In this world, no matter how fake something is, there is no shortage of buyers who are willing to be deceived!
Of course, there is no need to hang oneself on a tree. The master cannot seek the master of the west.
If this fake epitaph can be sold for a good price, Zhang San’s epitaph counterfeiting team can share the money together.
The above-mentioned forgery process and personnel composition of the Northern Wei Dynasty epitaphs may be slightly different in different forgery activities, but they are still similar.
Of course, such epitaphs are the simplest imitations and are not difficult to identify.
However, nothing can stop a serious person.
If there is another huge profit motive, things will be difficult to handle.
For example, Chen Wenzhe, if he has evil intentions and wants to make a lot of money lying around, then there won't be many Wei steles he made that can be authenticated.
Of course, even if he doesn't do it, there are still many fine inscriptions on the market.
So far, there are many forgeries of epitaphs from the Northern Wei Dynasty.
Some very elaborate forgeries of epitaphs from the Northern Wei Dynasty have even been included in some officially published copybooks.
The reason for this is not that the copybook collectors intentionally included these forgeries, but that these forgeries escaped the identification of experts.
For example, now, it is really difficult to identify whether the stone tablets collected by Li Tianqiang are true or false, false or false.
At the very least, even if it were Chen Wenzhe's appraisal, he wouldn't be able to tell anything if he didn't cheat.
Chen Wenzhe is quite familiar with the research and identification of forged epitaphs of the Northern Wei Dynasty.
Therefore, he could tell at a glance that the Wei stele in front of him was an imitation from the Republic of China period.
And the identification can only be done from a few aspects.
First, let’s start with the analysis of the style and content of the epitaphs of the Northern Wei Dynasty.
Check whether the suspected forgery of the epitaph complies with the conventions of making epitaphs in the Northern Wei Dynasty.
Whether its "Zhi" (text content) and its "Inscription" (four-character poem) conform to the language style of the Southern and Northern Dynasties.
The real epitaph of the Northern Wei Dynasty can't be made well even if you are not a master.
Secondly, it is necessary to analyze whether the writing style of the suspected forged epitaph is that of the Southern and Northern Dynasties, or whether it is just a reference to the writing style of "Twenty Products of Longmen" or other earlier unearthed epitaphs.
If the writing techniques are too similar and also contain the writing methods after the Tang Dynasty, then it is most likely a forgery.
Thirdly, for any newly unearthed epitaph, first of all, do not preconceptions that it must be a real epitaph. Instead, you should adopt a research attitude and verify and analyze its shape, content, pen and other elements from multiple angles.
The existence of a large number of forged epitaphs of the Northern Wei Dynasty is a destructive interference to both the study of the history of calligraphy and the calligraphy learners' writing activities.
For all kinds of fake epitaphs, we must have an attitude of "removing the fake and preserving the true" and analyze them.
In this process, our overall understanding of the epitaphs of the Northern Wei Dynasty will undoubtedly reach a new level.
In the final analysis, it definitely requires a certain amount of skills.
At the very least, you must be an expert in one field so that you can complete the appraisal of an antique.
Identification is very important in the antique world.
Because you don’t know how to identify it, you will really suffer a big loss.
Just like now, Chen Wenzhe is looking at an inscription of Ouyang Xun.
Ouyang Xun, minister and calligrapher of the Tang Dynasty.
Ouyang Xun was proficient in calligraphy, and together with Yu Shinan, Chu Suiliang and Xue Ji, he was known as the "Four Great Masters of the Early Tang Dynasty".
Because his son Ouyang Tong was good at calligraphy, father and son were collectively called "Big and Little Ou".
Calligraphy found its way into the middle of nowhere, so it was named "European Style".
Representative works: in regular script are "Jiucheng Palace Liquan Ming", "Huangfu's Birthday Stele" and "Huadu Temple Stele", and in running script are "Zhongni Meng's Laying Ceremony" and "Thousand-Character Essay in Running Script".
He has unique insights into calligraphy and has written calligraphy treatises such as "Eight Secrets", "Teaching Secrets", "On Using the Brush" and "Thirty-Six Methods".
The "Inscription on the Relics of Zen Master Huadu Siyi", "The Monument of Yu Gonggong Wen Yanbo" and "The Monument of Huangfu's Birthday" are known as "the first regular script in the Tang Dynasty".
A famous artist like this is definitely a target of imitations.
Obviously, the inscription in front of Chen Wenzhe belongs to Ouyang Xun.
As for whether it is genuine or not, Chen Wenzhe will definitely not be able to tell for a while.
And he didn't want to guess, let alone use cheating methods to identify it.
Playing with antiques is such an interesting thing. If you just cheat and get the answer through appraisal, what's the point?
In fact, the identification process is still a learning process.
This process, just like breaking a eucalyptus, is very interesting.
Chen Wenzhe enjoys this process, so every time he encounters an antique, he tries his best to appraise it himself.
This time I encountered so many inscriptions, and they were all famous monuments. Although I knew that these were probably all fake, what if there was an authentic one?
As long as you have a genuine piece, you will make a lot of money.
Besides, even if these are all fakes, they are definitely treasures.
Because their own artistic value is not low.
You know, this is a high imitation. Even if he imitates it, it will definitely not be able to imitate it in a short time.
There are so many high-precision imitations that are enough to be displayed in any museum.
These things are like the large number of imitation Sanxingdui bronzes in his museum. As long as the imitations are good, can you not want to take a look just because they are imitations?
Between them and the real thing, they lack the sense of age.
What's more, these inscriptions in front of me even have a sense of age!
You know, many things in museums are replicas.
It is impossible for them to display the genuine product wantonly.
Therefore, those imitations may not be as good as what Chen Wenzhe saw in front of him!
Now it depends on Chen Wenzhe's ability. He also wants to be able to confirm some authenticity.
Therefore, he looked at every stone tablet very carefully.
As for Ouyang Xun's monument, it is not difficult to identify it because he is so famous.
But Chen Wenzhe only looked at it for a few times and then smiled bitterly.
If what you see this time is the real thing, you will really make a lot of money, because there is a large pile of inscriptions in front of this monument.
What is a stele calligraphy? It used to be commonly known as "black tiger".
The inscription is a kind of artwork that has both cultural and historical connotations, as well as artistic taste and craftsmanship.
In order to record important events and grand celebrations of the previous dynasty, many predecessors carved literary forms and calligrapher's handwriting on cliffs and stone tablets through the hands of famous craftsmen.
Therefore, the stele has multiple artistic contents.
It can also be assembled into scrolls or albums through tables, thus becoming inscriptions on inscriptions.
Stele calligraphy is the collective name of stele and calligraphy. In fact, "stele" refers to the rubbings of stone carvings, and "stele" refers to the collection of famous ink marks of the ancients carved on wooden boards or stones.
In the early days of the development of printing, rubbings of tablets and inscriptions were important means of spreading culture.
In the future, people will have to study these written materials in order to learn calligraphy or make historical materials.