【古钟鼎彝器辨】三代之制，夏尚忠，商尚质，周尚文。其制器亦然。商器质，质素无文。
周器雕篆细密，此固一定不易之论。而夏器独不然。余常见夏 戈于铜上，镶嵌以金，其细如发，
夏器大抵皆然。岁久金脱，则成阴窍，以其刻画处成凹也。镶嵌金，俗讹为商嵌，追逐其章，金玉其相。
【水土传世三等古铜器】铜器入土千年，纯青如铺翠，其色后稍淡。午后乘阴，翠润欲滴。
间有土蚀处，或穿或剥，并如蜗篆自然，或有斧凿痕，则伪也。铜器堕水千年则纯绿色，而莹如
玉朱，及千年绿而不莹，其蚀处如前。今人皆以此二品体轻者为古。殊不知器大而浓者，铜性卒
未尽，其重止减三分之一，或减半。器小而薄者，铜性为水土蒸淘易尽。至有锄击破处，并不见
铜色，惟翠绿彻骨。或其中有一线红色如丹，然尚有铜声传世，古则不曾入水土，惟传人间。色
紫褐而有朱砂斑。甚者，其斑突起，如上顶辰砂，入釜以沸汤煮之，良久，斑愈见。伪者，以漆
调朱为之，易辨。
【铜醒】三等古铜并无醒气，惟土古，新出土尚带土气，久则否。若伪作者，热摩手心以擦
之，铜腥触鼻可畏。
【识文】夏用鸟迹篆，商用虫鱼篆，周用虫鱼大篆，秦用大小篆，汉以小篆、隶书，三国用
隶书，晋宋以来用楷书，唐秦用楷隶。三代用阴识，谓之偃囊字，其字凹入也。漠以来或用阴识，
其字凹，间有凹者，或用刀刻如镌碑。盖阴识难镌，阳识易成。阳识决非古物也。
【款文】识款，篆字以为功。所谓铭书钟鼎，款乃花纹，以易识古器。款居外而凸，识居内
而凹，夏周器有款有识，商器多无款无识。
【款识真伪】古人作事心精致，工人预四民之列，非若后世贱丈夫之事，故古器款必细如发，
而匀整分晓，无纤毫模糊。识文笔画，宛宛如仰瓦，而欲深浅如一，亦明净分晓，无纤毫模糊。
此盖用铜之精者，并无砂类，一也；良工精妙，二也；不吝工夫，非一朝夕，所谓三。设有古器
所识，精成模糊，必是伪造。其体质、颜色、臭味亦自不同。
【伪古铜器】其法以水银杂锡末，即今磨镜药是也。先上在新铜器上，令匀。然后以酽醋、
砂末蘸匀上，候如蜡茶色，急入新汲水浸，即成蜡茶色，候如漆色，急入新水浸，即成漆色，
浸稍缓则变色矣。若不入水，即成纯翠色。三者并以新布擦，令光泽。其铜腥为水银所匮，并不
发露。然古铜声微而清，新铜声洪而浊，难逃识者之见。
【古铜灵异】古铜器入土年久，受土气深，以之养花色鲜明。如枝头开速而谢迟，或谢则就瓶
结实，若水秀传世，古则尔。陶器入水千年亦然。
【古铜多能避祟】人家宜蓄之。盖山精水魅之能为祟，以历年多耳。三代钟鼎彝器，历年又
过之，所以能避祟。范文正公家有古镜，背具十二时，如博棋子，每至时辰则博棋中明如月，循
环不休。又有士人家，藏十
二时钟，能应时自鸣。此皆古器之灵也。
【古琴辨】古琴以断纹为证。盖琴不愈五百岁不断，愈久则断愈多然断有数等，有蛇腹断，
有纹横截琴，相去或一寸，或二寸，节节相似，如蛇腹下纹。有细纹断，如发千百条，亦停匀多
在琴之两傍，而近岳处则无之，有面与底皆断者。又有梅花断，其绞如梅花头，此为极古，非千
余载不能有也一应漆器无断绞，而琴独有之者，盖他器用布漆，琴则不用；他器安闲，而琴日夜
为弦所激，又岁久桐腐而漆相离破。断纹隐处虽腐，磨砺至再，重加光漆，其纹愈见。然真断纹
如剑锋，伪则否。
【伪作断纹】用信州薄连纸光漆一层，于上加灰，纸断则有效。或于冬日以猛火烘琴热，用
雪罨激烈迸。或用刀刻画于上，虽可眩俗眼，然决无剑锋，亦易辨。
