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Determining authenticity is not an easy task. Even I have been fooled on occasion. Quite often a fake is passed from hand to hand unknowingly, often accompanied by the famous Certificate of Authenticity. Don't be fooled by this document. There is no license required for appraisal and many people offer appraisal services. Good appraisers will have a reputation and their own credentials. I've seen many appraisals and have to say that most are lacking both in detail and information to back up their declaration. About forty years ago I watched one such appraiser thumb through a book to identify a mark, then copy this information directly to a one-liner stating the authenticity. With his reputation, he should have immediately recognized the mark and style and used some creativity in his appraisal. An appraisal should go into as much detail as possible to accompany any fine piece of art on it's journey. It should include the history of the piece, images, comparisons, exact measurements, and tell a story. Click here to see an example of a properly done appraisal. This should be the minimum accepted, should documented provenance or TL test results not be available. Moving from the credentials to the piece itself takes us to the next step. Of course if you find a piece while excavating a tomb, you're 99.9% sure it's authentic, but there is still that .1% chance that someone found the tomb earlier and placed it there to fool you. There is only one sure method of dating, thermoluminescence, but that is expensive. Not everyone can afford to spend $400 - $500 to authenticate each piece. I might also add that this is used mainly on heavier pottery such as those from the T'ang and Sung periods, and not recommended for the finer thin porcelain of the Ming and Qing dynasties. Aside from the risk of breakage, drilling holes in a fine porcelain (if not done properly) can affect the value. For those considering this route, keep in mind that unless performed by either Oxford or Daybreak Archaeometric, the results may not be accepted by the major auction houses. Be also aware that not all types of clay used in the potting contain sufficient amounts of the properties needed to obtain a valid TL reading. Sufficient amounts of quartz, and feldspar must be present. Click here to view my notes on this subject. Here are some suggestions for the serious collector wanting to learn. . Build a Library Start collecting as many books as you can on Chinese porcelain. Start your collection with Hobson2 and build from there. Familiarize yourself with the different styles of each of the Ming and Qing emperors. Soon you will be able to glance at a piece and immediately recognize, for example, the difference between the Xuande and Wanli styles of the Ming dynasty. Collect catalogues from the major auction houses like Sotheby's and Christie's. They have quality photos that will aid in the identification of a style or period. I've listed just a few references below: 1 The Wanli Shipwreck and its Ceramic Cargo - by Sten Sjostrand & Sharipah Lok Lok bt. Syed Idrus 2 The Wares of the Ming Dynasty - by R. L. Hobson 3 The Chinese Exhibition - Commemorative from 1935-1936 - Faber and Faber 4 Chinese Blue and White - by Ann Frank (good beginner's book) 5 Porcelain, Its Nature, Art, & Manufacture - by William Burton (Batsford, London 1906) Visit Museums and Libraries View as many pieces as you can. Soon you will be able to immediately recognize the look of the authentic piece. If possible, speak with the curator. They often have handouts available containing information on the dynasties. Most libraries have a separate Arts section where you can research a specific dynasty, an emperor, or even porcelain manufacture. Read as much as you can. Another good place to view quality items is an Asian art show. One caution here though, keep in mind that all vendors are there to sell their wares. Unlike the well known syndicated 'Antiques Road Show' which features professional appraisers from the major art houses, you are instead dealing with a salesman who may (or may not) be the owner of the wares on display. Just assuming someone of Chinese descent is an expert on porcelain, is as much a mistake as someone of Chinese descent assuming an Englishman is an expert on Royal Dalton. Having attended many such art shows, I've seen a mix of the authentic and the 'not so authentic'. . Watch for Copies Be aware that there are present day copies being manufactured that are almost impossible to detect. They come complete with flaws, discolorations, and imperfections. Only thermoluminescence testing can detect the true age. Also be aware that copies were made within both the Ming and Qing dynasties. These were not made to deceive, but in reverence (honor) of an earlier style or period. For example, some pieces from the later Ming reigns bare the earlier Xuande mark. The same applies to the later Qing dynasty, with the most common copied marks being that of the earlier Kangxi and Qianlong