Deputy Director Liu is not an inexperienced person. Several literary bigwigs in Shu are much better at making money than Zhou Zhi. Moreover, he knows how much Zhou Zhi’s stamps have been auctioned, and he knows that Zhou Zhi looks young at his age.

, in fact, the economic strength is strong, not less than this small 200,000.

He was even more surprised that Lao Cao was optimistic about Zhou Zhi and hurried over to finalize the agreement.

But when he thought about sending Zhou Zhi off to say goodbye to several Mr. Gu, Deputy Director Liu didn't feel strange anymore.

Regardless of age, students who can be recognized by the Gu family will at least have an absolute advantage in academic or literary pursuits.

Thinking about it this way, it doesn't feel strange anymore.

After signing the agreement and saying goodbye to Editor Cao, who represented the publishing house, I discovered that Manager Fei had already arrived for a while.

The things Zhou Zhi wanted to bring back this time were of all ages and were extremely precious, so Manager Fei did not dare to neglect them.

This time I got four kinds of ancient paper. The most valuable is of course Chengxintang paper from the Southern Tang Dynasty, followed by Jilin paper from the Song Dynasty, Wannianhong and Jianyangkou from the Ming Dynasty, and Taishilian paper from the Ming and Qing dynasties.

These things cannot be regarded as cultural relics now. There are still many stocks in the National Palace Museum in the capital, but they can't help but use them.

As the country pays increasing attention to the restoration of calligraphy and painting cultural relics and ancient rare books, the consumption of these restoration papers is also increasing. In less than five years, there will be a shortage of these papers. In another ten years, these papers will be used.

It is listed as a cultural relic and cannot be used without authorization.

As for how to continue the restoration work of calligraphy and painting cultural relics and ancient books? Then we should schedule the work according to the level of the cultural relics and the criticality of the restoration. First, rescue the extremely precious and urgently needing restoration. As for the rest, we should keep them in their original state and seal them.

.

On the other hand, it is to increase efforts in research and development, such as crossbreeding wild silkworms with modern silkworms to make them "return to their ancestors" to obtain silk with the same thickness as the silk of the Han Dynasty, Tang Dynasty, and Song Dynasty, and then dye it with the pharmaceutical dyes of the time.

Once the appropriate colored yarn is obtained, a textile machine can be used to weave a fabric with the same thickness and mesh as that era, and then the next step of imitation and restoration can be carried out.

The same is true for other calligraphy and painting, porcelain, pottery, and bronze.

The techniques are becoming more and more sophisticated, and they are becoming more and more similar to the real thing. What is even more ridiculous is that except for high-end products such as calligraphy and painting, which are only imitated in modern times, and ancient calligraphy and painting are difficult to imitate, the rest of porcelain, bronze, jade, pottery, and tricolor

Wait, the masters are really... among the people.

Then there will be a legendary story that experts from the Palace Museum spent 100,000 yuan to buy high imitation Northern Wei Dynasty glazed figurines from Panjiayuan.

There are different reasons why porcelain has become the hardest hit area. The counterfeiting of porcelain did not start from now on, but the stable period of every dynasty will without exception set off a collection craze, and all dynasties have imitated the fine porcelain of the previous dynasty.

, that is perseverance and perseverance.

In modern times, it is still extremely difficult to imitate antique porcelain. Except for the two batches of high-imitation antique porcelain that were produced in the early days of the founding of the People's Republic of China and the early period of reform and opening up when the whole country concentrated on research and development, the rest mainly used the ancient porcelain of the previous dynasty.

Porcelain, pretending to be ancient porcelain from more previous dynasties.

This is a job that tests your eyesight. For example, in the Qing Dynasty, the porcelain making technology was constantly improving, and the style of antiquing became popular. By the Qianlong period, the antiquing technology of porcelain had reached the point where it could be used freely and at will.

At this time, the variety of antique porcelain was all-encompassing and had been divided into several series.

The first is the antique glaze color. The five famous kilns of the Song Dynasty and the famous kilns of the previous dynasties, such as Longquan Kiln and Yue Kiln, were the hardest hit areas to be imitated by Qianlong porcelain masters. Especially Ge Kiln, Longquan Kiln and Qianlong Official Kiln were able to imitate them.

