With the progress of the times, the methods of counterfeiting are also improving. What are the methods of counterfeiting? So let’s take a look at the methods of counterfeiting calligraphy and painting that I carefully recommend for you. I hope it will be helpful to you. .
Methods and methods of counterfeiting calligraphy and painting
The traditional ways and methods of counterfeiting calligraphy and painting are roughly divided into four categories: copying, copying, imitation, and forgery, among which copying and Imitation, imitation and imitation, imitation and creation are all interrelated. In addition, there is a type of ghostwriting, which is slightly close to imitation, but the nature is not exactly the same. Copying is the easiest way to get a similar shape: ① first check and then fill in; ② do not check and just copy; ③ copy, copy and modify. Most of the marking and filling are used to copy the calligraphy. In the ancient method, a relatively transparent paper coated with ironing yellow wax (called hard yellow) is first used to cover the original mark, and thin lines are made with light ink. An outline is drawn according to the brushwork, and then it is removed and Fill in the blanks with dark and light dry and wet ink to form words, so it is also called double outline filling. The second type is to cover the original with paper and copy it with thick and light ink. It is generally used to copy the fine brushwork outline painting. The third type is also mostly used for copying calligraphy. After first outlining the outline with light ink, then using one stroke to copy in the outline (which is different from filling in ink without showing the brushwork), and only slightly filling in the rough edges of the strokes. Pure confrontation will inevitably deviate slightly from the appearance of the original work. Its method is to put the original work in front of the case and read it while reading. This method is mostly used for some cursive and freehand paintings, which can avoid the shortcomings of rigidity that can easily result from sketching. Imitation generally has no blueprint. The forger relies on his or her own imagination, imitates someone's writing style and structure, and writes freely. There is also a side that can easily deceive others. There are also some who, although there are originals, are forgery and careless, which can be said to be imitations. There is a kind of person who doesn't care what someone's work is, just forges it out of thin air, and just writes a name on it and it counts. We can see more of them, such as the general calligraphy of Yue Fei and Wen Tianxiang in the Song Dynasty, and the general calligraphy of Hai Rui in the Ming Dynasty. Specifically, there are the painted stones of Tai Buhua in the Yuan Dynasty, the flowers and birds of Sadu, the chickens of Yang Weizhen, and the tiger and pine scrolls of Fang Xiaoru in the Ming Dynasty. The following four people, such as Tai Buhua (i.e. Da Buhua), have never heard that they can paint. Such a thing is obviously impossible. Appraisers with a little knowledge of art history will know that it must be fake. , so it is also the easiest to identify. There are also some regional problems with forged calligraphy and painting, such as the so-called "Suzhou goods", "Yangzhou goods", "Shaoxing goods", "Guangdong goods", "Henan goods", "Hunan goods", "Jiangxi goods" and so on. Most Suzhou films imitate the long green landscape scrolls of Zhao Boju and Qiu Ying. Yangzhou and Shaoxing mostly imitated the works of local famous artists, such as Xu Wei and Chen Hongshou in Shaoxing in the Ming Dynasty, and works by Seng Yuanji, Zheng Xie and others in Yangzhou in the Qing Dynasty. There are also fake paintings by Zheng Xie in Weixian County, Shandong Province. There is a kind of imaginary Buddhist painting from the Song Dynasty in Guangzhou, most of which are painted in rich colors. Most of the products from Henan are forged copies of Su Shi, Yue Fei and other celebrities, and some have crushed pink paper into ice cracks, which is extremely inferior. People from Hunan used silk to make fake paintings of the Ming and Qing Dynasties. The painting techniques were also poor, and the color of the silk was often burnt.
High-tech methods for counterfeiting calligraphy and paintings
Computer scanning turns famous works into hundreds of billions. Computer scanning saves time and effort, and does not deviate from the sample. As long as the work of a calligrapher and painter is input into the computer, the various elements that combine it into a picture are brought out, and then recombined, it will become a new picture. Others input the calligraphy works of a famous calligrapher into the computer and recombine them to create many different banners and couplets. Just like Qi Baishi's works, it is recognized that there are only more than 30,000 and less than 40,000 authentic works in existence, and most of them are collected in the Central Academy of Fine Arts, the Chinese Academy of Painting, Liaoning Provincial Museum, Hunan Provincial Museum (Weibo) and other places, but they are not available on the market There are more than 400,000 Shiraishi works in circulation.
