Others that can be clearly seen as fakes are also "Relics of the Brick Tower of Yuanguo Taoist Temple", which was also unearthed in the Song Dynasty.

The "Yudi Monument Records" records say: "It was written by the Sui people, and recently people have dug up the land and found it."

Du Mu's "Jin Xie Linlang" records the full text, which also means "the name of the person who wrote without a book."

The so-called "Song rubbings" in the current scriptures were written by those who were interested in the late Ming Dynasty. The font was similar to "Leyi Lun", and "The prince ordered Ouyang Xun to write and write."

"Records of Relics" was established in the ninth year of Daye in the Sui Dynasty, but Ouyang Xun signed an official title in the Tang Dynasty. It is obvious that the authenticity is not a question.

In addition, the same is true for the Heart Sutra in the small regular script. It was copied from the translation of Master Xuanzang, which has been several years since Ouyang Xun's death.

"Epitaph of Monk Huangye" is titled "The script of Xu Jingzong, the Minister of the Huangmen, and the Bachelor of Hongwenguan, Ouyang Xun's Book".

Wang Yun's "Twelve Insects and Stones" has discovered: "The Book of Tang in the Old and Old, and Jingzong was a disciple of Lianzhou at the beginning of Wude, and the scholars of Hongwenguan were not yet named Huang Ye in the "Old Book of Tang: Biography of Fang Ji". It is suspected that it was a fake work by later generations."

Now some researchers have pointed out that the full text of the epitaph is a pieced together and mixed together by Emperor Jianwen of Liang, who wrote "Epitaph of Master Huinian", "Epitaph of Master Jingtuo", "Epitaph of Master Zhiqian" and "Epitaph of Master Zhi" written by Lu Ye.

As for "The Epitaph of a Woman Su Yuhua" and "The Epitaph of a Guo Yun", the method of making fakes is poor, and the discussion of "The Eight Qiong Shi Jinshi Anti-Fake Stone" is detailed, and there is no effort to leave.

Chen Wenzhe also found a rubbing of "Zhang Cong Stele", which actually contained the words "Shu Ouyang Xun, the Yinqing Guanglu Dafu".

If you look closely, it is a pieced together by using the broken characters of the original stele.

This is the same method as "Shancai Temple Stele" pretending to be Chu Suiliang's calligraphy, and it is also a kind of fiction.

As long as such inscriptions and calligraphy are knowledgeable, they are actually not difficult to identify, and it can be said that they do not have any technical content.

So, pick these out and put them aside.

Among these, if there are ancient imitations, it is also valuable.

If it is imitated by a celebrity, that is, a celebrity is faked by a celebrity, then its value will be higher.

However, such good things are not common.

Because there are also people in modern times who specialize in forging this ancient imitation.

It can be said that as long as you can make money, there is nothing that modern people don’t do.

Therefore, no matter which kind of inscriptions and calligraphy, Chen Wenzhe reads it very seriously.

Compared to the inscriptions that I don’t know much about, Chen Wenzhe still has some understanding of copybooks and knows how to fake them.

After all, his current methods of doing old things should be truly surpassing the master and reaching the level of a master.

After all, this is the ability that I got when I just got the Pearl of the Sui Hou.

He learns almost any knowledge in his dreams and can gain old skills.

Because it needs to be identified and appreciated, you must know which sign can be made by old age.

In this way, Chen Wenzhe's old skills grew the fastest.

To be old, sometimes it is to be fake.

To put it nicely, you can say that you copy it!

Therefore, even Chen Wenzhe has a deep understanding of inscriptions and calligraphy.

He knew that forgery of inscriptions and calligraphy were just some common methods.

The rubbings are forged, and they can be roughly divided into stoneworks, which are fake objects. They are not original rubbings but reprinted versions, and they are used to expand late and early.

When identifying rubbings of the inscription, you must first look at which dynasty the inscription was named.

If not found in the calligraphy of gold and stone, it does not include newly unearthed stele engravings and stele engravings after the Song and Yuan dynasties.

The inscriptions in the year and calligraphy styles are quite different.

All these need to be wary of whether the inscription itself is a false creation towards the wall.

