How to identify the jade of Qingganlong?

The identification of ancient jade should focus on the following links: First, the identification of process traces, mainly the processing technology of ancient jade. It has two aspects, one is the ancient manual and semi-automatic technology from before the Qing Dynasty to the Neolithic Age; Second, modern electrical treatment technology and sand bag sand box polishing technology. In the late Neolithic period, hand tools such as removing jade sand, wheel weight of hides, wheel weight of cotton and wheel weight of linen were invented, which were characterized by trumpet-shaped drilling, opposite drilling direction, medium fine hole, large ends and smooth surface. The mechanical hole wall is regular, and the spiral line is fine and equal. In addition, boron slag can be found at the edge of the hole. This is an important method of perforation identification. After the invention of the Warring States iron ware, the perforation was more regular, but the spiral pattern of the hole wall was not as fine and equal as that of the mechanical hole wall. In the Neolithic Age and Shang and Zhou Dynasties, jade sand and hides were used for polishing. Fine concave lines with uneven thickness can be observed under a magnifying glass of 0 or 20 times, but occasionally there are irregular concave lines, which are different from fine, equal and parallel concave lines polished by mechanical polishing or antique method. This technology is one of the important methods to identify the authenticity of ancient jade. It is also the main identification method. I hope you can observe more objects and compare more. It should be emphasized that we must observe and identify with a magnifying glass. Second, oxidation identification This is also one of the most important methods to identify ancient jade. Oxidation refers to the chemical change of jade with air, water and other substances in various natural environments. There are three phenomena of oxidation: first, chicken bones have different degrees of calcification; Second, corrosion holes and spots; Third, it is seriously oxidized into powder. From the mineralogical point of view, jadeite has different texture and density, and also contains some other substances. Under the long-term chemical action, the parts with weak texture, especially the jade surface, can have small holes formed by different degrees of erosion, and some have a big mouth and a big belly. Under the magnifying glass, shiny crystals formed by chemical changes in the holes can be observed, which cannot be forged by any method at present. The other kind of oxidation is more serious, usually forming white spots on the surface of jade, but it will naturally cover part or all of jade. When the surface is light, it still shines, and when it is serious, it is etched into powder. The important point is that the weak parts of jade are usually severely oxidized, which is not the case when fake jade is burned. At present, the surface of fake jade articles etched by acid is generally uneven in a large area, and the corrosion holes and spots are obvious, so it can be said that the corrosion holes of ancient jade treated in this way are often large outside and small inside, without crystals and mottled. This method should be noted that some counterfeiters use natural oxidized jade materials as products, and see whether oxidation is universal from the processing traces. Third, the coagulation identification patina usually refers to a substance formed by attaching other substances to the surface of jade in various environments. There are three main forms: one is soluble mineral condensate in soil; Second, the surface of jade is attached with tomb soil or rotten debris; The third is the dirt on the handed down products. These substances are very fine and have different colors, which are usually obtained through years of physical observation. The patina of unearthed objects is a substance condensed on the surface of jade, which is mottled under a magnifying glass, and some minerals are dissolved. Some are transparent; Some are tomb soil. Either way, it is natural and concentrated, accompanied by the smell of tombs. Some of this smell still exists even after brushing your teeth, which is also an important way to distinguish false smells. Fakes are not like this. They have loose patina, no tomb odor and no transparent minerals. Even if it's made of solid mud, it's also made of glue. Just burn and wash it. It is popular to wrap ancient jade with fine wire and put it in the soil for months or years before taking it out. Red cinnamon soil rust can be consolidated on jade. But ancient jade is rarely stored and buried with iron and other substances. Only one kind of jade sword is like this. Some of these fakes have actually appeared in some auction houses, and traces of wire winding can be clearly seen on jade articles. It's incredible! Fourth, the evaluation of artistic level is also the most difficult factor to imitate. In the history of jade production technology in China, each period has its own distinct artistic style, and different periods have different artistic styles. Moreover, there are mature art and immature or growing art in each period. Being familiar with the jade craft level in different times and regions is the premise of identifying ancient jade, which