reigns. These pieces, though not of the period, are still quite valuable and to be differentiated from modern day copies which are of little value other than being decorative. Japanese Copies Early trade with China could produce the materials, but not the methods of the Chinese potter, some of which were highly guarded secrets. Though these methods applied to every aspect of the production, it was the actual firing process that was the hardest to duplicate. The final product of the Chinese Imperial kiln was the result of an exactly timed and controlled temperature and environment which was dictated by the actual piece or group being fired. Additives such as bamboo leaves, various woods and ferns, were also included in the firing process for certain effects on the glaze. Products from other than Imperial kilns (provincial kilns) could rarely match the quality of the Imperial kiln. Because of this, during both the Ming and Qing dynasties, Japan conducted raids on the China mainland, bringing back both materials and captives to learn the tricks of the Chinese potter and artisan. The result of this documented practice is evident in examining the property of these earliest known pieces, which is the presence of classic Chinese designs using native cobalt and porcelain originating from the Ma T'sang mountains in China. One still has to consider that a product created in Japan, in a kiln built by a captive Chinese potter, using Chinese material and the exact firing methods, is still a Chinese masterpiece. Eventually the distinct Japanese style began to emerge and become separate, and just as sought after in its own right. . Learn Chinese Calligraphy An excellent book is Chinese Characters - Their origin, etymology, history, classification, and signification. By Dr. L. Wieger, S.J. This book, like so many earlier books, is written using the Wade-Giles transliteration and not Pinyin. Since Pinyin is now the universally accepted transliteration, you may want to search for a book that uses Pinyin. If you want a brief introduction to these two different Romanization methods, please visit my calligraphy section where you can actually meet Pinyin Man. Using any good book on calligraphy, you can learn to read and write as much Chinese as is necessary to recognize all the Ming and Qing emperors. I've spent about ten years studying Chinese calligraphy and it's been a major help in my collecting. I discovered that learning approximately 200 characters allowed me to identify 600 years of Chinese art. It was then that I realized that many dealers pretend to be experts when in fact they are not. Here are several incidents that happened to me that you might enjoy. One such dealer had a reputation as one of the best in the country. I often test a dealer's knowledge. One day I handed him a piece of porcelain. My not being of Chinese descent, mostly Irish, Portuguese, English, and Dutch (kind of a mutt), made it unlikely I could read and write Chinese. I asked him "What are the squigglies, are these what they call chop marks?". He nonchalantly took the piece, pausing long enough to glance quickly at it while talking to some customers. Unknowingly holding it upside down, he quickly pointed to each of the characters and read (to us all) "It simply says - From the Imperial House on the Great Yellow River". I smiled, thanked him and left. It was a new piece that actually read 'Zhong Guo Jingdezhen Nian Zhi' , which translates to 'Middle Country (China) Jingdezhen (province known for porcelain manufacture) Period Made'. This is a common mark on modern pieces presently being made in China. Another dealer of reputation once said "It's got the Double Ming Mark, it's from 1701". She was way off here. There is no "Double Ming Mark" and the Ming dynasty ended in 1644. She was referring to the cobalt blue empty double ring often seen on modern pieces. There is however a cobalt blue empty double ring on some genuine Kangxi pieces of the Qing dynasty, due to a proclamation made by the young emperor which lasted only a year or so. In my opinion, genuine pieces from this short period (1667 - 1669) are of greater value. They provide a more exact date than the usual six-character mark, which only says it falls somewhere within the sixty-year reign (1662 - 1722). It's just a matter of personal preference. This empty double ring oftentimes contained an image (such as a rabbit or Artemisia leaf) in substitution of the emperor's mark. Kind of a work-around to the proclamation, so as not to leave the piece totally unmarked. One final note on calligraphy. It's easier to read than write, but if you can write, you will immediately recognize characters written by someone who has not been schooled in Chinese calligraphy. I've found many pieces with mistakes. There is a rule to the stroke of the brush, which is clearly noticeable. Perhaps in the near future I will dedicate a section regarding this subject. . Visual Properties Like
calligraphy, this also is a world of study in itself. Personally, I
prefer a piece with some minor flaws.