【古砚辨】世之论砚者，皆曰多用歙石，盖未知有端溪。殊不知历世以来皆采端溪，至南唐
李主时，端溪旧坑已竭，故不得已而取其次，歙乃端之次，其失一也。近时好事者作砚谱，惟分
端溪上中下三岩，而不知下岩有旧坑无新坑。上中二岩则皆有新旧坑，于歙亦然，其失二也。世
之论端溪者，惟贵紫色，而不知下岩旧沆，惟有漆黑青花种，初未尝紫色，无他耳，未曾睹古砚，
其失三也。余虑世人贵直鉴而无心赏，故述古砚辨。为说端歙二溪，而不他及，端歙或强以为砚，
宁不羞见子墨客卿乎？是说非古于砚者，其孰知乎？
【古画辨】古人远矣。曹丕与吴道子近世人耳，犹不复见一笔，况顾陆之徒，其可得见之哉？
是故论画，当以目见者为准。若还指古人曰此顾也，此陆也，不独欺人，实自欺耳。故言山水则
当以李成、范宽。花果则赵昌、王友。花竹翎毛则徐熙、王筌、崔日、崔顺之流。马则韩伯时，
牛则属范二，道士、仙佛则孙太古，神怪则石恪，猫犬则何尊师、周 。得此数家，以为奇妙。
士大夫家或有收其妙迹者，价亦千金矣。何必远求太古之上，耳目所不及者哉？
【辨名画】人物顾盼，语言花草，迎风带露，飞禽走兽，精神如真。山水林泉，清涧幽旷，
屋庐深邃，桥路往来。山脚入水，陆明水源，来历分晓。有此数端，虽不知名，定妙手乎？
【磨古剑】勿用水及粗石，用香油就细石上慢磨去锈，却用打铁炉边打下铁花三两，入木
炭一两，水银一钱，同研细末掺剑上，以布片蘸油擦，久磨令光，绵拭净，以酥涂挂壁。
点铜斑法
砂 寒水石（各半两） 金丝矾（二钱） 胆矾（三钱）
上为细末，以清盐水调，先将铜器用绿矾和盐水涂一次，火上烧。涂二次了却上药，令干，
再上掘地作一坑，炭火烧令红，用醋以沃之，乃入铜器于内，以醋糟盖其上，乃掩以土。半月出
之，洗干，用黄蜡揩，自有诸般颜色。
【朱砂斑】先以古铜器于火上烧去油污，用好米醋涂之再烧去油，却以白矾、硼砂等分为末，
醋和，乱点铜，用火烧之微红，以风木炭打磨，色如胭脂，甚好。
【洗古铜】先将铜器以水洗净拭干，用捣罗过极细灰末遍擦，以硬靴刷刷之，然后用绵揩擦出色。
磨镜
白矾（六钱） 水银（一钱） 白锡（一钱） 鹿角灰（一钱）
上将白锡入水银，和研如泥，淘白，入鹿角灰及明矾，研极细末用，如色青，再洗令白。
画写镜法
雌黄（一钱） 粉霜 砂（各一分）
上细研，以胶水调，任意于镜上描画人物、花草、故事。候干，火烧片时，以磨镜药磨去，其画自见。
【藏铁器不锈】以柜子油涂之，或白蜡磨之，藏锻石中，皆经久不锈。刀锈以木贼草擦之自去。
【收铁针不锈】用 炭末（即杉木炭）收之不上锈。又法∶以核桃壳烧灰和，收之不锈。铁
锈以木炭磨之。钝以 炭擦之则快。
【洗锡器】以 鸡毛热水擦之，其垢尽去。
【硬锡】锡器以 砂、白矾、砒霜、盐水煮之，其硬如银。
【铜器盛酒】久服之杀人，不多时者无害。
【铅盒擦牙】擦牙散置铅盒内盛之，擦牙能乌须发。
【磁石盆枕】用磁石为盆枕，至老而目不昏。
【洗乳钵】乳钵研乳没、儿茶之类，欲洗净，以雪水洗之则净，夏月用碎冰洗之，或以泥土
入盐洗之则净。
【漆器】不可盛 菜，虽坚漆亦坏。
【漆上洗朱】漆器上有朱红字，以盐擦之，则成红，水洗下。
【洗琉璃】用酱汤洗之油自去。
【釜鸣】釜不炊爨而自鸣者为异。若然炊爨而有声，此火激其水，水气蔽于甑，激发之有声，
此理之常也，何足异哉？予乙卯岁寓南京大中桥，其邻肆以蒸饼为业，每早炊爨釜汤一遍，其鸣
