China Education Equipment Purchasing Network News: The old saying goes: chaotic gold, prosperous antiques. Nowadays, with the continuous improvement of people's material and cultural living standards, folks have set off a wave of antique collection, which has triggered more demand for cultural relics identification.
The staff put the identification into the instrument
Instrument direct reading "Song Dynasty Ge Kiln" is a fake
Recently, a reporter saw in an art center in Yangzhou that Mr. Wang Hanlin in the old city held a large market of Mei Ziqing for instrument identification, to see if the large market that was spent heavily on gold was bought by the Ge kiln in the Song Dynasty.
The staff first wiped with alcohol, and then sealed into the instrument. After entering the Song dynasty kiln on the computer, the next step is to evacuate, and the computer begins to read the big disk. After 200 seconds, various data are automatically generated on the computer. The data shows that this sample is a counterfeit. The credibility of Xuande blue and white in Jingdezhen is 57.35%, the credibility of Xuande in red is 26.45%, and the credibility of blue and white in Yuanda is 11.49%. The main zirconium exceeds the standard. The conclusion is that the side glaze component and the late Ming component Match. Then this big plate should be an imitation of the late Ming Dynasty.
Scientific instruments identify cultural relics that are not new
Internationally, the use of scientific instruments for cultural relic identification is not new. Although it started late in the country, since the 1980s, many high-tech identification techniques have been applied to the origin and authenticity identification of cultural relics. For example, "electron spin resonance spectroscopy", "isotope chronology", "Mossbauer spectroscopy", etc., the use of carbon 14, thermoluminescence can be dating of different cultural relics.
What is the basis for using scientific instruments? Dr. Wu of Shanghai Institute of Ceramics, Chinese Academy of Sciences said that different methods have their own scientific basis. The Ancient Ceramics Laboratory of Shanghai Institute of Ceramics is mainly engaged in ancient ceramic research and identification. It is the component analysis method.
Cultural relics are like doing "DNA"
Mr. Zhang, a collector of antique art in Yangzhou, sent the collected ancient porcelain to the field for inspection. Three of the five porcelains were affirmed and two were denied. Mr. Zhang said that the principle of scientific testing is actually not complicated. The ancient porcelains of different times and different kilns have different data on the content and proportion of trace elements and soil enamel, and their own laws . Through scientific means to detect and collect databases, technicians can establish a comparison path to detect true and false. "It's like doing a DNA paternity test."
"Eyepower" identification is a tradition of collection
However, the results of scientific and technological means may not be accepted by the majority of collectors.
"Collectors use one's own experience and knowledge to identify authenticity, which is one of the traditions of antique collection." A senior collector said that collection activities have a long history in China, and they all require collectors to learn and understand history Starting with knowledge, gradually increase the level of appreciation through more contact and observation of antique works of art. In other words, the expert's experience is actually a database, they can combine historical, humanistic, allusion and other factors to make a comprehensive judgment on antique art. The testing instruments of scientific and technological means are difficult to sample all ancient porcelain one by one, and secondly, it is difficult to become a standard for judging right and wrong due to incomplete data.
Some experts believe that it is too one-sided to rely on scientific testing methods to identify ancient porcelain, only referring to the similarity of the data and ignoring whether the utensil itself conforms to the aesthetic and artistic characteristics of the contemporary utensils. (Xie Yinan / Editor)
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