My system is not decent

Chapter 1490
Others that can be clearly seen as fakes include "The Relic under the Brick Pagoda of Yuanguo Daochang", which was also unearthed in the Song Dynasty.

The description of "Yudi Stele Records" says: "Written by people in the Sui Dynasty, it was excavated by folk families in recent times."

Du Mu's "Jin Xie Lin Lang" records the full text, which is also called "the author's name without the book".

The so-called "Song Tuoben" handed down today is a book written by those who are good at things in the late Ming Dynasty. The font is similar to "Le Yi Lun", with the addition of "the prince led Ouyang Xun to write and merge the book".

"The Book of Relics" was established in the ninth year of the Sui Dynasty, but Ouyang Xun signed the official title of the Tang Dynasty. It is self-evident whether it is true or not.

In addition, the same is true for the Heart Sutra in small regular script, which was copied from the translation by Master Xuanzang, several years after Ouyang Xun's death.

"Epitaph of Monk Huangye" is titled "Xu Jingzong, the servant of Huangmen, and Ouyang Xunshu, a scholar of Hongwenguan".

Wang Jun's "Twelve Inkstone Studio Jinshi Guoyanlu" has found: "The case is new and old "Tang Shu". Without the name of the yellow leaf, it is suspected to be a forgery made by later generations."

Now some researchers have pointed out that the full text of the epitaph was edited from "Yiwenleiju" and "Epitaph of Master Hui Nian" written by Emperor Liang Jianwen, "Epitaph of Master Jingtuo", "Epitaph of Master Zhiqian" and "Epitaph of Master Zhiqian" written by Emperor Liang Jianwen. Master Zhi's Epitaph" is made up of patchwork.

As for the epitaph of Su Yuhua, a woman and the epitaph of Guo Yun, the methods of forgery are clumsy.

Chen Wenzhe also found a rubbing copy of "Zhang Cong Stele", which actually has the words "Ouyang Xunshu, Yinqing Guanglu Doctor".

After careful observation, it is estimated that the stele is pieced together with the incomplete characters of the original stele.

This is the same method as the "Shancai Temple Stele" pretending to be Chu Suiliang's book, and it is another kind of fiction.

Such inscriptions, as long as they are erudite, are actually not difficult to identify, and it can be said that they do not have any technical content.

So, pick those out and set them aside.

Among these, if there are antiques, it is also valuable.

If it is a celebrity imitation, that is, a celebrity fake, the value will be higher.

But such good things don't come often.

Because there are also people in modern times who professionally forge this kind of antique.

It can be said that as long as it can make money, there is nothing modern people do not do.

Therefore, no matter what kind of inscription it was, Chen Wenzhe read it very seriously.

Compared with the inscriptions that he doesn't know much about, Chen Wenzhe still knows a little about copybooks, and he also knows how to fake them.

After all, his current old-fashioned method should really surpass the master and reach the level of a grand master.

After all, this is the ability obtained when he just obtained the Suihou's Pearl.

He can learn almost any knowledge in his dream, and he can acquire old-fashioned skills.

Because of the need for identification and appreciation, we must know which signs can be made by making old.

In this way, slowly, Chen Wenzhe's old-fashioned skills have grown the fastest.

To be old is sometimes to be fake.

To put it nicely, it can be called copying!
Therefore, Chen Wenzhe also has a deep understanding of the inscriptions.

He knew that the inscriptions were fake, but it was just a few common methods.

The falsification of rubbings can be roughly divided into several situations: the stele is a fake, the engraved copy is not the original rubbing, and the late rubbing is supplemented by the early rubbing.

To identify rubbings of inscriptions, one must first look at which dynasty the name of the inscription belongs to.

If it cannot be found in Jinshi books, it does not include newly unearthed inscriptions and inscriptions after the Song and Yuan Dynasties.

The year of the inscription and the style of calligraphy also differ greatly.

All of these require vigilance to see if the inscription itself is a fabrication by Xiangbi.

A catalog of pseudo-inscribed inscriptions is attached to books such as Supplementary School Stele Essays for reference by collectors.