The cracks, chips, and wear better
suggest its true age, giving it
character and life. My Jiajing dish is a good example. The
gild is almost completely worn away with age. The lip shows centuries
of wear. The biscuit worn smooth. Click here => Microscopic
examination shows a variation in the size of the fine bubbles in the
porcelain between the white and blue cobalt
areas, specifically where the both meet. Here's an
example => You will also encounter some common terms used such as chicken skin, orange peel, massed lard, heaped and piled, palm eyes, etc. Mostly these are used to describe the feel and appearance of the glaze (or surface). Palm eyes, for instance, are those small dark holes where possibly a foreign particle caused an imperfection in the glaze during the firing process. Sometimes oxygen entering the kiln during the firing would cause this effect. Though common, these imperfections are not necessarily signs of authenticity. A good book (like Hobson1) will go into detail on each, and even point out which is most common to a certain reign. Though good to be familiar with (as earlier mentioned), they also are not necessarily signs of authenticity. There also seems to be an increase of classic blue and white 'Ming' chargers and plates with the orange tinted unglazed foot-ring usually known to early Ming and Yuan wares. Not wanting to discount those that are authentic, just be aware that there is a chemical oxidizing agent named Potassium Permanganate (KMno4) that can be used to create this look. It is water soluble and available with any shade of iron oxide red or yellow. One last thing to mention. The 'classic' books on Chinese porcelain have been around for many years, providing the collector with a wealth of knowledge in determining authenticity. This same knowledge has been available to the counterfeiters, whose tools and methods have only improved with time. Start that library. Hit those museums. . Internet Auctions - Some tips. This avenue has its ups and downs. You really have to be careful out there. I've seen some treasures go for pennies, but also some expensive rip-offs. Everyone is familiar with the old saying 'Buyer Beware', but because of the nature (and tactics) of the online auction, 'Seller Beware' too. As mentioned earlier, fakes are often passed from hand to hand unintentionally. Anyone can make an error in judgment. I believe most people are honest. But there is now an alarming increase of intentional passing of fakes on the Internet auctions. Some quite obvious, and some not so obvious. Speaking of honesty, here are some of the tactics of the 'less than honest' to watch out for in the world of online auctions. I know it happens, because I've seen it. Buyer Beware Let's say a seller lists an item that has all the properties of authenticity, but the image is not clear and no macro images are offered. Before you bid on this item, be aware not only of the refund policy, but study the description closely. A seller saying "I don't know what it is." and only suggests it might be Ming or Qing (or old) does not have to refund your money if it isn't. I've seen them use the wording "Ming Dynasty - Xuande style" in which case the simple use of the word "style" clears them from having to refund your money. Some don't offer a refund policy at all. I'd steer clear of these unless you know the seller's reputation, or are willing to gamble. Another caution is the Private Auction. The bidder's identity is hidden (protected), but it's really protecting the seller, allowing him to receive bids from unsuspecting bidders that can't be warned in advance. I've seen many an auction where the bidder is unaware the piece they are bidding on is fake. There is no way to reach the bidder, and it's against the auction policy to interfere with an auction. Know your stuff if you participate in a private auction. . Other Avenues I recently had a lady contact me asking for help on a small bowl that she paid 12 dollars for at a garage sale. I enjoy helping when I have the time, so I downloaded the image. She had a fine bowl of Imperial quality that, if authentic, would fetch 8 to 10 thousand dollars, and easily several hundred if the mark was spurious (not of the period). I told her to seek a second opinion from a reputable auction house. She did just that, and they confirmed its value. As previously stated, if you participate in online auctions, be very careful as both a buyer and a seller. . Though forums can offer excellent information to collectors from both novice to advanced, there are some things to be cautious of. Most moderators know their stuff, but there always seems to be one (or more) self proclaimed 'expert' who will try to establish himself as having an advanced knowledge when often times they do not. They will often disrupt the entire forum, making the job of