millimeters on the glaze surface, but it takes a hundred years to form this process in time. The whole utensil is easy to imitate, and the subtleties are difficult to imitate. Therefore, after eating through the glaze of the genuine Tang Sancai, and then looking back at the glaze of the imitation, its shallowness is clear.

The phenomenon of returning lead - a spirit condensed in a hundred years. The phenomenon of returning lead on the glaze of some genuine Tang Sancai, that is, the "silver spots" that people often say, is a typical substance that Tang Sancai acquires. In addition to a certain environment, the emergence of the phenomenon of returning lead also takes hundreds of years, which is a special mark left on the Tang Sancai artifacts by time. Judging from the author's collection of several Tang Sancai with the phenomenon of returning lead.

There is a thin layer of silver light on the glaze of the whole Tang Sancai ware, such as the color of the autumn moon floating on the surface of the object, and the thin frost is faintly visible.

Some parts of the glaze of one artifact have a silvery-white lead return, while most of the glaze does not. It is worth mentioning that the phenomenon of lead return appears in any color of glaze, and the phenomenon of lead return in blue glaze is often more prominent, and the color is more natural. It is not like some articles that the blue glaze will not return to lead, you must know that the glaze of Tang Sancai is composed of various chemical elements, of which the composition of lead is about 25%. Since the glaze has such a high lead content, as long as the conditions are suitable, what color of the glaze lead molecules are not still running out, and the blue glaze is also glazed, without exception.

Appears as tiny silvery-white spots on the glaze. "Silver spots" is an important manifestation of the phenomenon of lead return from genuine Tang Sancai ware, and its manifestation is still a dynamic process that appears successively at different times. The first is the gestation stage, which is manifested in the form of faintly visible light black spots on the glaze, some of which are slightly bursting, and then the development is the appearance of white spots with large needle tips in the middle of the light black spots, and then the white spots gradually grow into white spots. As this process continues to develop, there are more and more silvery-white spots on the glaze, and the size is different and the color is natural. "Silver spots" from brewing to the development of silver pieces, is constantly changing and developing, but after the Tang Sancai ware was unearthed, leaving the environment where the "silver spots" appeared, the dynamic growth process was solidified on the Tang Sancai ware, providing us with a dynamic process to observe it, and hundreds of years of time will be solidified in front of our eyes.

The genuine "silver spot" is made up of molecules and is as thin as 1% of paper. The "silver spots" of high imitation Tang Sancai, some of which are innate in the kiln, seem to be deliberately added to melt together with the glaze, and the "silver spots" go deep into the glaze, which is just the opposite of the genuine "silver spots" floating on the glaze surface; Some of the "silver spots" are "planted" after the imitation is out of the kiln, thick and clumsy, without any sense of nature, and the luster of the natural lead metal is far from the difference. Although the "silver spots" imitators who "planted" on it also melt it on the glaze surface with a certain temperature, the artificial traces are very thick, and it is okay to fool the layman, and it is difficult to pass in front of the connoisseurs. The first method is used to create "silver spots", and they cannot be treated with medicinal solutions and buried in the ground, because then the "silver spots" will be black and dull; The second method of creating "silver spots" not only does not create extremely thin real "silver spots", but also leaves traces. Even if you try your best to imitate a slightly decent "silver spot", the growth process of the real "silver spot" that appears one after another and is of different sizes is no longer in the way. Therefore, the "silver spot" is a dead knot that high imitators cannot untie.

Regarding the formation of "silver spots", Mr. Cheng Yong commented in the preface of the book "Comparative Identification of Authentic and Fake Porcelain of Jin, Tang, Song and Yuan Dynasties": "A few years ago, it was difficult to imitate the opening of Tang Sancai caviar, and now this problem has been solved. At present, there is one last important feature that is difficult to imitate, and that is the 'silver sheet'. The formation of 'open silver sheet' is because of lead, which is one of the more active chemical elements, and it will naturally run out after a long time, forming the phenomenon of 'open silver sheet'. It can be seen that the "silver spots" are the sediment of time.