If it is confirmed that it is the original extension (or engraving), it must be identified with the confirmed original extension in the school magazine stroke by stroke.

For example, "Huairen Collection Wang Xizhi Book Sacred Religious Preface Stele", the Ming Dynasty has the most reprinted editions.

There are also those that are not imitated from the original stone, there are whole stone books, and there are also horizontally carved post books.

For example, the Chang'an Forest of Steles Museum has a Ming Dynasty horizontal engraving copy, which is a horizontal rectangle with three stones, each stone is 3 cm high and 66 cm long.

The most obvious flaw in the reprinted version is the word "Tao" in the fourth line of "Buddha and Dao Chongxu".

The two strokes on the prefix part are not interrupted, but the original stone is interrupted.

In addition, most of the ancient steles are incomplete, and the re-engraved steles are often knocked and smashed to imitate the stone flowers and scratches of the original steles, but compared with the inscriptions on the steles, they are still dull and unnatural.

Compared with engraving, there are also more technically difficult works, mainly late extensions and early extensions.

Such works, there are several common ways to falsify.

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 such fakes are the least valuable and have no artistic value.

Chen Wenzhe is most familiar with the method of falsification of inscriptions, which should be filled with embedded wax and painted with ink for textual research.

There will be some damages (textual research) on the inscriptions in different eras, and sometimes there are some inscriptions by later generations.

For example, in the "Cuan Longyan Monument" in the Song Dynasty of the Southern Dynasties, there are postscripts of Ruan Yuan in the early years of Daoguang, postscripts of Zhifu Koukou Jianting in the seventh year of Daoguang, postscripts of Qiu Junsi in the [-]th year of Daoguang, and postscripts of Yang Pei in the [-]th year of Guangxu.

For pseudo-rectification, it is often to fill in the late inscriptions and postscripts on the stele with wax and then expand them to fill in the early non-postscripts.

However, this kind of fake copy often does not fill in the damaged strokes after Daoguang one by one, which can be found in the word-for-word school magazine.

Another example is the "Cao Quan Stele" in the Eastern Han Dynasty. During the Qianlong period, the left half of the first line of the character "Qian" was dug out and formed into the shape of "Zhuo".

There are Chengfeng and Tongzhijian rubbings in the library of Shendu University. Although the left half of "Qian" has been changed and restored to its original state, the damaged 10th line "月" and other characters in Chengtong have not been changed at the same time, revealing falsehoods.

Wax-filled fakes are often difficult to distinguish from the wax-filled place alone, but the ink color painted on the front of the textual text in the ink-painted book will be slightly different from the original ink color that was rubbed on.

Especially on the back of unmounted ink-painted texts, it is often found that the ink has penetrated into the rice paper.

For normal rubbings, the back is often whiter, with little penetration of rubbing ink.

In addition, in order to make the inscriptions for Linshu complete or pre-existing, some of the inscriptions that had been damaged in the early years were engraved separately, and then mounted together with the original inscriptions.

For example, in the early Northern Song rubbings of the "Xuanmi Pagoda Stele" in the Tang Dynasty, the character "three" in the first line of "enshrining three" is intact, and two strokes can be seen later, and the lower half of the character "Feng" is damaged, and only the last horizontal line of the character "three" remains.

In the Qing Dynasty, another engraving of "Feng San" was mixed with the original extension.

There are only a few methods to really study the falsification of its rubbings.

In addition to the above methods, the most commonly used is dyeing for old.

The fake inscriptions are often dark gray, light yellow, yellowish brown, and seem to be very old.

In fact, dark gray can be dyed with light ink, light yellow can be dyed with tea water, and brown can be dyed with tile flower juice.

These are very simple to do, but what is really technical is the forgery of inscriptions and seals.

The inscriptions and postscripts of early celebrities often increase the price of rubbings, so there are also the phenomenon of transplanting inscriptions and forging celebrity inscriptions and postscripts.

The authenticity of the inscription and postscript can be identified from several aspects.

Is the calligraphic handwriting of the postscript authentic?
Does the content of the postscript match the rubbings?
Is there a seal of the person who wrote the postscript on the rubbings?
(End of this chapter)