The collection of Chinese ancient jade has a long history and accumulated rich experience in appraisal. There are many kinds of ancient and modern monographs on the identification of ancient jade. However, due to the constraints of objective conditions, there have been many different opinions and differences, which have not been integrated and combed. The long-standing habitual forces and traditional concepts still play a role in the field of ancient jade identification. Reversing this chaotic situation is a top priority for today's cultural relics and jade researchers, and it is also a historical mission that must be completed. Song Yu’s identification has been in a misunderstanding for a long time. In the past, people’s understanding of Song Yu’s appearance was ambiguous. In the past, the “Song Yu Xi†was circulated in the Palace Museum. This statement was later extended to the Song Dynasty. Among the identification of all craft products, "fine" is also the standard. At that time, I did not think deeply about this "fine" word. After long-term practice and research, I felt more and more that there were more defects and fewer appropriate ones. In recent years, the author has studied the literatures of Emperor Qianlong's imperial poems, such as saying that Emperor Qianlong believed that a piece of Song Zuo Jade Furnace is a jade picture (see "The Collection of Emperor Qianlong's Poems", Volume VI, Volume 60, Yihai, Guangxu Edition). He also identified another piece of sapphire beast ear dragon pattern furnace as the temple device (formerly known as "old jade dragon å½ furnace") (see ibid.), although it is not judged in its age, but from its shape and dynamics of the dragon, it must Undoubtedly for the Song Dynasty. The above-mentioned textual research by Emperor Qianlong made the identification of Song Yu quite enlightened. The jade artifacts unearthed from the Song and Jin Tombs in Jilin, Beijing, Shanghai, Sichuan, Shaanxi and other places provided reliable evidence for the identification of Song Yu, which made the breakthrough of Song Yu identification breakthrough, but still can not solve all the problems in the identification, especially There are still major differences in the identification of Xiaosheng jade carvings such as animals, baby plays, and tigers, which have not been eliminated. The reasons for the divergence are very complicated, and they are multi-faceted. If you concentrate on one point, then each family insists on their own views. The family also never communicates. They do not know the specifics of other appraisers except their own claims. Advocating, it seems that there is no understanding between each other. There is also a shortcoming that does not work hard to find evidence. Although there are not many jade artifacts unearthed, there are some real credentials that can provide some kind of identification in one way or another. This is the identification standard or identification standard we used to say. I think that based on the jade wares of Song Zhiqing, which have been unearthed so far, we will classify them according to the shape, ornamentation and workmanship, and draw evidence for identification. The evidence will be used for identification again. The effectiveness. If I can do this, I believe that the jade identification work from the Song Dynasty to the Qing Dynasty may reach a state of evidence, science, and accuracy, that is, to reach the scientific height of the "positive identification method." Exploring two (macro and micro) identification criteria for "positive identification" And agree with the existence of slight ambiguity The above has a general overview of Song Yu's appraisal. It has been the path of scientific appraisal from the past mistakes in the magic circle. This is the preliminary result obtained after decades of learning from the experience of the forensic examination. In the past, the so-called Song Yu was a general era boundary including the two Songs. It probably would not include the jade articles of the ethnic political powers in the border areas such as Liao and Jin, which were simultaneously coexisted. This is due to the limitations of history. Now, Song Yu, which we are talking about, distinguishes the two eras of the Northern Song Dynasty (960 BC - 1127) and the Southern Song Dynasty (AD 1127 - 1279) with the royal family. The jade articles of the two Song dynasties have different styles and characteristics. This is the macro standard for the identification of Song Yu. Related to this is the existence of jade articles in the Liao Dynasty (906 - 1125 AD), which has been proved by the official history. There are many written records about jade in "Liao History·Yi Zhi Zhi", this is It is obvious to all. In the past 50 years, more than 200 pieces of Liao Dynasty jade articles have been unearthed. After preliminary research, it is determined that jade articles with Khitan national characteristics are included. This not only confirms the existence of Liaoyu, but also indicates the emergence of Qidan jade articles. In connection with Liaoyu, there are also problems of the five generations of ten