Others that can be clearly seen as fakes include the "Relics under the Brick Pagoda of Yuanguo Dojo", which was also unearthed in the Song Dynasty.
"Yudi Stele Notes" records: "It was written by people of the Sui Dynasty and was found by ordinary people in recent times by digging in the ground."
Dumu's "Jin Xie Lin Lang" contains the full text, which is also said to be "the name of the author without a book".
The so-called "Song rubbings" handed down today were written by a good person in the late Ming Dynasty. The font is similar to "Le Yi Lun", with the addition "Prince Lengeng ordered Ouyang Xun to write and combine it."
"Relics" records that in the ninth year of Sui Dynasty, Ouyang Xun was assigned an official title in the Tang Dynasty. The authenticity is self-evident.
In addition, the same is true for the Heart Sutra in small regular script. It was copied from Master Xuanzang’s translation, several years after Ouyang Xun’s death.
"The Epitaph of Monk Huangye" is titled "Xu Jingzong, the minister of Huangmen, and Ouyang Xun, the bachelor of Hongwenguan".
Wang Jun's "Twelve Yanzhai Jinshi Guoyan Lu" has found: "The new and old "Tang Shu", in the early days of Wude, Jingzong was a farewell scholar in Lianzhou, and he did not go to Hongwen Hall to inquire. And "Old Tang Shu·Fang Ji Zhuan" also There is no name for the yellow leaf, it is suspected to be a forgery by later generations."
Now some researchers have pointed out that the full text of the epitaph is a cut of the "Epitaph of Master Huinian", "The Epitaph of Master Jingtuo", "The Epitaph of Master Zhiqian" and "The Epitaph of Master Zhiqian" written by Emperor Wen of Liang Jian and collected in Yiwen Leiju. "Master Zhi's epitaph" was pieced together and mixed together.
As for "The Epitaph of the Woman Su Yuhua" and "The Epitaph of Guo Yun", the forgery was clumsy, and "The Removal of Forgery from the Inscriptions and Stones of the Baqiong Chamber" has been discussed in detail without any further explanation.
Chen Wenzhe also found a rubbing of "Zhang Cong Stele", which actually had the words "Yin Qing Guang Lu Doctor Ouyang Xun Shu".
Upon closer inspection, it turns out that the stele was pieced together using the remaining characters of the original stele.
This is the same technique as the "Shancai Temple Stele" pretending to be Chu Suiliang's book, but it is also a kind of fiction.
It is actually not difficult to identify such inscriptions as long as one is knowledgeable, and it can be said that there is no technical content at all.
So, pick these out and set them aside.
Among these, if there are antique imitations, they are also valuable.
If it is imitated by a celebrity, that is, it is faked by a celebrity, the value will be higher.
However, such good things are not common.
Because there are people in modern times who are professional in forging such antiques.
It can be said that as long as it can make money, there is nothing that modern people do not do.
Therefore, no matter what kind of inscription it was, Chen Wenzhe took it very seriously.
Compared to the inscriptions, which he doesn't know much about, Chen Wenzhe is somewhat familiar with copybooks and knows how to fake them.
After all, his current old-fashioned methods should truly surpass the master and reach the grand master level.
After all, this is the ability that he got when he just got the Sui Marquis Pearl.
He can learn almost any knowledge in his dream, and it can be linked to old-fashioned skills.
Because we need to identify and appreciate, we must know what kind of signs can be produced by old age.
In this way, Chen Wenzhe's old-fashioned skills gradually grew the fastest.
Making something old is sometimes just cheating.
To put it nicely, you can say copying!
Therefore, Chen Wenzhe also has a deep understanding of the inscriptions on the inscriptions.
He knew that the forgery of inscriptions was just a few common methods.
Forgery of rubbings can be roughly divided into several situations: the stone tablet is a forgery, the stone is a forgery instead of the original rubbing, and a late rubbing is used to replace an early rubbing.
To identify the rubbings of a stele, you must first check which dynasty the name on the stele is from.
If it cannot be found in epigraphy and stone books, it does not include newly unearthed inscriptions and inscriptions after the Song and Yuan Dynasties.
The year of the inscription and the calligraphy style are quite different.
All of these require vigilance to see if the inscription itself is a fabrication.
A catalog of pseudo-engraved tablets is included in books such as "Essays on Supplementing School Tablets" for reference by collectors.
