Jade recently performed quite well at the auction, especially the Ming and Qing dynasty jade, which has a large stock, both in terms of transaction volume and transaction volume, which are all new highs. This has greatly promoted the folk trade of Ming and Qing jade articles. market. But how many of the vast Ming and Qing jade articles on the market are not true? Therefore, only the dragon pattern recognition commonly seen in the Ming and Qing dynasties is used as an example to provide some basis for many jade lovers.
The faucet of the Ming dynasty was deeply carved, and the face was long and wide. Most of them were side faces, but both eyes were exposed. The eyes were round eyes. They used a small round tube to drill a deep groove and a small middle. The round nipple is an eye with a high protrusion, commonly known as "shrimp eye". The dragon's eyes of the Ming Dynasty also have a diagonal shape, a vertical line shape and a flat line shape. The typical feature of the hairstyle is short hair, which is rushed forward from the root. In the middle and late Ming Dynasty, the leg shank of the dragon pattern was very thin, and the middle was engraved with dense short Yinxian. The calf was like a wooden stick straight and had no bone sensation; there was a deep cleft in the joint between the thigh and the calf. And there is a goatee-like leg hair behind the joints; the claws are windmill-shaped, with 3 to 5 claws, but the more common are the four-clawed dragon and the five-clawed dragon. In the Ming Dynasty, the body was basically invisible. The whole body was marked with scales to indicate scales. The body was long and thin, and there were decorations at the tail. Some were decorated with moiré, and some were decorated with flame patterns. But the work of the Ming Dynasty was rougher than any other age. .
Qing Dynasty Baiyu Dragon Hook
In the Qing Dynasty, the dragon pattern has a dragon of antique generation style, and there is also a dragon of this era style. In the Qing Dynasty, the dragon's head was wide and full, the distance of the dragon's horn was wide, the faucet was shorter than the Ming Dynasty, and the hair style was irregular. It seemed to grow from the top of the head and flew around. It was more appropriate to use the "angered rushing crown"; the eyes were also convex. The round eyes are the same as the Ming Dynasty, but they are polished around the nails, which are more detailed than the Ming Dynasty. In addition, the eyebrows have sawtoothed eyebrows, and the crotch is also represented by zigzag. The scales of the dragon body are more realistic and more visual. The tail decoration is various, with maple leaf shape, flame shape and zigzag shape. The leg hair has a goatee shape and a zigzag pattern. In addition, the dragon paws of the Qing Dynasty are also three. To the five claws, but the carving knife is soft, not as powerful as the previous generations. In the late Qing Dynasty, the faucet was short and flat, with no charm, and the pattern was trivial and relatively dull.
Looking at the Yulong of the Qing Dynasty, they found that their shapes were particularly diverse and the number was extremely large, which caused great difficulties in the identification of Yulong in the Qing Dynasty. According to the author's experience, in addition to some traditional experiences, the identification of Yulong in the Qing Dynasty can also grasp several points.
First of all, the materials used in the Qing Dynasty Yulong were better than the previous years. The reason is very simple, which has a direct relationship with the ruling class of the Qing Dynasty, Chongyu, Yuyu, and the emperor. Especially in the Kanggan era, the regime was stable and the territory was vast. The jade materials all over the country could be continuously provided. The best jade mines in China, the Hetian mines in Xinjiang and the Yeer area, were fully exploited. use. Its varieties are excellent in color and quality, such as sapphire, white jade, topaz, and jade, especially the proportion of white and white jade that nourishes whiteness, which is more than any age. The jade wares and furnishings in the Qing dynasty accounted for the vast majority of Hetian jade; and in terms of mass, there were also unprecedented giant systems, such as the Forbidden City [microblogging] museum, the ylang dynasty, the jade cloud dragon ç“® ç“® up to 60 cm, width up to 135 In centimeters, the mountain is up to 224 cm wide and 96 cm wide. Therefore, the Yulong of the Qing Dynasty, as a symbol of the Son of Heaven, is generally not eligible for civilians. Its material is often the best, and the poor quality Yulong is almost fake.
Secondly, the production process of the Yulong in the Qing Dynasty presented a more complicated phenomenon than the use of various jade jade techniques in the past generations. This is related to the special appreciation of customs and artistic views of the Manchu ruling class in the Qing Dynasty. It is not difficult to find that in the Qing Dynasty, no matter whether it is silk weaving, dressing, lacquering, gold and silver, it has the characteristics of complexity and even cumbersome. As for the cumbersome phenomenon on Yulong, this is also related to the jade technology for thousands of years. Under the accumulation, it has reached the level of omnipotence and peaking. Yulong is not only a symbol of the Son of Heaven, but it is completely understandable to concentrate on a large number of even all the craftsmanship on it. Therefore, the dragon carvings, reliefs, line carvings, hidden, earth reduction, polishing, polishing, etc. of the Qing Dynasty are all in a state of impeccable and impeccable. Even in the past, Yulong (including other jade articles) can often Seeing the cut marks left in the jade material opening stage, it is also difficult to find, reflecting the rigorous demands of the ruling class in the Qing Dynasty on the production of Yulong.
Third, the plastic art of the Yulong in the Qing Dynasty often gave people a feeling of confusion and incompatibility. In fact, this was the development of the mainstream jade dragon in the Qing Dynasty, and it also greatly developed the antique jade, especially the reference to the re-creation of various dragon patterns on jade.
However, the styling characteristics of the mainstream Yulong in the Qing Dynasty and the understanding of the cultural relics are relatively uniform: they must be long and chaotic, and the old-fashioned dragon bells can be known without much rigor. Although many of them have been deliberately sketched into claws and claws, they can't be seen in the world, but they have a glimpse of their looks and lack of confidence. Even the dragon, the king of a country, symbolizing the royal power of the jade, the emperor's treasure, is so languid and looks helpless. In the Neolithic Age, Yulong was natural and full of life. He was omnipotent in the mature and developed stages of the Warring States and the Han Dynasty. He was a domineering image, and even the cowardly declining Sui and Tang Dynasties in the Qing Dynasty. It was like being in the midst of a ruin. The feudal dynasty will withdraw from the historical stage.
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