requires us to read not only some jade theory books, but also more jade catalogues and physical materials of museums and collectors. In addition, we must think from a historical perspective. Lenin said: "The study, judgment and conclusion of any historical issue must be considered in the specific historical conditions and social culture at that time." At the level of ancient jade art, mature art is difficult to imitate today, which is embodied in the fact that those jade articles with high artistic level are more difficult to imitate and relatively easy to identify, which is called tangible godlessness. For example, jade figures, chariots and horses, animal heads, especially round carvings in the Han Dynasty, the round, full and smooth lines are still extremely difficult to imitate. It can be said that the more high-tech large-scale works, round carvings and complex works, the easier it is to identify. The reason is that it is difficult to make and easy to leave defects; On the contrary, jade articles with simple shapes and low artistic content are particularly easy to imitate and more difficult to identify. V. Qin color identification Qin color identification focuses on learning and understanding the color changes between ancient jade and objects that have been in contact with various storage environments for a long time. In fact, it is a physical phenomenon, and the natural quality change it produces is color change. We usually call it "Qin color". For example, ancient jade stored in red paint may be red, black paint may produce black, and buried in loess may produce yellowish brown mud. Observing under strong white light, Qin color usually occurs in the place where jade contact is weak or naturally cleavage wrinkles. Then along the cleavage or fissure, the penetration expands, which can seriously soak the whole organ, which is called "total immersion". After playing, the color is bright, and the color of the piano mostly changes from gray to red. The important point is: under normal circumstances, genuine products are relatively simple; The darker the color, the more chaotic the piano color and the bright piano color are questionable. Even if the real jade has cleavage and cracks, it is not a contact part and does not necessarily have bright colors. Imitate the color of the piano by chemical or physical methods, usually the whole piano. There is also local soft mud, which is characterized by its Qin color. It is not necessary to burn pseudo-ooze in the soft rib or crack of jade. This can be observed under intense white light. However, it is useful to forge the Qin color by laser along the cleavage or fold of jade with high technology. Another point is that the storage environment of jade is dry or jade is dense. 6. Smell identification is not easy to master. Different burial environments of jade have different smells, most of which have the smell of tombs and earthy smell, which has been passed down from generation to generation. Generally speaking, recently unearthed jade articles have the strongest smell. To be familiar with this smell, the best way is to smell the old kiln ceramics, especially the newly unearthed ceramics, especially the pottery in the Warring States and Han Dynasties, whose smell is the same as that of the jade unearthed in the same tomb. This method is limited to newly unearthed or newly unearthed jade articles, and it is particularly effective for identifying those forged unearthed ancient jade. Not only do they have no smell of burial, but they also have a pungent chemical smell or a simple earthy smell. This method needs more practice and comparison before we can gain something. However, it should be noted that jade articles with dirt and sundries, whether unearthed in the morning or at night, must have the smell of tombs, and the smell is stronger when soaked in water or exhaled, otherwise they are tasteless and fake. Many people talk about the appraisal methods of ancient jade, and the following methods are often the main appraisal methods. Judging from the number of ancient jade unearthed in China and the level of our research, it is far from enough, especially the typology of jade articles from Shang Dynasty to Han Dynasty is not perfect, and the number we found is even more limited. Every time a large number of jade articles are unearthed, there are some new types, new artistic styles and new types. Therefore, the following four appraisal opinions can only be used as reference at best. (1) Modeling discrimination. Some materials emphasize this point very much. In fact, primitive art comes from the people. It is not too difficult for modern technology and folk artists to imitate all the jade shapes in history. Modeling and some artistic styles can not be used as the content to distinguish authenticity. However, there are also some works of art with particularly exquisite shapes that are particularly difficult to imitate, which are called "tangible without god" of imitation. It is the artistic level, not the modeling, that is difficult to imitate. (2) Discrimination between jade and jade materials. In fact, the texture of jade is not directly related to authenticity. There are thousands of agates and thousands of jadeites. No matter ancient or modern, ancient jade materials are very complicated. In every era, jade materials are very