Library

[Identification of Ancient Bells, Tripods, and Ritual Vessels] The systems of the Xia, Shang, and Zhou dynasties differed: the Xia dynasty valued loyalty, the Shang dynasty valued simplicity, and the Zhou dynasty valued cultural refinement. The production of vessels followed this pattern. Shang vessels were simple, plain without ornamentation. Zhou vessels featured intricate carvings and seal script, which is indeed a fixed and unchangeable principle. However, Xia vessels were different. I have seen bronze ge (dagger-axes) inlaid with gold threads as fine as hair; this was generally the case for Xia vessels. After many years, the gold would detach, forming concave holes because the carved areas were depressed. The term "Shang inlay" is a common error; people chase after its patterns, regarding it as a precious combination of gold and jade.

[Three Grades of Ancient Bronze Vessels from Soil and Water] Bronze vessels buried in soil for a thousand years turn pure green like spread emerald, though the color may fade slightly later. In the afternoon shade, the emerald green appears moist and dripping. Occasionally, there are places eroded by soil, perforated or peeled, resembling natural snail trails; if there are axe or chisel marks, it is a fake. Bronze vessels submerged in water for a thousand years become pure green and lustrous like a jade bead; if they are green but not lustrous after a thousand years, their erosion resembles the aforementioned cases. Nowadays, people consider the lighter specimens of these two types to be ancient. However, large and thick vessels retain much of their original copper nature, losing only one-third or half their weight. Small and thin vessels lose their copper nature easily due to steaming and washing by soil and water. Even where broken by hoes, no copper color is visible, only emerald green penetrating to the bone. Or there may be a red line like cinnabar within, yet still retaining the sound of bronze. Ancient bronze vessels did not enter soil or water but circulated among humans; they are purple-brown with cinnabar spots. Severe cases have raised spots like Chen Sha (cinnabar); boiling them in a pot for a long time makes the spots more visible. Fakes made by mixing lacquer with vermilion are easy to identify.

[Copper "Waking"] The three grades of ancient bronze do not have "waking qi" (the metallic odor of new copper). Only recently unearthed earth-aged vessels carry a soil smell, which disappears over time. If forged, rubbing with warm palms reveals a terrifyingly pungent copper smell.

[Inscriptions] The Xia dynasty used bird-trace seal script, the Shang used insect-fish seal script, the Zhou used large insect-fish seal script, the Qin used small and large seal scripts, the Han used small seal and clerical scripts, the Three Kingdoms period used clerical script, and since Jin and Song, regular script has been used. The Three Dynasties used Yin inscriptions (concave), called "Yan Nang characters," meaning the characters are recessed. Since the Han dynasty, Yin inscriptions have also been used, with recessed characters, sometimes carved with knives like steles. Because Yin inscriptions are hard to carve and Yang inscriptions (convex) are easy to form, Yang inscriptions are definitely not ancient.

[Markings and Inscriptions] Inscriptions and markings rely on seal script craftsmanship. What is inscribed on bells and tripods, the "Kuan" refers to patterns used to easily identify ancient vessels. Kuan is external and convex, while Shi (inscription) is internal and concave. Xia and Zhou vessels have both Kuan and Shi, while Shang vessels mostly lack both.

[Authenticity of Markings and Inscriptions] Ancients worked with meticulous care; artisans were part of the four occupations, unlike the despicable trades of later generations. Thus, ancient vessel markings are as fine as hair, uniform, neat, and clear, with no blurriness. The strokes of the inscriptions resemble inverted tiles, with consistent depth, bright and clear, with no blurriness. This is due to: first, the use of refined copper free of sand-like impurities; second, the skill of the craftsmen; third, the investment of time, not achievable in a day or night. If an ancient vessel's inscription appears finely blurred, it must be forged. Its texture, color, and smell will naturally differ.

[Fake Ancient Bronze Vessels] The method involves mixing mercury with tin powder (i.e., modern mirror polish). Apply evenly to new bronze vessels. Then dip in strong vinegar and sand powder, rub evenly. When it turns wax-tea color, quickly immerse in fresh water to achieve that color. When it turns lacquer color, quickly immerse in fresh water again. If left too long, the color changes. If not immersed in water, it becomes pure emerald green. All three are wiped with new cloth to create luster. The copper smell is masked by mercury and does not emit. However, ancient bronze sounds faint and clear, while new bronze sounds loud and muddy, which cannot escape the eyes of experts.

[Spiritual Properties of Ancient Bronze] Ancient bronze vessels, having been in the soil for a long time and deeply imbued with earth qi, can make flowers bloom brightly when used to hold water. For example, flowers may open quickly and fade slowly, or set fruit in the vase after fading, if using water from ancient vessels passed down through generations. Pottery submerged in water for a thousand year behaves similarly.