To confirm that it is an original rubbing (or reprint), it must be compared with the confirmed original rubbing, stroke by stroke, to make a distinction.
For example, "The Preface to the Holy Religion of Wang Xi's Collection of Books by Huairen" had the most reprinted editions in the Ming Dynasty.
There are also works that are not imitated from the original stone. There are solid stone copies and horizontally engraved calligraphy copies.
For example, the Chang'an Stele Forest Museum has a Ming Dynasty horizontally engraved manuscript with three rectangular stones. Each stone is 66 centimeters high and 159 centimeters long.
The most obvious flaw in the reprinted version is the word "Tao" in the fourth line of "Buddhism and Taoism worship Xu".
The two strokes on the prefix are not interrupted, but the original stone is interrupted.
In addition, many ancient steles have scratches, and the re-engraved steles are often knocked and smashed to imitate the stone flowers and scratch marks on the original steles. However, compared with the inscriptions, they still appear dull and unnatural.
Compared with re-engraving, there are also works that are more technically difficult, mainly works that use late extensions to replace earlier ones.
There are several common ways to fake such works.
Of course, there are also methods commonly used by modern people.
The reason why these methods are used for identification first is to select modern works first, because this kind of fakes are the least valuable and have no artistic value.
The methods Chen Wenzhe is most familiar with for forging inscriptions on inscriptions should be filling them with wax and applying ink for textual research.
In different eras, there will be some damage (textual research) on the inscriptions, and sometimes there are some inscriptions by later generations.
For example, in the "Cuan Longyan Stele" of the Southern Song Dynasty, there are Ruan Yuan's postscript in the first year of Daoguang, the postscript of the prefect's pavilion building in the seventh year of Daoguang, the postscript of Qiu Junsi in the twelfth year of Daoguang, and the postscript of Yang Pei in the 28th year of Guangxu.
To make false extensions, the late inscriptions and postscripts on the stele are often filled in with wax and then retreaded to fill in the early copies without inscriptions.
However, this kind of fake version often does not fill in the damaged strokes one by one after Daoguang, which can be found in word-for-word proofreading.
Another example is the Eastern Han Dynasty's "Cao Quan Stele". During the Qianlong period, the left half of the first line of the word "Qian" was dug out to form the shape of "Zhuo".
The library of Shendu University has rubbings from Chengfeng and Tongzhi. Although the left half of the word "Qian" was changed and restored to its original state, the damaged words "月" and other characters in the 10th line of Chengtong were not changed at the same time, revealing the forgery.
Wax-filled forgery is often difficult to identify just from the wax-filled area, but the ink color applied on the front of the textual research text in the ink-painted book will be slightly different from the original ink color.
Especially on the back of the ink-printed textual texts without tables, it is often found that the ink has penetrated the rice paper.
Normal rubbings are often white on the back, with very little rubbing ink seeping through.
In addition, in order to make the inscriptions used for writing a complete or complete inscription, some characters that have been damaged in the past are engraved separately and then installed together with the original inscriptions.
For example, in the early Northern Song Dynasty rubbing of "Mysterious Pagoda Stele" in the Tang Dynasty, the word "三" in the first line of "Enshrine three inside" is intact, but two strokes can be seen later. The lower half of the word "Feng" is lost in the last line, and only the last horizontal line of the word "三" is left.
In the Qing Dynasty, there was also a situation where the "Feng San" engraved on another page was mixed with the original one.
There are only a few methods to truly study the forgery of his inscriptions.
In addition to the above methods, the most commonly used method is dyeing.
Fake inscriptions are often dark gray, light yellow, or tan, and appear to be very old.
In fact, dark gray can be dyed with plain ink, light yellow can be dyed with tea water, and brown can be dyed with tile flower juice.
These are all very simple to do, but what really involves some technical content is the forgery of inscriptions and postscripts and seals.
The inscriptions and postscripts of early celebrities often greatly increased the price of rubbings, so there was a phenomenon of transplanting inscriptions and postscripts and forging celebrity inscriptions and postscripts.
The authenticity of the inscriptions and postscripts can be identified from several aspects.
Is the calligraphy on the inscription and postscript authentic?
Is the content of the inscription consistent with the rubbings?
Are there any inscriptions or seals on the rubbings?