Determining the age of porcelain collections is a crucial aspect of ceramic studies, often referred to as "generation." For example, if a piece comes from the same kiln, it can be classified into different generations based on its production period. The Longquan kiln, for instance, produced porcelain during the Song, Yuan, and Ming dynasties.
Accurately identifying the era is essential, as it helps distinguish whether a piece is from the Song, Yuan, or Ming dynasty. During the Ming and Qing periods, the Jingdezhen porcelain industry flourished, making it challenging to differentiate between similar styles produced in different eras. Historically, collectors often grouped porcelains from adjacent periods together. For example, early Ming blue-and-white pieces were frequently mistaken for "Yongxuan" (Yongle or Xuande), while multicolored wares were labeled as "Jia Li," indicating uncertainty in dating. This process was not always straightforward.
This challenge is akin to distinguishing truth from illusion—it's two sides of the same coin. In academic circles, there are established, though informal, guidelines for determining the age of ceramics. Artifacts predating the Ming Dynasty are typically identified by their dynasty. However, longer-lasting dynasties like the Tang and Song allow for more detailed subdivisions—early, middle, and late periods. When identifying such pieces, special attention should be given to those with inscriptions that provide absolute dating, as these are highly valuable for scientific research and serve as key references.
From the Ming to the Qing dynasties, it became necessary to pinpoint the specific emperor’s reign. For example, pieces might be attributed to Xuande, Chenghua, Kangxi, or Jiaqing, rather than simply stating they are from the Ming or Qing dynasties. Similarly, dynasties like the Jiajing, Wanli, and Qianlong periods can be further divided into early, middle, and late phases. This level of detail is crucial for accurate identification.
It's important to note that the difference between an "era break" and authenticity lies in the fact that some ancient ceramics may not be genuine but still hold historical value. These items, created by imitators or for decorative purposes, are considered antiques today and often possess significant artistic merit. Examples include Song and Yuan-era imitations of famous kilns, or Ming and Qing-era copies of earlier styles, such as Xuande-period imitations of Ge Kiln, Yongle-period imitations of Song Longquan, and Kangxi-period imitations of Yongle blue and white. These works, though not original, still have considerable collection, research, and exhibition value.
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