My system is not decent

In this world, no matter how fake something is, there is no shortage of buyers who are willing to be tricked!

Of course, there is no need to hang yourself from a tree, the owner can't find the west.

If this fake epitaph can be sold for a good price, Zhang San's epitaph counterfeiting team can share the money together.

The above-mentioned forgery process and personnel composition of the epitaphs of the Northern Wei Dynasty may be slightly different in different forgery activities, but they are similar.

Of course, such an epitaph is the simplest imitation, and it is not difficult to identify it.

However, nothing can hold up a seriousness.

If it is driven by huge interests, then things will be difficult.

For example, Chen Wenzhe, if he has a bad intention and wants to make a lot of money lying down, then there will not be too many Wei steles he made that can be identified as true or false.

Of course, even if he doesn't do it, there are still many high-quality inscriptions on the market.

So far, the number of fake epitaphs of the Northern Wei Dynasty is very large.

Some very elaborate fake epitaphs of the Northern Wei Dynasty have even been included in some formally published copybooks.

The reason for this is not that the copybook collectors deliberately included these fake works, but that these fake works escaped the identification of experts.

For example, these steles collected by Li Tianqiang are true and false, and it is really difficult to identify whether they are true or not.

At the very least, even if it was Chen Wenzhe's appraisal, if he hadn't cheated, he wouldn't be able to see anything for a while.

Chen Wenzhe is quite familiar with the textual research and identification of fake epitaphs of the Northern Wei Dynasty.

Therefore, he could tell at a glance that the Wei stele in front of him was an imitation from the period of the Republic of China.

And the identification is only from several aspects.

First, analyze the style and content of the epitaph in the Northern Wei Dynasty.

See if the suspected fake epitaph conforms to the routine of making epitaphs in the Northern Wei Dynasty.

Whether its "zhi" (text content) and its "ming" (four-character poems) conform to the language style of the Northern and Southern Dynasties.

The real epitaph of the Northern Wei Dynasty is not a master, so it is really hard to fabricate it.

Secondly, it is necessary to analyze whether the writing style of the epitaph suspected of being fake is the writing style of the Southern and Northern Dynasties, or whether it only refers to the writing style of "Twenty Pins of the Dragon Gate" or other earlier unearthed epitaphs.

If the writing techniques are too similar, and at the same time, the writing method after the Tang Dynasty is also included, it is likely to be a fake.

Thirdly, for any newly unearthed epitaph, first of all, do not preconceive that it must be the real epitaph, but should take a research attitude to verify and analyze its shape, content, pen and other elements from multiple angles.

The existence of a large number of fake epitaphs in the Northern Wei Dynasty is a destructive interference to the research on the history of calligraphy and to the activities of calligraphy learners.

For all kinds of fake epitaphs, we must have an attitude of "removing the false and preserving the true" and analyze them.

During this process, our overall understanding of the epitaphs of the Northern Wei Dynasty will undoubtedly reach a new level.

In the final analysis, it definitely needs a certain foundation.

At the very least, you must be an expert in one field, so that you can complete the appraisal of an antique.

Appraisal is very important in the antique world.

Because you don't know how to appraise, you will suffer a lot.

Just like now, Chen Wenzhe is looking at a stele of Ouyang Xun.

Ouyang Xun, a minister and calligrapher of the Tang Dynasty.

Ouyang Xun is proficient in calligraphy, and together with Yu Shinan, Chu Suiliang, and Xue Ji, he is called the "Four Masters of the Early Tang Dynasty".

Because his son Ouyang Tong is good at calligraphy, the father and son are collectively called "Xiao Ou".

Calligraphy is dangerous in the middle of the plain, and it is called "European style".

Representative works: Regular script includes "Jiucheng Palace Liquan Ming", "Huangfu Birthday Stele", "Huadu Temple Stele", and running script includes "Zhongni Meng Lian Tie" and "Run Script Thousand-Character Essay".

He has his own unique views on calligraphy, and has written books on calligraphy such as "Ba Jue", "Teaching Jue", "Using the Brush" and "36 Laws".

The "Inscription on the Relic Pagoda of the Zen Master in Huadu Temple", "The Stele of Yu Gonggong Wen Yanbo" and "The Stele of Huangfu's Birthday" are known as "the number one regular script in the Tang Dynasty".

A famous master like this must be the hardest hit area for imitations.

Obviously, the monument in front of Chen Wenzhe belongs to Ouyang Xun's work.

As for whether it is genuine or not, Chen Wenzhe will definitely not be able to tell for a while.

And he didn't want to guess, let alone use cheating methods to identify it.

Playing with antiques is just such an interesting thing, if you cheat directly and get the answer after an appraisal, what's the point?

In fact, in the process of identification, it is still a learning process.

This process, like breaking a eucalyptus, is very interesting.

Chen Wenzhe enjoys this process, so every time he encounters an antique, he tries his best to identify it by himself.

This time I encountered so many inscriptions, and they are all famous inscriptions. Although I know that these are probably all fake, what if there is a real one?

As long as there is a real piece, it will make a lot of money.

Besides, even if these are all fakes, they are definitely treasures.

Because of their own artistic value, not low.

You know, this is a high imitation, even if he came to imitate it, it definitely cannot be imitated in a short time.

With so many sophisticated imitations, it is enough to put them on display in any museum.

These things are like the large number of imitation Sanxingdui bronzes in his museum. As long as the imitation is good, can you not want to take a look because they are imitations?

Between them and the real thing, there is less sense of age.

What's more, these inscriptions in front of you don't even lack a sense of age!

You know, many things in museums are imitations.

It is impossible for them to display the genuine product wantonly.

Therefore, those imitations may not be as good as what Chen Wenzhe saw in front of him!

Now it depends on Chen Wenzhe's ability, he also wants to be able to confirm some genuine products.

Therefore, he looked at each stone tablet very carefully.

As for the epitaph of Ouyang Xun, it is actually not difficult to identify it, because he is so famous.

But Chen Wenzhe only took a few glances before he smiled wryly.

If what I saw this time was the real one, I would have earned a lot of money, because there was a large stack of inscriptions in front of this monument.

What are inscriptions?In the past, it was commonly known as "black tiger".

Inscriptions are a kind of artwork that not only has cultural and historical connotations, but also has artistic taste and craftsmanship.

In order to record important events and grand ceremonies of the previous dynasty, many predecessors carved literary forms and handwriting of calligraphers on cliffs and stone tablets by famous craftsmen.

Therefore, steles have multiple artistic contents.

There are also surface-packed scrolls or albums, which become rubbings.

Rubbing is the collective name of stele and post. In fact, "monument" refers to the rubbings of stone carvings, and "tie" refers to the collection of famous ink marks of the ancients engraved on wooden boards or stones.

In the early stage of printing development, rubbings of monuments and post rubbings were important means of spreading culture.

In the future, people will learn these written materials in order to learn calligraphy or make historical materials.