national jade articles. The Five Dynasties and Ten States (907-960) refer to the five short-legged dynasties of the Tang, the Tang, the Jin, the Han, the Zhou, and the other, and the Wuyue, Wu, Qiang, Chu, and Nan, which emerged from all over the country. There are ten small countries such as Han, Yi, Nanping, Houyi, Nantang and Beihan. Among them, Wu Yue Qian and his family tomb, Qiang Wang Jian Tomb, Nan Tang Li Wei and Li Yu Tomb have unearthed jade articles. In this batch of five generations and ten countries, there are not only many micro-standards that are good for jade identification, but most importantly, it has washed away the exquisite and magnificent atmosphere of the imperial jade of the Tang Dynasty, which has brought about the indifferent local flavor. Song Yu happened to inherit the Five Dynasties and Ten States. Strictly speaking, Wu Yue Jade is a plain and close-knit style, and it has developed into a simple and elegant jade with civilian colors. From this perspective, the jade articles of the Five Dynasties and Ten Kingdoms abandoned the style of the imperial jade of the Tang Dynasty and created jade articles that are close to life and rich in local style. Liaoyu directly inherits the tradition of the orthodox dynasty jade articles of Liang, Tang and Jin. It develops and grows in the northeast frontier and the central plains. It is a unified era style and national color coexisting with the jade articles from the Five Dynasties to the Northern Song Dynasty (906-1127). Jade. In the Northern Song Dynasty, the jade was directly in the Chai Zhouyi, and it grew up on the basis of the Central Plains and Jiangnan culture. It has a strong color of the people. Because the painting art of the Northern Song Dynasty is highly developed, the radiation is extremely strong, and the jade altar is no exception. Therefore, there is a jade with a strong carving and carving that the Emperor Qianlong called "Jade Picture". Minyu appeared in the Northern Song Dynasty and gradually spread from the Central Plains to the whole country, greatly diluting the original emperor jade color of Yuyuan. The jadeite jade was generally rising like a tide, slamming the embankment of Emperor Yu. The southern Song dynasty of the partial security and the strong northern Jurchen regime of the long-term coexistence, the two sides of the slashing and reconciliation alternated with each other, and finally died under the Mongolian sweat iron hoof. The Southern Song Dynasty was divided into Jinnan and North. Although Jin was closely related to the Southern Song Dynasty and culturally influenced by it, it still dominated the native culture and art of the local Northern Song Dynasty. The culture of the Jurchen nation was gradually inundated. It was unearthed in the Baishan Blackwater area of ​​the hometown of Liaojin. Jade has already transmitted this historical information. The Jadeite jade that has been seen only has the great development and perfection of the Qiushui Qiushan jade that inherits the Qidan nationality. Other jade articles and the Southern Song jade are similar in appearance and shape, and they are suspected to be local. In addition to smashing, it is not ruled out that it is taken directly or indirectly from the Southern Song Dynasty through means such as non-governmental transactions and war plunder. The five times and ten countries, the Liao, the Northern Song Dynasty, the Jin Dynasty, the Southern Song Dynasty and other five eras and the time and space relations of the development of the various jade dynasties were obtained through the literatures of the official history, literati notes, and the analysis and comparative study of the unearthed and handed down jade articles. New understanding, such as the pieces of Liao, Song and Jin jade attached to this article, all have the characteristics of simplicity and closeness to life. Its artistic technique is realism with both form and spirit, full of poetry and painting, and exudes rich art. aromatic. If our appraisers can truly grasp this macroscopic appraisal standard of Song Yu, we can avoid major errors in the identification of dynasties. What is the follow-up situation of the realism in the Song Dynasty? This is a question that everyone who studies jade is very concerned about. The historical development track shows that Mongolian Khan and the Yuan Empire are indeed the orthodox successors of Song Yu’s realistic art techniques. Speaking of this, we have to tell the readers that in the 1970s and 1980s, when we divided the space-time framework for the development of jade, we linked the Yuan Dynasty with the Ming and Qing Dynasties and proposed the "Yuan Ming and Qing Dynasties." The argument is that this is due to the overemphasis on the political and cultural background of the capital of the Yuan, Ming and Qing Dynasties in Beijing. It has not really grasped the difference between the jade culture itself and the jade articles of the Yuan and Ming Dynasties. Later, Mr. Frey, the chairman of the British “Jade Friendsâ€, asked me to write the Yuan and Ming dynasty jade. I promised to write a special article, which