[Ancient Bronze Can Ward Off Evil Spirits] It is suitable for households to keep them. Mountain spirits and water demons cause harm because they have existed for many years. Bells, tripods, and ritual vessels from the Three Dynasties have existed even longer, thus they can ward off evil spirits. Fan Wenzheng Gong had an ancient mirror at home with twelve zodiac signs on the back, like chess pieces. At each hour, the corresponding piece would shine like the moon, cycling endlessly. Another scholar's family owned a twelve-hour clock that chimed automatically according to the time. These are all manifestations of the spirit of ancient vessels.

[Identification of Ancient Guqin] Ancient Guqin are identified by crackle patterns. A qin does not develop cracks unless it is over five hundred years old; the older it is, the more cracks it has. There are several types of cracks: "Snake Belly Crack," where lines cross the qin horizontally, spaced one or two inches apart, resembling snake belly scales; "Fine Hair Crack," consisting of thousands of hair-thin lines, evenly distributed mostly on the sides, absent near the Yue (bridge); some have cracks on both top and bottom. "Plum Blossom Crack," twisted like plum blossoms, indicates extreme antiquity, requiring over a thousand years. Lacquered objects generally do not have such cracks, unique to the qin because other objects use cloth-lacquer and remain static, whereas the qin is stimulated daily by strings, and over time, the paulownia wood rots causing the lacquer to separate and break. Cracks in hidden areas may rot, but repeated polishing and relacquering make them more visible. True cracks look like sword edges; fakes do not.

[Faking Crackle Patterns] Use Xinzhou thin Lian paper coated with a layer of glossy lacquer, add ash on top; when the paper cracks, it mimics the effect. Alternatively, in winter, heat the qin intensely with fire, then cover with snow to cause rapid cracking. Or carve patterns with a knife. While this may dazzle laymen, it lacks the sword-edge quality and is easy to identify.

[Identification of Ancient Inkstones] Critics often say inkstones should mainly use She stone, ignoring Duanxi. In fact, Duanxi has been mined throughout history. During the Southern Tang under Li Zhu, old Duanxi pits were exhausted, forcing the use of secondary materials; She stone is inferior to Duanxi, which is the first mistake. Recent enthusiasts compiling inkstone catalogs divide Duanxi into Upper, Middle, and Lower Rocks, unaware that the Lower Rock has old pits but no new ones. Upper and Middle Rocks have both old and new pits, as does She stone; this is the second mistake. Critics value purple Duanxi, unaware that the old Lower Rock pits contain only black-blue flower patterns, never purple; this is merely ignorance due to never seeing ancient inkstones; this is the third mistake. I worry people value superficial appreciation over deep understanding, hence this discussion. Focusing only on Duan and She stones, forcing them to serve as inkstones, would surely shame the literati. Who else but those knowledgeable about ancient inkstones would understand this?

[Identification of Ancient Paintings] Ancients are long gone. Cao Pi and Wu Daozi are relatively recent, yet we see none of their brushstrokes, let alone works by Gu Kaizhi or Lu Tanwei. Therefore, painting criticism should be based on firsthand observation. Pointing to ancients and claiming "this is Gu, that is Lu" deceives others and oneself. Landscape paintings should be judged by Li Cheng and Fan Kuan. Flowers and fruits by Zhao Chang and Wang You. Flowers, bamboo, and birds by Xu Xi, Wang Quan, Cui Ri, and Cui Shun. Horses by Han Boshi. Cattle by the Fan brothers. Daoists, immortals, and Buddhas by Sun Taigu. Mythical creatures by Shi Ke. Cats and dogs by He Zunshi and Zhou Fang. Acquiring works from these masters is considered wonderful. Scholars' families collecting their masterpieces pay a thousand taels. Why seek beyond the reach of sight and hearing in remote antiquity?

[Identifying Masterpieces] Figures showing glances and expressions, flowers and grasses with wind and dew, birds and beasts with vitality. Landscapes with clear streams and secluded vastness, deep pavilions, and来往 bridges. Mountains meeting water, clear sources, distinct origins. With these qualities, even without knowing the name, is it certain to be a master's work?

[Polishing Ancient Swords] Do not use water or coarse stones. Use sesame oil on a fine stone to slowly remove rust. Then take three liang of iron sparks from a blacksmith's furnace, mix with one liang of charcoal and one qian of mercury, grind into fine powder, and sprinkle on the sword. Wipe with cloth dipped in oil until shiny. Clean with cotton, apply suet, and hang on the wall.

Method for Spotting Copper:
Sha (unspecified mineral), Hanshuishi (Gypsum Fibrosum) (each half liang), Jinsifan (Alumen), Danfan (Chalcanthite) (three qian).
Grind into fine powder. Mix with clear salt water. First, coat the bronze vessel with verdigris and salt water, then heat. After two coats, apply the medicine, let dry. Dig a pit, heat charcoal until red, pour vinegar, place the vessel inside, cover with vinegar dregs, and bury with soil. Unearth after half a month, wash, wipe with yellow wax, and various colors will appear.