如龙嗡嗡，若闻远钟声，大而清亮，闻数里可爱。连鸣数十早，其余有闻之者，皆细声而已。
【磨刀石】泥瓦用火 过，作磨刀石，能起锋。砖瓦松者亦妙。
【染花梨木】苏木二两，锉碾，水二十盏，煎一盏以下渣，入铁浆三两同熬少时，瓷器收用。
【柘木变乌】柘木以酒醋调矿锻石涂之，一宿则作间道乌木。
【玉石膏】芸香入油熬化，入蛤粉末和成膏，粘玉石永不解。
【漆桌荡迹】热碗足荡漆桌成迹者，以锡器盛沸汤冲之，其迹自去。碗盏口上有垢迹者，以
盐擦之自去，柴灰擦之亦可。
【篦胶】以牛皮胶化开，入干白面和调，粘篦子。
【釜底煤并灶灾煤】煤浓欲去，不须以物刮，只以皂角数条于釜底烧烟，其煤自落。
【琉璃盖】用新锅一口，水一桶，入明矾、晋矾各一斤，煮化煮好，素净瓷器不拘多少，放
矾水内，煮三
炷香听用。外用红花一斤，洗膏六七碗， 砂五钱，同膏熬。将煎煮器阴干入膏内翻动，煮红为度。
【古钟鼎彝器辨】夏、商、周三代的制度，夏朝崇尚忠诚，商朝崇尚质朴，周朝崇尚文饰。制作器物也是如此。商朝的器物质朴，素雅没有纹饰。周朝的器物雕刻篆书细密，这确实是确定不移的论断。而夏朝的器物却并非如此。我曾在铜戈上见过镶嵌金线的工艺，细如发丝，夏朝的器物大抵都是这样。年代久远后金线脱落，就会形成阴刻的孔窍，因为刻画处是凹陷的。所谓的“商嵌”其实是俗误，人们追逐其章法，将其视为金玉相间的珍品。
【水土传世三等古铜器】铜器在土中埋藏千年，颜色纯青如同铺翠，其后色泽稍淡。午后趁着阴凉，翠绿润泽欲滴。偶尔有被泥土侵蚀的地方，或穿孔或剥落，都如同蜗牛爬过的痕迹般自然；如果有斧凿的痕迹，那就是伪品。铜器在水中浸泡千年则呈现纯绿色，晶莹如玉珠；如果是千年绿而不晶莹，其侵蚀处与前述相同。现在的人都认为这两类质地轻的是古物。殊不知体积大而厚重的器物，铜性尚未完全耗尽，重量仅减少三分之一或一半。体积小且薄的器物，铜性被水土蒸淘容易耗尽。甚至有锄头击破处，并不见铜色，只有翠绿透入骨髓。或者其中有一线红色如丹砂，但仍有铜声传世。古铜器不曾进入水土，只在人间流传，颜色紫褐且有朱砂斑。严重的，斑点突起，如同辰砂，放入釜中以沸水煮较长时间，斑点更加明显。伪品是用漆调和朱砂制成的，容易辨别。
【铜醒】三等的古铜器并没有“醒气”（指新铜器的腥气），只有出土不久的土古器尚带土气，时间久了就没有了。如果是伪作，用手心摩擦加热后擦拭，铜腥味刺鼻可畏。
【识文】夏朝使用鸟迹篆，商朝使用虫鱼篆，周朝使用虫鱼大篆，秦朝使用大小篆，汉朝使用小篆和隶书，三国时期使用隶书，晋宋以来使用楷书，唐代和秦代（此处原文可能有误，通常指唐及以前）使用楷隶。三代时期使用阴识（凹刻），称为偃囊字，即字迹凹入。汉代以来有时也用阴识，字迹凹下，间或有凹下的，或用刀刻如碑文。因为阴识难刻，阳识（凸刻）易成。阳识决不是古物。
【款文】铭文和款识，以篆字为功。所谓铭书钟鼎，款是指花纹，用来便于识别古器。款在外侧且凸起，识在内侧且凹陷，夏周器物有款有识，商朝器物多无款无识。
【款识真伪】古人做事心思精致，工匠位列四民之中，不像后世那些卑贱之人的勾当，所以古器物的款必细如发丝，且匀称整齐分明，没有丝毫模糊。识文的笔画，宛宛如仰瓦，深浅一致，也明净分明，没有丝毫模糊。这是因为使用了精铜，不含砂类杂质，这是一点；工匠精良巧妙，这是第二点；不吝惜工夫，非一朝一夕所能完成，这是第三点。假设有古器物的识文变得精细模糊，必定是伪造的。其体质、颜色、气味也自然不同。