the assigned moderators extremely difficult. I rarely participate in forum discussions. Here is an example of one such incident where I ended up dueling with an 'expert'. Someone posted an image looking for the translation of a mark on a blue and white bowl. After over 100 views with no responses, I posted the answer for them since it was a very rare mark used during the 18th and 19th centuries. As soon as I did, another person posted a smart remark that offered no information but instead hinted that he knew what the mark was and for some reason kept quiet. I was wondering who would do this, and why. I also posted further down in the same forum an answer to another question that had gone a long time with no answers. It was for someone who wanted to know if a certain bowl could possibly be from the Yuan dynasty. I told them it had the properties and it would be wise to take it to a museum or a reputable dealer for a first hand inspection. The person thanked me for the encouragement. Almost immediately after that there was a post from the same one who left the smart remark earlier saying the piece was a 20th century fake and [Quote]: " The shape and form are all wrong." meaning it didn't exist during the Yuan dynasty. After several more posts to the thread between the 'expert' and the person asking for help, I decided to put an end to it all by providing images of the exact shape and form from a 14th century bowl in the Topkapi Museum, Istanbul Turkey. There were other bowls as well of almost the exact size and shape also within the collection. This apparently enraged the self proclaimed expert who did not reply directly after having been proven dead wrong. He instead started a new post saying that very detailed information should never be given on a forum as it was only providing information to the fakers. Here is the text he started with: [Quote] (July
16th, 2005) If this was indeed true, then he must have recognized it. He was therefore purposely giving misleading information. Not just to the original user who asked for help, but to all members of the forum. Life is so much easier when you say your not and expert. We are all learning together, no one knows it all. I guess what I'm trying to say is don't believe everything you see on online forums. It's my belief that the self proclaimed 'expert' just didn't know.
Conclusion My Chinese friends have been invaluable to me. I grew up in Hawaii and had many such friends. I've had one mentor who came from a line of potters dating back to the Ming dynasty. Another mentor escaped China during the revolution. Over fifty years ago I spent a year on some islands just off the east China coast. During this time I headed up several expeditions and viewed tombs never before seen by a Westerner. Some had not been entered in over five hundred years. One such expedition almost ended up an international incident. I continued to explore (alone) for several years following this incident and have never revealed the locations I've discovered. I considered these remote jungle spots as sacred and just enjoyed the beauty and solitude without breaking the earth, removing a single item, or disturbing a single leaf. About 4 years following the above incident, I discovered another sacred burial tomb on a different island in the Pacific. A small white speck was noticeable about 2 miles away. It was above a bamboo forest, in the thick jungle growth. It was only visible from a certain spot for about an hour in the late afternoon, when the sun was hitting it just right. It took me 2 days to find the spot. It was a human skull, a small burial tomb with artifacts and offerings. Knowing it would eventually be found by hikers and looted, I made a return visit to make sure it would not be discovered. I placed large rocks to hide the skull from view, but made sure the sun could still touch it. After giving about a month for my changes to set in, I returned at the request of a museum official who was very much interested in my find. She assured me that it's location would remain confidential. I must have done a fairly good job in hiding it. Much to my own delight, I could not find it again. Luckily, she had packed a nice picnic lunch, so it was not a total loss. Unless you enjoy snakes, traps, and arrows whizzing past you, I suggest hitting the garage sales and antique stores. There are many treasures to be found both on and off-line. That about covers it. I hope the content I've provided helps. Again, it's my own opinion from information gathered over the past fifty years. It's also an accumulation of knowledge passed on from many fine Chinese friends and mentors. Special thanks to Paul T'sai, Richard Li, Ching Wa, Alan Wong, and especially Lawrence Wu for their years of friendship and patience. Good luck. |
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