If the weathering spots on the inscription are very even, collectors should be more cautious, as this may be a fake.
If the stone flowers are really concave, white marks will appear on the inscriptions, which are commonly known as inscriptions.
The scattered weathered spots protrude outwards and are reflected on the inscriptions as black spots, which are Yangwen.
This method can effectively distinguish between original extensions and imitation extensions.
In addition, old monuments may sometimes develop cracks after years of weathering.
This kind of crack is very natural on the original rubbing, while the crack on the imitation has obvious traces of modification.
As long as you understand these, it is easy to make an accurate identification.
Then there is the woodblock, which is a method of carving original rubbings on wood, usually with couplets.
As long as you know the identification method, or understand this method of fraud, it will be easier to identify.
The paper of the woodcut is extremely thin, and the notches and corners are very sharp, making it look particularly awkward.
The most difficult thing to identify is definitely the original stone carving.
If the original monument has been destroyed, find another stone of similar size and re-carve the original rubbing on the stone.
This method is very difficult to identify as long as the craftsmanship is better.
Of course, it's difficult to identify, but it's not impossible to identify.
To be honest, the identification method is simpler.
Because the characters carved by this method are prone to errors due to unskilled techniques, the thickness of the strokes may differ from the original rubbings.
And if you are technically proficient, it will be very troublesome to identify.
Of course, if you really encounter this kind of original stone engraving, you can't say it is good or bad.
If you want to say it's fake, it's really just a fake.
However, what can be re-engraved is comparable to the original, and the original stone is destroyed, so is this kind of re-engraved original stone edition valuable?
Not only is it valuable, it is also very valuable.
Even modern art, as long as it is stored for enough time, will one day soar in value.
This is also the reason why many imitations and reprints have gained high value with the passage of time.
Finally, let’s talk about the reprinted version. As mentioned before, the reprinted version is to imitate the original tablet first.
Generally, the plaster is covered with plaster, and after the plaster is removed, another layer of plaster is placed on the surface of the plaster. The second layer of plaster is removed to form a replica.
Since the original rubbings were supposed to be in Yin script, the plaster that had been transformed into Yang script for the first time needed to be carved again.
It is not difficult to identify the method as long as you understand the production method.
After several rounds of mold setting, engraving, dots, skimming, hooks, and pointed strokes, the strokes are all thinner than the original, and the size of the stone flowers is somewhat different.
In fact, for inscriptions, the most important thing is their own quality.
Even if it is a fake, the inscription still has a certain value.
After all, it is the words engraved on the stone tablet. If you don't have some skills, why should you lose yourself?
Therefore, the most important thing is quality, and quality determines its value.
What determines the value of a stele rubbing is first and foremost the calligrapher’s creative level.
Even for unknown calligraphers, if their representative works belong to a certain historical period, they are often quite valuable.
During the Northern Wei Dynasty, most calligraphers did not leave their names, but this did not affect their artistic value.
The second is the carving method, the most representative one is Chu Suiliang's "Sacred Preface to the Big Wild Goose Pagoda" of the Tang Dynasty.
This stone tablet was completed by the famous carver Wan Wenshao, and the charm of the brushstrokes was preserved to the greatest extent.
The third is the rubbing craftsmanship, including the quality of the paper used, the quality of the hammer rubbing, and the degree of exquisiteness in the ink used.
If any aspect is not handled properly, the charm of the rubbings will be affected.
According to previous experience, the identification of inscriptions and rubbings is first based on paper and ink.
There are differences in ancient rubbings between north and south. In the north, the paper is thicker, the paper grain is horizontal, the texture is loose, and it is not easy to absorb ink.
Therefore, the color of northern ink is blue and bluish, not compatible with oil and wax, and the overall color is bluish and wrinkled;
The southern paper is fine and fine, and the ink is made of oil smoke and wax. The color is pure black and the surface has a glossy surface.
If it is a fake, if you wipe it with your fingers, it will turn black.
Because ancient paper has special properties, it is different from what it looks like.
Although it is yellow on the outside and white on the inside, it is always new and does not change color easily. Counterfeiters often have the same inside and outside and look good, but in fact they are definitely fake.
Generally speaking, after thousands of times of tempering, the edge of the knife is constantly damaged and deformed, so the sooner the rubbing is made, the better.
The unbrushed watch is better than the installed watch, and the whole watch is undoubtedly better than the watch cut into volumes.
The age of the rubbings also determines their value, which can be verified by collating the rubbings' descriptions.
There are usually three ages for inscriptions, namely the writing age, the engraving age, and the rubbing age.
The time gap between the first two is basically not too long, and the age of the inscriptions usually refers to the age of the rubbings.
This can be determined based on the inscription on the tablet itself and the collection seal.
If it is collected by a famous person and has a reliable seal, the value will be even higher.
Before this, it is necessary to understand the concepts of copy, reprint, reprint, pseudo-engraved edition, supplementary edition, and ancestral edition.
A reprinted edition is relative to the original edition. Only when it is known that a book was reprinted in a certain edition can it be called a reprinted edition.
However, the situation is complicated, and it is related to the first edition. There is no definite certainty, and the second edition cannot be judged casually.
Because re-engraving and re-engraving have similar meanings, it is easy to confuse them.
A reprint is a re-engraved version of the revised original.
The layout of the line can be the same as the original version, or it can be different.
Although the re-engraving is also a re-engraving, the re-engraving is based on the original style. Not only the number of words in the inscription remains the same, but even the taboo words and the engraver's surname are also reversed.
Therefore, when using the title "reprinted edition", on the one hand, we should pay attention to whether it is a reprint of a certain edition, and on the other hand, we should also pay attention to whether it is a reprint.
Forgers make up documents based on the information in books, and then the writing and engraving are fake and worthless.
The earliest engraving or rubbing of a book or inscription, from which all subsequent editions are derived, is the ancestral edition.
If it is an ancestral, unique, rare or rare book, once it is circulated in an orderly manner, it will naturally be worth a lot of money.
In a general sense, things are valuable when they are rare, among which unique and rare copies have the highest value.
Nowadays, the inscriptions on Han and Wei dynasties are rare editions with Ming and early Qing dynasties. The Tang steles and Song dynasties are rare editions, and the Ming editions are rare editions.
Regardless of the stele, as long as the initial rubbings were unearthed in the Qing Dynasty, they are all rare books. Those with inscriptions, inscriptions, and collection seals are also rare books.
Besides, inscriptions, as an ancient collection type, are not very eye-catching in the hot art market.
Nowadays, in many people's collection consciousness, there is a formula such as "collection = market = value added".
Lu Xun extensively collected inscriptions on inscriptions during his lifetime, but it seems that they have never been turned into merchandise for sale.
With the passage of time, various precious rubbings have become rare.
Most rubbings circulating in the market are generally made by engraving, filling with wax, filling with ink, etc.
Therefore, modern rubbings must be handled with caution.
In the auctions held by Guardian and Hanhai Companies, the prices for some rubbings were not high.
For example, the rubbing of "Li Sixun Monument" is only 4,400 yuan.
The other rubbings of "Seat Fighting Post" are 6,600 yuan, and the "Remnant Monument of Chaohou Boy" is 7,700 yuan.
There is also the "Yiying Stele" mentioned before, which is a rubbing element.
Rubbings of "Cuan Baozi Monument" can be sold for 1 yuan.