【伪古铜器】方法是用水银混合锡末，也就是现在的磨镜药。先涂在新铜器上，使其均匀。然后用浓醋、砂末蘸匀涂抹，等到变成蜡茶色时，迅速放入新汲水中浸泡，就变成蜡茶色；等到变成漆色时，迅速放入新水中浸泡，就变成漆色；如果浸泡稍慢就会变色。如果不入水，就变成纯翠色。这三种情况都用新布擦拭，使其光泽。铜腥味被水银掩盖，并不散发出来。然而古铜声音微而清亮，新铜声音洪亮而浑浊，难以逃过识者的眼睛。
【古铜灵异】古铜器入土年久，受土气深，用它来养花，花色鲜明。比如枝头花开得快谢得慢，或者谢了就就在瓶中结实，如果是传世的水秀古铜则是这样。陶器入水千年也是这样。
【古铜多能避祟】人家宜于蓄养它。大概山精水魅之所以能为祟，是因为历年已久。夏商周的钟鼎彝器，历年更久，所以能避祟。范文正公家中有古镜，背面有十二时辰，像博戏棋子一样，每到时辰，博棋中就明亮如月，循环不休。又有士人家里，收藏十二时钟，能按时自鸣。这些都是古器的灵性。
【古琴辨】古琴以断纹为证。琴不超过五百年不会断纹，越久断纹越多。然而断纹有几等，有蛇腹断，纹路横截琴身，间距或一寸，或二寸，节节相似，像蛇腹下的纹路。有细纹断，如发丝千百条，也停匀多在琴的两旁，而靠近岳山处则没有，有的面底都有断纹。又有梅花断，其绞结如梅花头，这是极古的，非千余载不能有。所有漆器都没有断绞，唯独琴有，大概其他器物用布漆，琴则不用；其他器物安闲，而琴日夜被弦所激，又岁月长久桐木腐朽而漆分离破裂。断纹隐处虽腐，磨砺多次，重新加光漆，其纹更加明显。然而真断纹如剑锋，伪品则不然。
【伪作断纹】用信州薄连纸刷一层光漆，在上面加灰，纸断了就有效应。或者在冬天用猛火烘热琴，用雪覆盖使其激烈迸裂。或用刀刻画在上面，虽然可以眩惑俗眼，但决无剑锋，也容易辨别。
【古砚辨】世人谈论砚台，都说多用歙石，大概不知道有端溪。殊不知历世以来都开采端溪，到了南唐李主时，端溪旧坑已枯竭，所以不得已取其次，歙石是端石的次品，这是第一点失误。近来好事者编撰砚谱，只分端溪为上中下三岩，却不知道下岩有旧坑无新坑。上中两岩则都有新旧坑，歙石也是如此，这是第二点失误。世人谈论端溪，只贵紫色，却不知道下岩旧沆，惟有漆黑青花种，起初并没有紫色，没有其他原因罢了，只是未曾目睹古砚，这是第三点失误。我担心世人只重直观鉴赏而无心欣赏，所以陈述古砚辨。只说端溪和歙溪，不涉及其他，如果把端歙强行当作砚台，难道不羞见于子墨客卿吗？这种说法如果不是古于砚的人，谁能知晓呢？
【古画辨】古人已经远去了。曹丕与吴道子是近代人，尚且看不见他们的一笔，何况顾恺之、陆探微之流，怎么可能见到呢？所以论画，应当以亲眼所见者为标准。如果指着古人说这是顾恺之，那是陆探微，不仅是欺人，实在是自欺。所以说山水画应当以李成、范宽为准。花果则以赵昌、王友为准。花竹翎毛则以徐熙、王筌、崔日、崔顺之之流为准。马则以韩伯时为准，牛则属范氏兄弟，道士、仙佛则以孙太古为准，神怪则以石恪为准，猫犬则以何尊师、周昉为准。得到这几家的作品，就可以认为是奇妙了。士大夫家中如果有收藏他们的妙迹，价格也是千金了。何必远求太古之上，耳目所不及的地方呢？
【辨名画】人物顾盼，语言花草，迎风带露，飞禽走兽，精神如真。山水林泉，清涧幽旷，屋庐深邃，桥路往来。山脚入水，陆明水源，来历分晓。有此数端，即使不知其名，也一定是高手之作吗？