High-tech printed matter is difficult to identify. The earliest calligraphy and painting printed by machines were the Colo plates in the late Qing Dynasty and the early Republic of China. When this method came out, it deceived many people. Now it is easier to distinguish. There is also woodblock watermarking. This printing method has a long history and people have accumulated a lot of experience. Some printers break the original work into multiple plates, covering the printing layer by layer. Ink is not used in printing, but ink and Chinese painting pigments are used, and the printed paintings are very realistic. At present, Rongbaozhai's woodblock watermark is the best. It can break down the original work into more than 100 plates for printing. The workmanship is complex, and the layers of the painting are clear and delicate, making it difficult for ordinary people to recognize.
At present, the price of good watermark prints can reach tens of thousands of yuan. Some simulated printing technologies, such as the simulated printing of Nigensha in Japan a few years ago, and now more advanced technology in Europe, can directly print paintings on rice paper. The degree of simulation is very high, and it is difficult to identify fake paintings without certain identification experience. There are even some counterfeiters who buy watermarked prints and then add color with a pen or leave traces of water smearing, making it look like they are not printed. However, upon careful analysis, the watermark can also be seen. For example, in the white spots, calligraphy and painting have directions and trends, but they are not on the engraved plate. If you look closely, these places are rigid points and lack directionality. In addition, the intersection of the strokes should be inked twice, and the ink color is heavier, but it is not in the print, and the color on the back is floating on it, which can also be seen.
Computer laser seal making. In the past, it was very difficult to imitate the seals of famous artists. It was usually done by pasting samples. Now just use modern technology to turn it over. Some counterfeiters have a lot of seals at home, and they have all the seals they want from any famous person. In addition, some other modifications, excavations, transfers and cuts have existed since ancient times. It is understood that there are currently two common methods for making fake seals in calligraphy and painting forgery: one is computer laser engraving; the other is taking photos to make engravings. Computer laser seal engraving is to first scan the original seal onto the computer, then process it through the computer, transfer the information to the laser seal engraving machine, and finally engrave the original seal on the seal blank made of organic glass, which is referred to as the computer seal. Photographic plate making and seal engraving refers to using the principle of printing and plate making to take a photo of the original print spectrum, and then use special chemicals to corrode it on a copper or zinc plate, which is referred to as a plate making seal. The seals made by these two methods are more reliable than the previous ones. However, these seals also have flaws. Some plastic and resin seals will shrink; while metal seals are too rigid. Furthermore, these seals are all made from molds, so they are unnatural, the knife marks are gone, and they lack the spirit of gold and stone. If you look carefully, you can see the flaws.
It is more difficult to identify new paintings
There are differences in the paintings and calligraphy works of different eras, but there is no such difference in the paintings and calligraphy works of the same era. In the past, some people made fake paintings just to make ends meet, and their professional level was not high. With the development of modern science and technology, the cultural level of counterfeiters has also become higher. Coupled with the development of modern information technology and convenient transportation, the level of counterfeiting has become higher, the circulation of fake goods has become faster, and the difficulty of identification has also increased. . Therefore, some works, especially new paintings, are now more difficult to identify. No matter how careful the counterfeiter is, there are always some clues left behind. This requires continuous learning and careful observation to improve the level of identification and discover flaws. Industry experts remind that calligraphy and painting enthusiasts must maintain a good attitude and never have the mentality of getting lucky and getting rich overnight to avoid being deceived.
How to identify calligraphy and painting
First, look at the paper. The silk and paper used in calligraphy and painting play a certain role in the dating of calligraphy and painting. The identification of silk and paper is one of the ways to identify calligraphy and painting.
Secondly, look at the decoration. The calligraphy and painting decoration of each era has its own characteristics, which can be used as an auxiliary basis for identification.
Third, look at the seal. The characteristics and atmosphere of the seal are also evidence for identifying calligraphy and painting. The atmosphere of the times of a seal can be discerned from its shape, seal characters, carving method, texture, printing color and other aspects.
The fourth step is to look at the inscriptions and postscripts. The inscriptions and postscripts can be divided into three categories: the author’s inscriptions and postscripts, those of his contemporaries, and those of his descendants.
Fifth, look at personal style. In the long-term artistic practice of calligraphers and painters, due to each person’s ideological realm, artistic accomplishment, origin of teachers, aesthetic views, as well as the brushwork, ink use, and color use in the creative process, and organizational structure are different.
The sixth point is to look at pen and ink. From the form or color of the painting, it can be divided into: ink, green, gold, light crimson, etc.