(1) Application of scientific and technological means in identification In today’s artifact identification work, many high-tech identification technologies have been successfully used in the periodization and authenticity identification of cultural relics. For example, by using "electron spin spectrum dating method", "M?ssbauer spectrum dating method" and "isotope dating method", we can make a more accurate determination of the actual age of unearthed cultural relics in the field of archeology. Wait, this provides accurate and scientific evidence for the difference between the authenticity of cultural relics. At present, with the use of high-tech counterfeiting and counterfeiting, a new and silent battle has begun between connoisseurs and counterfeiters in terms of identification and "counter-identification". You use carbon 14 to determine, and I will bond the active ingredients from ancient times to the bottom part of your "sampling", so that the carbon sample you scraped off will still be of ancient age; you use "thermal release" To test the pottery figurines using "light" identification, I used bricks and soil crushed from the original tombs to make them. Without sintering, I just added a high-energy curing agent to the clay. In this way, even if you use "thermoluminescence" to determine the age data, Still so long ago. Therefore, as an appraisal of cultural relics and artifacts, we must study high technology, master high technology, and rely on high technology. (2) The feasibility of applying scientific and technological detection means in the appraisal of calligraphy and painting. The above-mentioned scientific and technological means cannot yet be applied to the appraisal of ancient calligraphy and painting and modern calligraphy and painting. Because the appraisal of calligraphy and painting has its own particularity and complexity, it is still at the stage of subjective conjecture formed by the accumulation of experience, with mostly sensory factors. The auxiliary means of proof generally rely on textual research and seal verification. Lack of strong, direct scientific basis. Therefore, Chinese people feel that the appraisal of calligraphy and painting is too difficult, while foreigners feel that the appraisal of Chinese calligraphy and painting is "too mysterious". The essence lies in the need to accumulate rich experience, accumulate extensive knowledge, obtain as much information as possible, and then rely on the grasp of someone's work style and memory to form a feeling from comprehensive memory, and then sublimate the subjective feeling into a more objective one. judgment. Generally speaking, when a piece of calligraphy and painting is placed in front of us, we will inevitably have the following psychological reactions: First, be confident. This means that the writing, writing, color, rhythm, organization, and style shown in the description and painting are consistent with the relevant information mastered by the appraiser, and there is no difference. So, it feels right, and it’s conclusive. Second, hesitation and hesitation. The penmanship, style, rhythm, color, composition, and style of the paintings in this description do not match the information the appraiser has. Some are similar, some have never been seen before, or the impression is very vague. The reasons for this are both subjective and objective, such as the calligraphy and painting itself does not convey enough information, the style of the times is not obvious enough, is not typical, does not "get to the point", etc. This is especially true for fake paintings and ghost-written paintings. The third is: completely unknown to others, such as those with some local names and rarely seen in handed down works, which means that the appraiser has never stored relevant information about him in his mind, so there is no way to compare and judge. In short, the existence of the above three situations will inevitably lead to different views of "yes and no", "right and wrong" in the appraisal. When direct and scientific evidence cannot be obtained, it is often impossible to grasp the authenticity and quality of the information, leading to vague statements such as "unreliable" and "inaccurate". Therefore, calligraphy and painting appraisal can only achieve relative results, but cannot achieve absolute accuracy. (3) Analysis of the counterfeiting and distressing methods of modern calligraphy and painting. Having said that, modern calligraphy and painting forgery sometimes uses high technology. The traditional forgery methods in the past have also evolved significantly through the changes of the times. If we do not have enough understanding of the current high-level fraud and do not know much about some advanced fraud methods, we will easily enter the "blind spot" of identification. We must realize that traditional copying and counterfeiting methods have been improved, and high-magnification physical projectors and focused slide projectors have been used in calligraphy and painting forgery. The counterfeiters have also changed from unscrupulous art dealers in the past to today's painters and students from art academies. Their painting standards are relatively high, and with the help of projectors and slide projectors, they have completely solved the problem of "form accuracy" (including the "form accuracy" of inscriptions). Coupled with their humble and studious spirit, many professional appraisers are willing to "point out" them. As a result, a large number of high-quality counterfeits with anti-authentication capabilities have emerged and flooded many calligraphy and painting markets. At the same time, we should also have a detailed understanding of the so-called advanced counterfeiting techniques of counterfeiters. Only in this way can we "know ourselves and the enemy" in the new situation and do a targeted job in identifying the authenticity of works.
