For example, in the hall of mental cultivation of the Qing Palace, there is a picture of Li's Idle Weeks in the Song Dynasty, also known as "Riding Alone to See the Uighur Map", inscribed as "Minister Li Jin". This painting was recorded in the book "The Continuation of Shiqu Baodi" specially collected by the Qing court, which depicts the event that Guo Ziyi, a famous Tang Dynasty, persuaded Uighur to break Tubo. However, it was not until the decline of the Qing Dynasty that many appreciation experts found out that although the picture was harmonious and the painted characters were very elegant in the Song Dynasty, more evidence showed that this painting was not written by Li, but was undoubtedly copied by later generations.
Many people can't help wondering how these fakes got into the palace. Is there no distinction between entering the palace? Of course not. Appraisal must be done and strict, but there will always be mistakes in manual appraisal.
There are two reasons:
First, some of the Qing Palace collections are relics of the former dynasty, and some are tributes from ministers after entering the dynasty. Among them, there are many cases of blind identification, so the fake goods were collected as treasures from the beginning.
Second, eunuchs did something to Tibetan treasures. Although the power of eunuchs in Qing dynasty was not as great as in the past, they were people around the emperor after all. Many tributes and antiques are often transported through them. So some courtiers who wanted to please the emperor but couldn't come up with anything good tried to win over the eunuchs and give them some benefits. They made a very expensive list of gifts presented to the emperor, but in fact they just bought some fakes for a job.
The palace is still like this, let alone other places. Even today, many museums use imitations instead of real ones for exhibitions. However, this has nothing to do with identification errors, but to protect cultural relics.
Cultural relics such as ancient silk, calligraphy and painting are easy to be destroyed under illumination and non-constant temperature conditions, and even the breathing gas of the audience is easy to damage ancient calligraphy and painting. When many museum exhibition facilities and equipment fail to meet the technical requirements of absolute dustproof, strong light filtering and constant temperature, they will choose to be copied by famous exhibition artists and rarely take out treasures.