Faking It
by Dick Wang
Copies of imperial wares deceives even experts.
Chinese ceramics have long been admired and collected by people all over the world.
From proto-porcelain of the Western Zhou period (c. 1100 BCE - 771 BCE) right up to the fine "famille-rose" wares of the Yuan Shikai era (1916), the history spans some 3,000 years.
When the first blue and white ware was made in the early 14th century (the earliest datable piece was excavated from a tomb dated 1319), it wasn't an all-Chinese product. Its distinctive appearance resulted from the use of cobalt, imported by tradesmen from Persia.
Only the Chinese had the necessary technology to produce such perfection as the porcelain required a 1,250 degrees centigrade kiln temperature.
The second half of the 14th century saw a tremendous surge in the production of the blue and white china -- both to satisfy overseas demand and a growing interest from within the Chinese borders. This laid the foundation for the golden age of the succeeding reigns -- Hongwu, Yongle, Xuande, Chenghua and Hongzhi of the Ming Dynasty (1368-1644).
Genuine imperial works from these periods are now few and far between. While it is true that there are a few notable private collections in existence today in China, most of the surviving pieces are now state possessions. Other than that, they lay idle in foreign museums and collectors' cabinets.
As a dealer-cum-collector, I have seen in recent years a steady outflow of near-perfect fakes copying the style of the imperial wares produced in those glorious days, made to order by some unscrupulous "patrons" with the goal of deceiving even the top ranks of experts.
But as our knowledge increases, it is still possible to identify an almost exact clone. HereÕs a few hints to help you distinguish between old and new. These are obviously just general rules. Exceptions are bound to exist:
1. Shape
Does the object you are holding, which purports to be a 14th century meiping vase, conform to the various known forms of the period?
Almost all different wares made in the same dynasty or period share similar characteristics. Kilns in various parts of the country exerted influences on each other. They borrowed ideas from one another and more importantly, copied each other's works (still rampant in modern times - sad to say).
2. Tone of blue
What is the tone like? Is the cobalt used compatible with the sequence of use in history?
If the piece in question does not show a strong, bright and even tone in color, it cannot be said as befitting of an early 15th century date. In the 14th and first three quarters of the 15th centuries, potters at Jingdezhen preferred the imported cobalt to the less strong local equivalent.
But towards the end of the 15th century and most part of the 16th -- when trade with the Mid-East came to an abrupt end ?the potters had little choice but to make good use of local resources.
In the first instance, they mixed the remainder of Persian cobalt with the local product. As time went by, demand outstripped supply, local stuff gradually overtook Persian to become the mainstream from the second quarter of the 16th century onwards.
3. Decoration or motifs
Is the dragon depicted a known 15th century type? Does the painting flow well? Does it show signs of vigor and life?
The quality of painting is crucial to a quality piece of work. If the porcelain is well made, but the decoration poorly executed, it cannot but make the beholder look twice and ask why.
4. Glaze
Does it look too shiny? Does it show a natural bluish tinge?
Most pieces have a subtle and pleasing glaze that has lost its glassy shine gradually over the centuries (it is a natural process that cannot be faked), whereas the modern copies are inevitably fresh from kiln, therefore intrusive to the eye. In some cases, artificial degradation has been done to the overall or partial surface in an effort to take away the shiny appearance, and thus has left the object with a dull, sometimes oily look -- altogether artificial and unnatural.
5. Body of the object
Is the body white and fine enough to fit in the description of a 15th century porcelain ware?
The general rule is that almost all imperial 15th century bodies are construed of super-fine white clay, snow-white in appearance. Secondly, one needs to look at the base and footrim. The 15th century ones are usually ultra smooth, 16th century ones begin to show a coarse texture, whereas the 17th century ones are left with a radiating sun-ray pattern, so-called "Chatter marks."
6. Marks
How well is the mark written? Does it show any calligraphic merit? When under magnification, does it disturb the eye with uncustomary turns and stops?A good genuine mark is written in a certain style, by an artisan specifically trained to write marks, his brush dances and strokes free from undue interference. A fake mark runs contrary to this general rule. Its strokes are weak, lacking the free spirit exhibited by an unfettered brush. It also shows too many unnecessary stops, for the faker tries to execute the mark exactly right. He dare not write for real. He merely follows.
7. Weight
Does it weigh right and feel right in hand?
Most ordinary fakes are either too heavy or too light, but the "perfect" fake is measured on a scale at a very early stage of its creation, carefully calculated to be "just right."
There are many more minor aspects that need to be looked into while examining a piece of porcelain. However, begin by using the above rules and you are already halfway there in the marketplace.
I would, however, be willing to answer any specific queries on authentication and evaluation that might arise from the publication of this short piece.