We might as well do some analysis on the current techniques of forging and distressing calligraphy and painting: 1. Distressing and identification of paper and silk. Color water dyeing method: Use gardenia and black tea to dye the old method. Add water to the gardenia fruit and boil until the water turns brown. The water turns dark red after boiling black tea (or using old tattered paper, etc.). Mix gardenia fruit water, black tea and old tattered paper water in appropriate amounts according to the color of the paper and silk of the original calligraphy and painting, or add water mixed with ink, cyanine, ocher, garcinia, etc. to dye. Light smoking method: First, use long-term irradiation with strong light or long-term irradiation with strong ultraviolet light to accelerate the aging of the paper and silk. Second, use the smoke generated by burning firewood and straw, or leave the paper and silk in the country stove for a long time. Over time, oil stains and smoke will cause the paper and silk to become old. Identification: The surface of the mounted old calligraphy and painting will naturally form a kind of patina during the circulation process, which is bright, smooth and antique. The fake paper and silk must be water-stained, dull, no patina, dark in color, and have subtle shades of color. If the paper is smoked and illuminated, it will also have no luster. The color will be uneven and have a smoky smell. Moreover, this kind of distressed paper has a firey look, and it has no natural and primitive feeling compared with the old authentic works. 2. Distressing and Appraisal of Pens and Inks There is no need to distress pens. Distressing pens is nothing more than analyzing the literature and calligraphy and painting works to find out the brush usage habits and the type of pens used by the ancient (or modern) calligraphers and painters who were imitated. It is sheep hair, wolf hair or both, to imitate a so-called old pen, in order to achieve better performance in making fake calligraphy and painting and achieve the original pen and ink effect. In addition to looking for old ink to make old ink, you can also use new ink to make old ink. The method is: add a small amount of garcinia cambogia or a little ink into the ground ink, and repeat trials until you are satisfied with the ink color. After the paintings were completed, some were covered with incense ashes. It is more difficult to identify forgeries that are directly imitated with old ink based on the ink color alone. The most effective method is to slightly scratch the ink area with a fine needle. You will see white marks and new colors, because the surface is old and the inside is new. The old calligraphy and painting with new ink must be fresh and bright in color, and have a sense of fire. 3. Overall distressing and appraisal. Overall distressing means to complete the calligraphy and painting first and then distress them. The method is to dilute the colored water and then add alum and Bletilla striata water, sweep it over first, then brush it after drying, from light to thick, brushing layer by layer, repeat this several times until it looks as good as before. This type of distressing has no discoloration and a smooth and shiny surface, making it generally difficult to identify. The first way to identify it is to scratch it with the tip of a needle, which will show a new color of white marks. You can also use clear water to dot the blank areas. If it bleeds, the paper is old. If it doesn't bleed at all, it is new. Because after the whole is made old, if it is raw paper, it has become mature paper. However, this method is limited to freehand painting. It can also be tested by licking it with the tongue, which can not only tell whether it is raw or cooked, but also distinguish the alum taste. In short, there are many anti-counterfeiting methods for modern calligraphy and painting. Some are fake paintings, fake seals, and fake inscriptions; some are real paintings, fake seals, and fake invoices; some are fake paintings inscribed by well-known connoisseurs or calligraphers; some are forged on old rice paper; some are made on old rice paper; The new rice paper is forged and then made old; some are real minor celebrities and fake famous ones in an album; some are fake famous artists collaborating with real minor famous artists, and minor famous artists inscribe and postscript; some are deliberately inscribed on the fakes and are given to someone. The last payment and so on. As long as consumers continue to observe, think carefully, and seek advice from professionals and experienced people, they will definitely be able to distinguish between true and false and right from wrong.