[Cinnabar Spots] Burn the ancient bronze vessel on fire to remove grease. Coat with good rice vinegar, burn again to remove oil. Mix equal parts Bai Fan (Alumen) and Peng Sha (Borax) into powder. Mix with vinegar, dot randomly on the copper. Heat until slightly red. Polish with wind-blown charcoal. The color will resemble rouge, which is excellent.

[Washing Ancient Bronze] First, wash the bronze vessel with water and dry it. Rub thoroughly with extremely fine ash powder sifted through a sieve. Brush with a hard boot brush. Then wipe with cotton to reveal the color.

Mirror Polishing:
Bai Fan (Alumen) (six qian), Shuiyin (Mercury) (one qian), Baixi (White Tin) (one qian), Lujiao Hui (Deer Antler Ash) (one qian).
Mix Baixi with Shuiyin, grind into mud, wash until white. Add Lujiao Hui and Bai Fan, grind into extremely fine powder. If the color is blue, wash again until white.

Painting on Mirrors:
Cihuang (Realgar) (one qian), Fen Shuang (Calomel), Sha (unspecified) (each one fen).
Grind finely, mix with glue water. Draw figures, flowers, or stories on the mirror at will. Let dry, heat briefly, then polish with mirror polish to reveal the drawing.

[Storing Iron Tools Without Rust] Coat with cabinet oil or polish with white wax. Store in Duanshi (Iron Ore). They will resist rust for a long time. Remove knife rust by wiping with Equisetum (Muxie Cao).

[Storing Iron Needles Without Rust] Store in Shanmu Tan (Fir Charcoal) powder to prevent rust. Another method: mix with walnut shell ash. Remove iron rust by polishing with charcoal. Dull blades become sharp by rubbing with fir charcoal.

[Washing Tin Ware] Wipe with chicken feathers and hot water to remove all dirt.

[Harden Tin] Boil tin ware with Sha, Bai Fan, Pishuang (Arsenic Trioxide), and salt water to make it hard as silver.

[Storing Wine in Bronze Vessels] Long-term consumption is fatal; short-term use is harmless.

[Lead Box for Tooth Powder] Store tooth powder in a lead box. Using this powder can darken beard and hair.

[Magnet Stone Basin Pillow] Use magnet stone as a basin pillow; eyesight remains clear in old age.

[Washing Mortar] To clean a mortar used for grinding Myrrh or Child's Breath, wash with snow water in summer, crushed ice, or mud mixed with salt.

[Lacquerware] Cannot store salty vegetables; even hard lacquer will deteriorate.

[Washing Vermilion from Lacquerware] If vermilion characters are on lacquerware, rub with salt to turn red, then wash with water.

[Washing Glass/Glaze] Wash with soy sauce soup to remove oil.

[Kettle Singing] A kettle singing without cooking is unusual. If it sings during cooking, it is due to fire agitating water, with steam trapped in the steamer creating sound; this is normal physics, nothing strange. In my year Yimao, staying at Dazhong Bridge in Nanjing, a neighbor selling steamed buns boiled water every morning. The kettle sang like a dragon humming, sounding like distant temple bells—loud, clear, and audible for miles. This happened for dozens of mornings; others heard only faint sounds.

[Whetstone] Fire-cured clay tiles can serve as whetstones, effective for sharpening. Loose bricks and tiles are also good.

[Dyeing Rosewood] Two liang of Sumu (Sappan Wood), ground. Boil in twenty cups of water until reduced to one cup, strain. Add three liang of iron slurry, simmer briefly. Store in porcelain.

[Turning Zhe Wood Black] Coat Zhe wood with a mixture of wine, vinegar, and mineral Duanshi. Leave overnight to become striped ebony.

[Jade Paste] Boil Rue (Yunxiang) in oil until melted. Mix with clam powder to form a paste. It adheres to jade permanently.

[Removing Scorch Marks from Lacquer Tables] If a hot bowl leaves a mark on a lacquer table, pour boiling water from a tin vessel onto the mark; the mark will disappear. For dirt on bowl rims, rub with salt or wood ash.

[Combing Glue] Melt ox hide glue, mix with dry white flour, and use to attach comb teeth.

[Removing Stove Coal and Chimney Soot] To remove thick soot, do not scrape. Instead, burn several soap pods at the bottom of the pot; the smoke will cause the soot to fall off.

[Glass Lid] Take a new pot, one bucket of water, add one jin each of Ming Fan (Alumen) and Jin Fan (Green Vitriol). Boil until dissolved. Place any amount of plain porcelain ware in the alum water and boil for three incense sticks' worth of time. Separately, boil one jin of Honghua (Safflower), six or seven bowls of cleaning paste, and five qian of Sha with the paste. Dry the boiled vessels in the shade, dip in the paste, flip around, and boil until red.