A catalog of fake stele engravings is attached to books such as "Additional Essays on the Extraordinary Stele", which is available for reference by collectors.

If you confirm that it is the original copy (or reprinted), you must write and draw the original copy one by one with the confident original copy before you can identify it.

For example, "The Preface to the Holy Teachings of Wang Xizhi's Calligraphy of Huairen" has the most reprints in the Ming Dynasty.

There are also those that are not imitated from the original stone, there are whole stone versions and horizontally engraved posts.

For example, the Chang'an Beilin Museum contains a horizontally engraved copy of the Ming Dynasty, which is a horizontal rectangular rectangular 3 stones, each stone is 66 cm high and 159 cm long.

The most obvious flaw in the reprinted version is the word "Tao" in the fourth line "Buddha and Taoism are respectful to emptiness".

The two strokes on the prefix are not interrupted, while the raw stone is interrupted.

In addition, ancient steles have many broken remains, and the stone carved inscriptions are often knocked and smashed to imitate the stone flowers and marks of the original stele. However, compared with the inscriptions, it still looks dull and unnatural.

Compared with reprinting, there are also works that are more technically difficult, mainly those that expand late and early.

There are several common ways to fake such works.

Of course, there are methods commonly used by modern people.

The reason why we use these methods to identify is to select modern works first, because this kind of fake is the least valuable and has no artistic value.

Chen Wenzhe’s most familiar method of counterfeiting inscriptions and calligraphy should be to inlay wax and apply ink to study.

Inscriptions in different eras will cause some damage (textual research), and sometimes some questions from later generations will be found.

For example, the "Cuan Longyan Stele" of the Southern Song Dynasty, the stele and stones include the postscript of Ruan Yuan in the early years of Daoguang, the postscript of the prefect of the Gukou Building Pavilion in the seventh year of Daoguang, the postscript of Qiu Junsi in the twelfth year of Daoguang, and the postscript of Yang Pei in the 28th year of Guangxu.

When making forged and retweets, you often write inscriptions on the late stele, fill them with wax and then retweet them to fill in the early slogans without postscripts.

However, this kind of fake version often fails to fill in the lost strokes after Daoguang, and can be discovered by proofreading the publication word by word.

For example, in the Eastern Han Dynasty, the first line of the character "Gan" was dug up in the Qianlong period, forming the shape of "Zhuo".

The library of Shendu University contains Chengfeng and Tongzhima Rubbers. Although the left half of "天" was changed to restore it to its original state, the words "天" and other damaged lines of Chengtong were not changed at the same time, revealing the fake horse's feet.

False wax filling is often difficult to distinguish from the wax filling alone, but the ink color applied to the front of the textual character will be slightly different from the original ink color.

Especially when the ink-coated textual texts that are not loaded with a table are often found that the ink is penetrated by rice paper.

Normal rubbings are often whiter on the back and rarely penetrate the ink.

In addition, in order to make the inscriptions and calligraphy complete or early copying of the inscriptions and calligraphy, some characters that were already broken in the early years were also engraved and then displayed together with the original one.

For example, the initial rubbing of the Northern Song Dynasty "Xuanmi Pagoda Stele" of the Tang Dynasty, the first line "Three" word "Inner Ceremony Three" is intact, and two strokes can be seen later. Later, the word "Feng" is damaged in the lower half, and the word "Three" is only left with the last horizontal line.

In the Qing Dynasty, there was also a situation where "Fengsan" was engraved in mixed form on the original spell.

There are only a few ways to truly study the fake inscriptions and calligraphy.

In addition to the above methods, the most commonly used one is dyeing and making old.

Fake stele and calligraphy are often dark gray, light yellow, yellow-brown, and seem to be very old.

In fact, dark gray can be used to light ink, light yellow can be used to tea water, and brown can be used to dye tiles and flower juice.

These are very simple to do, and those with real technical content are the inscriptions and seals.

The inscriptions of early celebrities often increased the price of rubbing, so there were phenomena of transplanting inscriptions and forging inscriptions of famous people.

The authenticity of the inscription can be identified from several aspects.

Are the calligraphy handwritings of the inscription real?

Does the content of the inscription match the rubbings?

Is there an inscription and seal on the rubbing?

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