As a cultural phenomenon, antique collecting jargon is naturally influenced by regional culture, resulting in different regional characteristics in the terminology. For example, when we visit markets like Shanghai Chenghuang Temple Market, Nanjing Confucius Temple Market, or Beijing Panjiayuan Market, the common jargon used in these places often shares similarities while also having some significant differences. This is a reflection of the vast and diverse culture of China. To learn antique collecting jargon, all we need to do is grasp the commonly used terms related to market transactions, secret language cues, appraisal, and appreciation. With these terms in our arsenal, navigating the world of antique collecting becomes less challenging. So, what are some of the jargon used in the antique collecting world?
Throughout the history of collecting, the term “骨董” (gǔ dǒng) was in use as early as the Tang Dynasty. Later, it evolved into “古董” (gǔ dǒng), which was then further transformed into “古玩” (gǔ wán) around the reign of the Qianlong Emperor in the Qing Dynasty. This evolution may have been to signify “ancient objects of play.”
“古董” refers to antiques from ancient times, and this term is still in use in today’s society. However, within the collecting community, the term “古玩” is more commonly employed. So, if you tell your friend you’re going to visit an “antique store” or a “古董店” (gǔ dǒng diàn), it’s not a mistake. Both terms are acceptable. However, if you refer to it as a “骨董店” (gǔ dǒng diàn), it may sound outdated.
In the contemporary market, in addition to “古玩” (antiques), you may come across terms like “今玩” (jīn wán), “现玩” (xiàn wán), and “新玩” (xīn wán). These terms essentially refer to the same concept, which is contemporary crafted artworks, but the terminology varies by region.
“古玩” and “今玩” represent two different periods of collecting. Collectors who focus on “古玩” are called “古玩家” (gǔ wán jiā) and concentrate on collecting items predating the Qing Dynasty. Those who prefer “今玩” are known as “今玩家” (jīn wán jiā) and specialize in collecting items from the Republic of China era onwards. The dividing line between these two periods is the Xinhai Revolution in 1911, marking the establishment of the Republic of China.
In the antique market, the jargon used by peers to describe trading activities between collectors is referred to as “叫行” (jiào háng) or sometimes “叫市” (jiào shì). The price at which transactions between collectors are agreed upon is known as the “叫行价” (jiào háng jià). Antique dealers might use terms like “一桶水” (yī tǒng shuǐ) or “一足数” (yī zú shù) to represent one thousand Chinese yuan, “一元(块)钱” (yī yuán [kuài] qián) for one hundred yuan, and “五毛(角)钱” (wǔ máo [jiǎo] qián) for fifty yuan.
For instance, if a seller offers an item to you at “三元(块)五毛(角)钱” (sān yuán [kuài] wǔ máo [jiǎo] qián), it translates to a selling price of 350 yuan. If a seller buys an item that turns out to be unprofitable or fake, or a buyer acquires an item that is not genuine or overpriced, they may use the term “吃药” (chī yào), indicating that they are incurring a loss. When a seller successfully purchases a valuable item at a low price or sells a low-value item at a high price, it’s referred to as “吃仙丹” (chī xiān dān).
In the market, if a buyer acquires a genuine item at a low price or obtains a valuable item from an insider, it’s called “捡漏” (jiǎn lòu), which means you’ve made a lucky find. When someone with knowledge of the trade unknowingly purchases a fake item, it’s described as “走眼” (zǒu yǎn) or “打眼” (dǎ yǎn). Being deceived into a purchase is referred to as “交学费” (jiāo xué fèi), which means you’ve paid for a lesson.
“开门” (kāi mén) and “一眼货” (yī yǎn huò) both refer to antiques with obvious characteristics that are easily recognizable as old items. “到代” (dào dài) and “够年份” (gòu nián fèn) mean that the item in question is a genuine antique with a certain age and historical significance.
The process of making new items look old, often associated with ceramics or bronze pieces, is known as “仿旧” (fǎng jiù). If it’s done exceptionally well, it’s considered “高仿” (gāo fǎng), and if done poorly, it’s called “判眼” (pàn yǎn). For Qing Dynasty items and earlier, the term “旧仿” (jiù fǎng) is used, while “新仿” (xīn fǎng) refers to modern reproductions. All these terms are used for counterfeit and imitation pieces, collectively known as “新家生” (xīn jiā shēng).
In the antique market, it’s important to develop a keen eye to spot the genuine articles, as well as to distinguish between qualities of items. The focus should be on the quality of the collection rather than the quantity, as the saying goes, “宁咬仙桃一口，不吃烂桃一筐” (níng yǎo xiān táo yī kǒu, bù chī làn táo yī kuāng), meaning it’s better to have one high-quality piece than a basket of low-grade ones.
