(figure 1)
(figure 2)
Essentially, the fake printing method of famous paintings and calligraphy by famous artists is a "bait" prepared by fakers to sell fakes of paintings and calligraphy. Then, obtaining such "bait" is a cost of manpower, material and financial resources. But there are also things that do not want to pay any price for the sale of fakes, that is, "lie publishing." The counterfeiter is like writing an "empty check", hoping to let those collectors who do not know the truth "wish the bait."
"Lied to publish" refers to some paintings and calligraphy false when entering the trading venue, the seller lied orally or in writing that the finished product was published in a book. The objective situation is mostly "this thing is not the other thing", that is to say, the finished product of the authorities and the works in the publications are not the same at all. Only when the understanding is wrong, the painting and calligraphy of the authorities become the nature of "printed products". So why do counterfeiters or counterfeiters now make a "lie-publishing" move? I personally think that this is related to the following factors: First, the level of counterfeiting of calligraphy and painting is generally getting higher and higher under the background of high-tech support, and the difference between forgery and authenticity is gradually narrowing. In particular, many of the finished products of paintings and calligraphy made by means of “absolute cloning†with the help of some kind of instruments are enough to be “scrambledâ€, and it is difficult for ordinary people or even professional experts to distinguish the authenticity. Secondly, the general auction environment for calligraphy and painting works is relatively noisy. Buyers are often unable to carefully check the so-called annotated paintings and calligraphy. Paintings and paintings with small authenticity are difficult to distinguish at a glance. It is concluded that most of the calligraphy and painting transactions are "sold" as soon as they are "shot". Third, among the vast number of calligraphy and painting collectors, those who can truly identify the authenticity of calligraphy and painting independently, and are competent in recognizing the real and calligraphy and painting in the book, do not have a high proportion. Therefore, "lie publishing" has its own "realistic soil".
From the principle of pseudo-painting and calligraphy, "lie publishing" can generally only be combined with "absolute cloning" as a counterfeit technique, because it is basically a fraudulent trick of mixing fish and beads, so the authenticity of the authority and the publication of the publication should not have too much The obvious difference. Other counterfeiting methods such as "relative cloning", "imitation", "adding pen", "color falsification", etc. are not "suitable" for "lie publishing", otherwise it will become "not self-inflicted".
For example, in the autumn of 2007, the summer name of "Xu Beihong's work" in an auction house in the north of China was shown in Figure 1. The title of the picture was "Tagore's Portrait" and was allegedly published. "Tianjin People's Fine Arts Publishing House" (maybe the annotator feels less calm in his heart). At that time, the author found that the problem was serious after watching the auction preview, so he went back to the "Xu Beihong Painting Collection" published by Tianjin People's Fine Arts Publishing immediately after returning home. The results showed that Figure 1 and Figure 2 in the collection were plausible, both It's not the same thing, the authentic is the collection of Xu Beihong Memorial Hall.
Identifying the finished products of "lied to publish" does not depend on anything else. What is most needed is that the appraisers must have a high level of knowledge of calligraphy and painting itself. When we collect with the mentality of "seeing is believing, hearing is being guilty", we will not be led away by lies.
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