• Rob Vilhelmsen posted an update 1 week, 3 days ago

    The point is that it is easy to make a copy of the stamp from the original stamp impressions on original teapots, which can also be done with carved lettering. Before the 1960’s, impressions of the original seals were taken with red wax, which made a slightly smaller seal that the original. These days it is done by computer. In comparison, it is much more difficult, for example, to forge the written signature of an artist, Chinese or Western, although that also is not impossible, and many forged paintings of past artists have turned up over the years. In fact, the use of a black light can also sometimes help to reveal fakes, in paintings.The next thing is materials. As I mentioned, when we made reproductions of furniture and folk art, we used nails that were made by a company the same way for 200 years. We used milk paint that was also made the same way for several hundred years. Then, we could also get hardware that was antique, and we could even get wooden boards that were several hundred years old. We, then, finished pieces with our own homemade finishes, using the same materials that had been used for making finishes for hundreds of years. In teapots, there is old clay available because, for example, teapot artist families have been buying clay from Yixing mines for many, many years and have passed some of it down through the generations. However, one of the real ชานมไข่มุก differences for older clay and older teapots is that the particle size of the rock powder making up the clay was about twice as large, in the mid-Qing Dynasty, about three times as large in the early Qing Dynasty, and about five times as large, in the Ming period. Thus, at least you should expect teapots to appear rougher, the further back you go, although that same sort of roughness can be seen even with more recent clays.The other thing about teapots is that, although actual original teapots by a famous artist have a definite appearance, that is only an approximate circumstance. First of all, since each is made by hand, there might be slight variations from one to the next, although minor. Secondly, there is nothing equivalent to, for example, the “signature” brushstrokes that one might observe in an oil painting by a famous artist, for teapot art. For example, we recently saw a copy of a teapot by a contemporary artist with whom we are familiar. There was nothing at all wrong with it, technically, but it happened that the signature was put at an improper place, according to our knowledge from owning an original. In fact, we would have bought the copy, but it was also priced at a higher price than we have to pay for originals. More importantly, part of the actual learning process for making Yixing teapots is to copy those of your mentor and of other famous artists, so copying masterworks is even built into the instructional system of the art. We even have an artist friend who specializes in making copies, down to the last detail, of famous teapots, although he does not sell them as anything more than reproductions. We see other great copies of famous and not so famous contemporary and past teapots, all around.