Identification of Ancient Jade Infiltration Color

Author: Honggu
Publisher:
Publishing Date: 2006-08-01
Features: is the primary basis for dating ancient jade artifacts.
Imitation and forged ancient jade pieces almost always have. Some say, "No is not a forged ancient jade."
Jade authorities believe, "By the Jin Dynasty, people had already mastered the method of dyeing jade."
The Shan Hai Jing·Nan Shan Jing contains the following passage:
"There is a tree, its shape like a grain but with red texture, its sap like lacquer, its taste like honey, those who eat it do not hunger, it can relieve fatigue. Its name is Bai Tai, it can be used for blood jade."
"Blood jade" refers to dyed jade.
Shan Hai Jing is an ancient geographical work, with fourteen chapters written during the Warring States period, and the four chapters of Hai Nei Jing are filled with the literary style of the early Western Han Dynasty. Guo Pu of the Jin Dynasty once annotated it, and Bi Yuan and Hao Yi Xing of the Qing Dynasty also conducted textual research and annotations.
The Ming Dynasty scholar Gao Lian mentioned in Zun Sheng Ba Jian·Yan Xian Qing Shang Jian:
"Recently, in Wu County, skilled craftsmen have imitated Han and Song dynasty chi jue (jade rings) and hook rings, using pale yellow, mixed colors, edge peels, green jade, or slightly ink-colored jade, carved into the same style, forging and confusing ancient craftsmanship, often fetching high prices."
This large-scale imitation production led to the development of dyeing jade techniques.
The Yu Fu by the Tang Dynasty poet Zhong Zhiyuan is considered the earliest literary work in Chinese art history to describe:
"Five colors are harmoniously displayed, a thousand names emerge. Shaking crane feathers enhances freshness (white), raising rooster crests adds brilliance (red). Not inferior to steamed chestnuts (yellow), how can pure lacquer rival (black)? Leaping rainbow in white mist (child's face), or seen in women in blue robes (sky blue). Mountains and forests nurture it with richness, rivers and streams raise it with ripples."
The late Qing Dynasty and the early Republic of China were an important period in the history of ancient jade research in China, as well as a period of prosperity and transformation in the study of. A large number of specialized books on jade artifacts were published, such as: Wu Daliang's Ancient Jade Illustrated, Chen Xing's Records of Jade, Xu Shouji's Compendium of Jade Spectra, Lü Mei Wang Jing's Supplement to the Records of Jade, Li Fengting's Correction of the Records of Jade, Zhang Hongzhao's Shi Ya, Liu Zifan's Examination of Ancient Jade, Li Xuan (co-authored) Discourse on Jade, Qian Qitong's Collected Discourses on Jade, and Liu Datong's Discerning Ancient Jade.
Among these, Discerning Ancient Jade and Examination of Ancient Jade fully reflect the inheritance and development of research methods in Chinese ancient jade studies.
The research on in these works, although lacking scientific empirical methods in some aspects, has reached a considerable height and holds important reference and practical value for today's identification of in ancient jade.
Ancient people began with the underground environment and proposed the theory of "Thirteen Colors." Single colors include lime, loess, pine resin, mercury, blood, copper, indigo, etc. Compound colors include two or even dozens of colors, with pure five-color called "Clear Five Colors," and those with five or more colors "Muddy Five Colors" or "Ten Thousand Blessings."
is prized for its "transparency."
Five-color is priceless, as the ancient proverb goes: "Jade with five-color is worth more than ten thousand gold."
Unique, attractive, and unusual is called "artful," and artful has always been considered a superior type of.