Items unearthed from archaeological sites are known as “地货” (dì huò), and newly excavated “古玩” is referred to as “生坑” (shēng kēng). Antique items that have passed down through generations after being unearthed are called “熟坑” (shú kēng). Goods retrieved from rivers, lakes, or the sea are labeled as “水货” (shuǐ huò). Regardless of whether it’s “地货,” “水货,” or especially “生坑,” you must have a strong awareness of legal considerations, as any oversight can lead to significant trouble.
In the world of antique collecting, certain objects are referred to using euphemisms. For instance, paintings and calligraphy are called “纸儿” (zhǐ ér), “片儿” (piàn ér), or “纸头” (zhǐ tóu). Jade items may be humorously called “石头” (shí tóu), and jadeite is sometimes referred to as “绿头” (lǜ tóu), with old jadeite being described as “老种” (lǎo zhǒng) and new jadeite as “新种” (xīn zhǒng).
In the antique world, damaged ceramic pieces, with a chipped mouth or cracks on the body, are often called “崩口” (bēng kǒu), and when there are cracks on the surface, it’s known as “冲线” (chōng xiàn).
Ceramic and bronze forgeries or reproductions often display an artificially created appearance due to aging, known as “火气” (huǒ qì) or sometimes “贼光” (zéi guāng). These terms refer to the surface glaze, gloss, or iridescence left behind due to the artificial aging process. Genuine items can have “火气,” and it is detectable by someone with significant experience. In contrast, “妖气” (yāo qì) refers to the deceptive visual effects intentionally created during the aging process, designed to mislead knowledgeable collectors or experts. “妖气” can be very misleading and lead to being duped into purchasing inauthentic items.
Some old items, such as antique rosewood furniture, bamboo and wood artifacts, bone pieces, and purple clay teapots, may develop a layer of glass-like substance on the surface. On the outer layer of bronze artifacts, a dark varnish-like covering might appear. In antique collecting jargon, this phenomenon is referred to as “包浆” (bāo jiāng) or sometimes “皮壳” (pí ké). “包浆” or “皮壳” is an indication of the passage of time, a trace on the surface of antique items that is nearly impossible to replicate artificially. Therefore, the presence and quality of “包浆” or “皮壳” are significant factors in the authentication of antiques.
In the antique business, those who conduct business within their stores or stalls are called “坐座” (zuò zuò). In the North and South markets, craft antique shops primarily engaged in domestic businesses and focusing on craft items are referred to as “本庄” (běn zhuāng), whereas similar shops that mainly cater to foreign customers are called “洋庄” (yáng zhuāng). People who conduct business at temporary markets or set up stalls along the street are called “设摊” (shè tān), “摆摊” (bǎi tān), or “摊地皮” (tān dì pí).
If someone invites you to “冷摊” (lěng tān), they are suggesting you explore the less crowded and hidden treasure stalls in the antique market. Individuals who traverse streets and neighborhoods, often peddling their wares, are referred to as “跑筒子” (pǎo tǒng zi) or “卷地皮” (juǎn dì pí). Those who do not have a store or a stall but facilitate transactions based on information about the items needed by buyers and sellers are known as “搬砖头” (bān zhuān tóu). Businesspeople who acquire goods from one place and resell them for profit elsewhere are engaging in “掮做” (qián zuò), while those who deal in fraudulent items or engage in deceptive commercial practices are involved in “卖野人头” (mài yě rén tóu). If a friend warns you that someone nearby is “卖野人头,” it’s time to be extra cautious.
Sellers often refer to their sources as “落家” (luò jiā). For instance, when a seller introduces a celadon vase with the phrase “落家在龙泉八都” (luò jiā zài lóng quán bā dū), they are indicating that the celadon vase was originally acquired from its production source in Longquan Bādū, ensuring its authenticity.
In the antique business, every item in the possession of a seller, whether in a shop or at a stall, is accompanied by an enticing story. The purpose is to captivate your interest and sway you towards the antique being sold. It’s up to you to determine whether you’re there to “捡漏” or end up “吃药,” based on your own expertise and self-control.
If you have doubts about or encounter issues with an item that a store or stall owner is enthusiastically promoting, it’s best not to say outright that it’s a fake or counterfeit in front of the seller. Instead, it’s more appropriate to politely say that you “看不好” (kàn bù hǎo), meaning you’re not sure, and then return the item courteously. The world of antique collecting is indeed a unique realm within the cultural sphere, and even in the jargon, it exudes a refined and cultured charm.
(Note: The explanations provided here are based on the context within the text and may vary slightly in different regions or among different groups of collectors and antique dealers.)