Better than blue.

The second is blue and white antiques. The hardest hit area is the blue and white of Yongle and Xuande in the Ming Dynasty. From the color of the blue and white to the shape of the utensils, the patterns are fully copied.

However, one advantage of blue and white is that the blue and white materials of the Ming Dynasty were mainly produced in the Yongle and Xuande dynasties, and were mainly made of the fine Suma Liqing brought back by Zheng He from his seven voyages to the West.

The rich and beautiful color of Su materials, coupled with the vigorous and bold style of Yongxuan porcelain, made Yongxuan blue and white porcelain admired by generations and became the supreme blue and white porcelain.

Later, Chenghua blue and white also used part of Su material, but due to the scarcity of raw materials, most of them used the domestic "Ping Ping Qing", also known as "Pitang Qing".

This kind of green material produced in Leping, Jiangxi Province has a light and grayish blue color. It is clear and elegant. It is lined with white and warm glaze and delicate patterns. It makes Chenghua blue and white become the representative of blue and white art in the mid-Ming Dynasty. It is exquisite and unique.

, which is treasured by the world and has been imitated by all dynasties.

Thanks to the elegance of Pingpingqing, this blue and white porcelain style continued through the Chenghua, Hongzhi and Zhengde dynasties.

From Jiajing, Longqing to the early Wanli period, blue and white materials began to use a blue-to-purple material, which was produced in Huijiang and became Huiqing material.

The output of this kind of blue and white porcelain was large, but the craftsmanship was rough, the quality of the porcelain was reduced, and the blue and white porcelain also began to decline.

Decline does not mean that it is no longer taken seriously, but it means that it has changed from being a unique one to many porcelains competing with hundreds of schools of thought, keeping pace with each other.

Therefore, from the analysis of the materials, it can be concluded that among the blue and white porcelains that have the most imitations from the previous dynasties, the Jialong Wanhui blue and white porcelain is mostly produced by private kilns, and even the official kilns are too lazy to imitate it.

The second is Chenghong Zhengping blue and white. This type of blue and white is the most imitated in official kilns. The craftsmanship is exquisite and the color materials are all the same. Even the withdrawals are divided into two types, one is the Qianlong model of this dynasty, and the other is the evil one.

Previous dynasty payment.

The most eye-catching part of the porcelain is this part of the porcelain. It is also the part of the porcelain that has the most magical stories.

The most noble and elegant Yongxuan Sumali blue and white is actually better. With Emperor Qianlong's family background and strength, it is difficult to imitate these "kings of blue and white". There is no problem with the craftsmanship, but the point is... the evil Sumali

Qing... is gone.

Therefore, although there are just as many imitations and there are also previous models, the rich and beautiful gem color of Suma Liqing is unique and difficult to reproduce. Therefore, the imitations and genuine products are better than the equal blue and white.

distinguish.

The third type of imitation disaster area is doucai. Chenghua doucai in the Ming Dynasty is the focus of imitation firing, and the techniques are mainly inherited.

Doucai developed into the Qianlong Dynasty, and it has entered a period where people can do whatever they want. New varieties of doucai in this period, even crazy things such as imitating antique bronzes, imitating red carved lacquer, and imitating animal and plant elephant porcelain were produced.

, can also accurately express the color and texture of the imitation, which is a masterpiece of craftsmanship and forms a major feature of Qianlong porcelain.

With such strength at hand, it would be impossible for Emperor Qianlong not to attack Doucai's ancestor, Chenghua Doucai.

Therefore, many of the antique porcelains were fired in accordance with the orders of Emperor Qianlong.

In the Qing palace archives, we can see many approval documents that this gentleman gave to the pottery supervisor. From the approval documents, we can see that he had very specific instructions for the firing of porcelain.

In a word, the Chenghua Doucai Chicken Cup, which everyone is familiar with later, is not familiar to everyone, but it is the small Tianzi Doucai Cup that according to the legend in the collection circle, Emperor Chenghuaer customized for the magical concubine Wan Guifei.

I imitated them all.

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