My system is not decent

Chapter 1499
If the weathering point of the inscription is very uniform, then the collector should be more careful, maybe this thing is fake.

The real stone flowers are concave inward, and there will be white traces on the inscription, which is commonly known as inscribed inscriptions.

The scattered weathered spots protrude outward, reflecting black spots on the inscriptions, that is, Yangwen.

This method can effectively distinguish between original extension and imitation extension.

In addition, the old stele has been weathered for many years, and cracks sometimes appear.

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 these are understood, it is still easy to make an accurate identification.

Another thing is to encounter woodcuts. This method of engraving original rubbings with wood is generally used in couplets.

As long as you know the identification method, or understand this method of fraud, it is relatively easy to identify.

The paper of the woodcut book is very thin, and the notches are very sharp, which makes it look particularly rough.

The most difficult thing to identify must be the original stone engraving.

If the original stele has been destroyed, find another stone of similar size and re-carve the original rubbings on the stone.

As long as this method is well-crafted, it is very difficult to identify.

Sure, illegible, but not unrecognizable.

To be honest, it's easier to tell the difference.

Because the characters engraved by this method are prone to errors due to unskilled techniques, and the thickness of the strokes is different from the original rubbings.

And if you are skilled, it will be very troublesome to identify.

Of course, if you really come across this kind of original stone engraving, it can't be said to be good or bad.

If you want to say it is fake, it is really a reprint.

However, if the reprinted copy is comparable to the real one, and the original stone has been destroyed, then is there any value in this kind of reprinted original stone engraved copy?
Not only valuable, but also very valuable.

Even modern art, as long as it is stored for a long time, its value will soar one day.

This is also the reason why many imitations and engravings, with the loss of historical time, have a high value.

Finally, let’s talk about reprinting the engraved version. As I said before, the engraved edition is to imitate the original stele first.

Generally, the gypsum is covered with gypsum, and after the gypsum is removed, another layer of gypsum is pasted on the surface of the gypsum, and the second layer of gypsum is removed to form a reprint.

Since the original rubbings should be inscribed, it is necessary to re-engrav the plaster that became Yangwen for the first time.

The identification method is not too difficult as long as you understand the production method.

After going back and forth several times to set the mold and turn over the engraving, the strokes such as dot, skimming, hook, and point are all thinner than the original version, and the size of the stone flower is somewhat different.

In fact, for inscriptions, the most important thing is their own quality.

Even if it is a fake fake inscription, the inscription has a certain value.

After all, it is the words engraved on the stone tablet. If there is no skill, who is there to lose?

Therefore, the most important thing is quality, and quality determines its value.

The first thing that determines the value of stele extensions is the level of calligrapher's writing.

Even if it is an unknown calligrapher, if it belongs to a representative book of a certain historical period, it is often quite valuable.

Most calligraphers in the Northern Wei Dynasty did not leave their names, but this did not affect their artistic value.

The second is the engraving method, the most representative one is Chu Suiliang's Preface to the Sacred Teachings of the Big Wild Goose Pagoda in the Tang Dynasty.

This stele was completed by the famous engraver Wan Wenshao, which retains the charm of brushwork to the greatest extent.

The third is the craftsmanship of topping, including the quality of the paper used, the quality of hammer topping, and the level of ink used.

If any aspect is not handled properly, it will affect the charm of rubbings.

According to the experience of the predecessors, the identification of rubbings on rubbings is first measured by paper and ink.

The ancient rubbings are different from the north to the south. The north paper is thick, 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 light, not compatible with oil and wax, and the overall color is light and wrinkled;
The southern paper is fine and dense, the ink is made of lampblack and wax, the color is pure black, and the surface is shiny.

If it is a counterfeit product, if you rub it with your fingers, it will be black.

Because of the special properties of ancient paper, the appearance is different from the inside.

Although the face is yellow and the inside is white, it is always new, and it is not easy to change color. The counterfeiters are always consistent inside and outside, and look good, but in fact they must be fake.

Generally speaking, after thousands of times of tempering, the edge of the knife is constantly damaged and deformed, so the earlier the rubbing is, the better.

The unpainted and framed ones are better than the mounted ones, and the whole ones are undoubtedly better than the cut and mounted ones.

The age factor also determines the value of rubbings, which can be checked by collation and description of rubbings.

There are usually three ages of inscriptions, namely, the age of writing, the age of inscriptions, and the age of rubbings.

Basically, the time gap between the first two is not too long, and the age of rubbings usually referred to refers to the era of rubbings.

This can be judged according to the inscription on the rubbing post itself and the collection seal.

If it is collected by famous masters and has a credible seal, it will be more valuable.

Prior to this, it is necessary to clarify the concepts of facsimile, reprint, reprint, pseudo-print, reprint, ancestor, etc.

The reprint is relative to the original edition. Only when it is known that a book is reprinted in a certain book can it be called a reprint.

However, the situation is complicated, and it is related to the first edition. There is no certainty, and the reprint cannot be judged casually.

Because re-engraving and re-engraving have similar meanings, it is easy to confuse them.

A reprint is a re-engraving of the collated original.

The layout of the line may be the same as the original version, or it may be different.

Although the re-engraving is also a re-engraving, the re-engraving is based on the original original style. Not only the number of characters in the line remains the same, but even the taboo characters and the surname of the engraver are also re-engraved.

Therefore, when using the title of reprint, on the one hand, we should pay attention to whether it is a reprint, and on the other hand, we should also pay attention to whether it is a reprint.

Counterfeiters fabricate written texts based on the information in books, and then writing and engraving are fake engravings, which are worthless.

The earliest engraved or rubbed editions of books or inscriptions are the ancestors from which all subsequent editions were published.

If it is an ancestor, orphan, rare, or rare copy, once it is circulated in an orderly manner, it will naturally be expensive.

In a general sense, things are rarer and more valuable, among which rare and rare copies are of the highest value.

Nowadays, the inscriptions of the Han and Wei dynasties, the Ming Tuo and the early Qing Dynasty are rare books, and the Tang steles, Song Tuo and Ming Tuo are rare books.

Regardless of the stele, as long as the first extensions unearthed in the Qing Dynasty are rare books, those with inscriptions, postscripts, and collection marks are also rare books.

Besides, rubbings, as an ancient collection, are not very eye-catching in the booming art market.

Nowadays, in the collection awareness of many people, there is a formula like "collection = market = value-added".

Lu Xun collected inscriptions extensively during his lifetime, and it seems that they have never been sold as commodities.

With the passage of time, all kinds of precious rubbings have become rare.

Most of the rubbings circulating in the market are generally made by engraving, wax filling, ink filling and other methods.

Therefore, modern rubbings must be used with caution.

In the auctions of Guardian and Hanhai, the prices of some rubbings were not high.

For example, rubbings of "Li Sixun Monument" cost only 4400 yuan.

Other rubbings of "Contesting for a Seat Post" cost 6600 yuan, and "Chaohou Boy's Remnant Monument" cost 7700 yuan.

There is also the "Yiying Monument" mentioned before, this kind of rubbing is 13200 yuan.

The rubbings of "Cuan Baozi Monument" can be sold for 16500 yuan.

(End of this chapter)