中国古代失蜡工艺求真-兼述失蜡工艺特征与青铜器鉴定

A search for very ancient Chinese lost-wax casting techniques

本文是作者《失蜡工艺的起源与失蜡铸件的工艺特征》一文的姐妹篇,立足于探究中国古代的失蜡工艺。基于古代文献和近现代文献资料的综合分析与研究,作者指出:(1)中国古代的失蜡工艺不同于现代失蜡铸造,是不可能铸造出象曾侯乙尊盘那样繁复透空或其他枝连交错的青铜器件的;(2)从宋至明清,中国古代的失蜡铸造无论是模料、壳料还是具体的技法都不是一成不变的,而是不断变化发展的;(3)有无范缝不能作为青铜器辨伪的有效判据,失蜡铸件有其固有的工艺特征,可以用来鉴别仿制和复制的器物。

This paper is a sisterly one as another paper entitled ＇the origin of lost-wax techniques ＆ the characteristics of lost-wax castings＇, discussing on ancient Chinese lost-wax casting techniques. Based on literature researches and synthetical analyses of ancient historical records and modem documents, the author pointed out new viewpoints as follows. （1） Ancient Chinese lost-wax casting techniques, different from modem lost-wax casting, were impossible to be used to cast three-dimensional crossed decorations on Chinese bronzes in the Spring and Autumn and the Warring States Periods （as ＇zun-pan＇ of Marquis Zeng Yi）. （2） The composition of wax and investment of ancient Chinese lost-wax casting was not invariable but continuously developing from the Song Dynasty to the Ming and Qing Dynasties. （3） It cannot be regarded as an effective criterion of ancient Chinese bronze authentication that there are mould lines or not on them. There are some essential technical characteristics of bronzes cast by lost-wax technology, which can be used to authenticate imitations and copies of Chinese bronzes.