Identification of Dehua Kiln White Porcelain

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(1) Visual surface observation: In the early Ming Dynasty, the glazed white was slightly reddish, just like the oriental girl's face was reddish in the white; in the middle of the Ming Dynasty, the glazed white was slightly yellow, like the teeth of adult elephants, and the teeth were yellow; In the early Qing Dynasty, the white surface of the glazed white was slightly white, just like the white when the lard solidified.

(2) Yingguang perspective observation: In the early Ming Dynasty, the color of the white color was pink or flesh red. In the middle of the Ming Dynasty, the color of the white color was red or yellow in the white color. From the late Ming Dynasty to the early Qing Dynasty, the white color of the white color was white or white. Of course, the color of each period of the illuminating perspective observation will also change due to the thickness of the work, the slight difference in the ingredients, and the slight difference in temperature control during firing. It is worth noting that all ancient Dehua white porcelain or blue-and-white porcelain, regardless of its thickness, should be transparent to the light or the light, such as opacity. This is an important basis for judging authenticity and dehua porcelain.

(3) glaze surface brightness observation: the general glaze of the imitation glaze is too bright, giving people a glare. The real glaze is warm and weak.

(4) Observing from the production process: the imitation products are generally installed after the model is grouted. When judging, it should be noted that: due to the grouting forming process, the flow pattern of the porcelain pulp will appear in the device, which is generally vertical. The carcass is thin and light, and the glaze is milky white. It is generally observed with a magnifying glass, and there is no such thing as a true product. On the same symmetrical object of the same pattern, the shape is often the same, like a printed product, giving people the feeling that it is too regular, rigid, and lifeless. The real thing is a hand-paste pile. At the pinch interface, there are generally traces of manual kneading. When you look closely at the same symmetrical shape of the same pattern, there are generally subtle changes. It is this small difference that reflects both the authenticity of the work and the natural and aura of it.

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