was published in English in London after being translated into English by Frey (JADE). )on. After that, when I invested in the study of jade art methods, I discovered that the jade articles of the Yuan and Ming Dynasties were dominated by two distinct artistic methods. Yuan was the continuation of the realist art method of the Song Dynasty. In the early Ming Dynasty, this realistic art method had Ending. The artistic method of the Ming and Qing dynasties should be pseudo-ancient rather than realistic. Therefore, from the perspective of artistic methods, the Song and Yuan jade art is in the same vein and continues to develop, but there are shortcomings in the process that are simple and rough, leaving some traces of crafts. As shown in the figure, these pieces of Yuan Dynasty jade are very close to the image of Song Yu in the vividness and vitality of the image. It also shows the consistency and approximation of Song Yu and Yuan Yu in artistic methods. When I studied the Ming Dynasty jade articles, I discovered that in the early days (Hongwu, Yongle, etc.) and the jade in the late (Wanli and its pre- and post-era periods), the ancient jade artifacts and shapes appeared in the shape, decoration and image, which developed to form a Social trends and artistic trends. At that time, the famous master of the jade was the Lu Zigang of Suzhou. It was a difficult story to be solved. It is a historical mystery that is difficult to solve. It remains to be dialectical. In the Qing Dynasty, after the rectification and creation of Kangxi and Yongzheng, they finally became three art modes, namely Kangxi, Yongzheng and Qianlong. They were similar in form and craft to the late Ming Dynasty, but their guiding ideology and artistic methods were Very similar, the jade articles of the Ming and Qing Dynasties both showed obvious ancient and antique tendencies. It is not difficult to see the commonality and individuality of jade art in the Ming and Qing Dynasties, and the trajectory of its development and change. Historical facts prove that there is inevitably a certain degree of ambiguity, instability and uncertainty between the Yuan and Ming, Ming and Qing, or the jade stage between the Yuan, Ming and Qing Dynasties. This is both an objective existence and a jade The phenomenon of development itself is caused by the limitations of subjective knowledge of jade appraisers, and the difficulty of jade dynasty is also increased. The important value of the ancient jade identification standard Above, we talked about the changes and development of the art methods and styles of the Song to Qing dynasty jade. What is the significance and value of the art method and the style of the times for the identification of jade articles? I believe that the experts and scholars who study jade articles only have mastered the artistic methods and eras of the jade articles of the past dynasties. The style is equivalent to mastering the macroscopic identification standard of ancient jade. When applied to the ancient jade identification, although it can not achieve 100% accuracy, it can also achieve basic accuracy. If an experienced cultural relic worker also identifies cultural relics based on the above-mentioned Chinese and foreign artistic styles and artistic methods, and then uses macroscopic identification standards and experience, I believe that the accuracy of its identification will certainly improve. It can be seen that the macro-identification standard is a general abstract standard that is related to the whole situation, so it is very important. However, most of the ancient jade appraisers have not noticed this aspect at present, and often use the micro-identification standard as the only key to open the jade identification maze. The effect of the lock on the gate is often unsatisfactory. This does not mean that the micro-assessment criteria are not important. If this is understood, it is a complete misunderstanding. So what is the standard for microscopic identification of ancient jade? What is the value? I believe that the standard for microscopic identification of ancient jade is a local, concrete, and figurative standard involving a jade, which is visible and tangible. It is also a relatively easy to master, quite effective identification standard, so it is very popular. For example, now that the time is brought closer to the Tang and Song Dynasties or later, the collectors in the past have a common name called "Tang Datou", which means that the heads of the jade carvings of the Tang Dynasty are larger. This is the microscopic standard for the identification of jade carvings of the Tang Dynasty. The probability is higher, but it is not absolutely reliable. For example, the head of Tao Xun of Tang Xuanzong is not big but is proportional to the human body. Since the jade before and after Emperor Xuanzong of Tang Dynasty has not yet been discovered, it is still unclear whether the proportion is balanced or “big headâ€, so “Tang Datou†is still a panacea. Metal Buckles,Metal Belt Buckle,Metal Strap Buckles,Custom Metal Belt Buckle Guangzhou Sanko Button Co Ltd , https://www.skbutton.com