【磨古剑】不要用水及粗石，用香油在细石上慢慢磨去锈，然后取打铁炉边打下铁花三两，加入木炭一两，水银一钱，同研成细末撒在剑上，用布片蘸油擦拭，久磨令其光亮，绵拭干净，用酥油涂抹挂在壁上。
点铜斑法：
砂（ unspecified, likely 硫磺 or similar based on context, kept as is ）寒水石（各半两）金丝矾（二钱）胆矾（三钱）
以上为细末，用清盐水调合，先将铜器用绿矾和盐水涂一次，火上烧。涂两次后上药，令干，再挖地作一坑，炭火烧令红，用醋浇淋，然后将铜器放入其中，用醋糟盖住上面，再用土掩埋。半月后取出，洗净，用黄蜡揩擦，自有各种颜色。
【朱砂斑】先用古铜器在火上烧去油污，用好米醋涂之再烧去油，然后用白矾、硼砂等分为末，醋和，乱点铜上，用火烧至微红，用风木炭打磨，色如胭脂，很好。
【洗古铜】先将铜器以水洗净拭干，用捣罗过极细的灰末遍擦，用硬靴刷刷之，然后用棉布揩擦出色泽。
磨镜：
白矾（六钱）水银（一钱）白锡（一钱）鹿角灰（一钱）
上将白锡入水银，和研如泥，淘白，入鹿角灰及明矾，研极细末用，如色青，再洗令白。
画写镜法：
雌黄（一钱）粉霜 砂（各一分）
以上细研，用胶水调合，任意于镜上描画人物、花草、故事。候干，火烧片刻，用磨镜药磨去，其画自现。
【藏铁器不锈】用柜子油涂之，或用白蜡磨之，藏在锻石中，都经久不锈。刀锈以木贼草擦之自去。
【收铁针不锈】用杉木炭末收之不上锈。又法：以核桃壳烧灰和，收之不锈。铁锈以木炭磨之。钝以杉木炭擦之则快。
【洗锡器】以鸡毛热水擦之，其垢尽去。
【硬锡】锡器以砂、白矾、砒霜、盐水煮之，其硬如银。
【铜器盛酒】久服之杀人，不多时者无害。
【铅盒擦牙】擦牙散置铅盒内盛之，擦牙能乌须发。
【磁石盆枕】用磁石为盆枕，至老而目不昏。
【洗乳钵】乳钵研乳没、儿茶之类，欲洗净，以雪水洗之则净，夏月用碎冰洗之，或以泥土入盐洗之则净。
【漆器】不可盛咸菜，虽坚漆亦坏。
【漆上洗朱】漆器上有朱红字，以盐擦之，则成红，水洗下。
【洗琉璃】用酱汤洗之油自去。
【釜鸣】釜不炊爨而自鸣者为异。若然炊爨而有声，此火激其水，水气蔽于甑，激发之有声，此理之常也，何足异哉？予乙卯岁寓南京大中桥，其邻肆以蒸饼为业，每早炊爨釜汤一遍，其鸣如龙嗡嗡，若闻远钟声，大而清亮，闻数里可爱。连鸣数十早，其余有闻之者，皆细声而已。
【磨刀石】泥瓦用火煅过，作磨刀石，能起锋。砖瓦松者亦妙。
【染花梨木】苏木二两，锉碾，水二十盏，煎一盏以下渣，入铁浆三两同熬少时，瓷器收用。
【柘木变乌】柘木以酒醋调矿锻石涂之，一宿则作间道乌木。
【玉石膏】芸香入油熬化，入蛤粉末和成膏，粘玉石永不解。
【漆桌荡迹】热碗足荡漆桌成迹者，以锡器盛沸汤冲之，其迹自去。碗盏口上有垢迹者，以盐擦之自去，柴灰擦之亦可。
【篦胶】以牛皮胶化开，入干白面和调，粘篦子。
【釜底煤并灶灾煤】煤浓欲去，不须以物刮，只以皂角数条于釜底烧烟，其煤自落。
【琉璃盖】用新锅一口，水一桶，入明矾、晋矾各一斤，煮化煮好，素净瓷器不拘多少，放矾水内，煮三炷香听用。外用红花一斤，洗膏六七碗，砂五钱，同膏熬。将煎煮器阴干入膏内翻动，煮红为度。
[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.