complicated. Shan Hai Jing records that there are more than 200 jade producing areas. The only thing that can be explained is that from Shang and Zhou dynasties to Qin and Han dynasties, Hetian jade was mostly used as an important ritual jade, but it was not absolute, and it was often accompanied by jade unearthed in other unknown places. Especially in recent years, high imitation ancient jade basically does not use jade powder and Russian afghanistan white jade. Jade material can't be used as a basis for identifying fakes. (3) Discrimination of decorative patterns. Don't think that jade with a large number of the same patterns is a fake. It is also reasonable that a number of the same varieties, even precious varieties, have been unearthed centrally. Some people think that there is only one exquisite ancient jade in the world, so as long as they see the second one, they will say it is imitation. Don't forget, among thousands of tombs of princes and nobles in Shang, Zhou, Qin and Han dynasties, only a handful of complete tombs have been excavated. Jade articles unearthed for various reasons are mostly scattered among the people, which are basically immortal and unbreakable. We know that at present, the high-tech counterfeiting of ancient jade has been imaged by computer, and the jade decoration is not complicated, so it is easy to imitate, but there are also unknown new decorative jade unearthed, which is not worth making a fuss about. Therefore, the current "decoration" cannot be used as a basis for distinguishing fakes. (4) Style discrimination. When many people see a beautiful product with a special style, they will stop observing it carefully and regard it as a "counterfeit product". In fact, it is understandable that there is no style jade whose modeling transcends the limitations of the times. It is a matter that conforms to the laws of nature and is not worth making a fuss about. It is impossible to observe jade with preconceived ideas, and the establishment of jade typology in many dynasties is still immature. I repeat: "We only excavated a few thousands of tombs of princes and nobles who monopolized jade articles. The number of jade articles you have mastered is probably less than one thousandth of the total number of ancient jade articles. " This is an indisputable fact. Every excavation will see new styles of jade unearthed, and new styles of jade works will be found in the future. Of course, each era has its own specific style, but this has long been mastered by counterfeiters. Others include: "scientific excavation, color identification, etc." None of them are suitable for jade identification methods, so we can only learn from them. In addition, no matter which identification method, most of them are phased results, and there is no unchangeable natural law. The improvement of anti-counterfeiting level promotes the improvement of anti-counterfeiting level, which will continue to develop endlessly, which requires us not to stick to the traditional methods and stay above the technical level we have mastered. "The road is one foot high and the magic is ten feet high." This requires us to study deeply, go deep into the market, practice deeply and explore more, so as to improve our appraisal level for a long time, not just empiricism. At present, there is a general understanding in the field of cultural relics: as long as a person is a great expert and master who studies the theoretical culture of cultural relics in a certain field or subject, he must be regarded as an appraiser without any objection. We don't doubt that theoretical research on cultural relics is helpful to cultural relics identification, and a few of them are both theoretical experts and practical identification experience. But in fact, cultural relics research and cultural relics appraisal are two concepts. Cultural relics research, such as jade culture research, can sit indoors, study documents, and even write books and stand up. However, he is not necessarily an expert in distinguishing authenticity. Identifying authenticity is a practice, a market experience and a collection experience. He is a collector who is obsessed with physical research day and night, not some so-called cultural relics theorists. Frankly speaking, most jade workers in jade workshops can see the "old workers and new workers" of ancient jade or antique jade, but they may know nothing about jade culture or theoretical research; Moreover, we seek identification and cannot be superstitious about authoritative departments, authoritative people and the elderly; Let's first look at the collection of special cultural relics by authoritative departments. Are authoritative people qualified to touch the collection all day like collectors? Is it passive research? Or interest research? Do you often go to market research? In particular, the identification of fake ancient jade is not directly related to the age, because the current identification object of fake ancient jade is mainly high-tech fraud in recent years, and the old method is not enough. This requires us to treat people and things dialectically. Some scholars' theoretical and cultural research in some cultural relics fields is indeed respected by everyone, even at the master level, but the identification of fakes may not be level, because it belongs to another professional technology.