Inkjet technology creates a high imitation era of Chinese calligraphy and painting

The high imitation of calligraphy and painting has already existed in ancient times. Assassin Xu Bangda once praised the paintings and paintings of the Forbidden City in the past. “The printing is very good and it can be very confusing.” In fact, whether it is Duo Yunxuan or Rong Bao Zhai’s “wooden watermarks” or replicas of the Jurassic and The superb copy of the ancient paintings and calligraphy of Japan’s Second Life Society was once welcomed by the appreciation circle and the fans of calligraphy and painting. However, what happens when high-imitation prints and paintings come into circulation in the real sense? “A lot of paintings and calligraphy are completely invisible to the eyes. Chinese paintings and calligraphy are now in the era of high imitation. The son of Tang Yun, who once saw Tang Yun’s painting signed by his father, couldn’t see true or false until he later used 40. Magnifying glass can only be seen as a fake painting, said Xiao Ping, a famous collection expert. In the face of duplicating chaos, what is most needed at present is a credible accreditation body, with certain responsibilities assigned by the state.

Ink jet printing

A typical victim of high imitation calligraphy and painting is Hao Xianlei, a collector who has been engaged in painting and calligraphy collection for 20 years. At a Beijing auction last year, he took over more than RMB 200,000 to obtain the (Wen Qing) Wang Wenzhi Handwriting Handwriting. (Qing) Alchemist The vertical axis of the landscape and the opening pages of Gu Wenyuan and Cai Yuan were 10 pages. After obtaining three paintings, Hao Jinglei felt a little strange and sent it to the Art Evaluation Committee of the Cultural Market Development Center of the Ministry of Culture for appraisal. Two of the results were not authentic, and the other result was to be determined. After re-approving the printing expert's appraisal, let Hao unexpectedly think that the three pictures and paintings are actually printed materials.

The original traceability and high-quality painting and calligraphy technology was not intended to attract huge profits, but to facilitate the learning of calligraphy and painting lovers and the rise of Linyi. During the period from the late Qing Dynasty to the Republic of China, the use of lithography and the printing technology of the Milo used printing techniques. After 1949, Duo Yunxuan and Rong Bao Zhai invented the “watermark woodblock” based on engraving and printing technology. The finished product was very similar to the original one. Technology that is already in decline has been included in the national intangible cultural heritage. In the 1970s and 1980s, the National Palace Museum commissioned the Japanese “Second Black Art Society” to copy and copy masterpieces of ancient painting and calligraphy. In 1996, the replica of the Second Black Art Society was exhibited in the Forbidden City. It was called "The First Authenticity" and caused a stir in the collectors' world.

In recent years, with the development of printing technology, especially the use of high-simulation high-tech technology for inkjet printing, and the use of “half-prints and half-drawings” for mashups, the fidelity of high-fidelity copies of books and paintings is so invisible to the naked eye. New buyers are easily fooled and some old collectors will look away. Tang Yilan saw a number of paintings signed by Tang Yun at some auctions. He must use 40 times the magnifying glass to clearly see the micro-spraying points. In other words, these paintings are actually ink jet printing. .

Allowing lawyers to intervene early in the transaction

Yin Yi, director of the Chinese Academy of Arts and Technology's Institute for the Identification of Paintings and Calligraphy, was involved in the copying of paintings and calligraphy as early as the 1980s. According to him, the printed and printed reproductions of the 1980s had outlets, and the reproductions and hand-painted works were very It is easy to distinguish, but in recent years, it has become more and more difficult to distinguish by naked eyes. The reason is that there have been major changes in the inkjet printing technology and equipment introduced into China by the United States and Japan, and the used “dye ink” has been updated to “ Pigment ink." Such as the United States Hewlett-Packard's pigment inkjet printing equipment, can be printed directly on the uncoated ordinary rice paper. At the same time, the realization of the micro-injection technology makes the ink dots close to infinity, and with the ink droplets on the rice paper, the ink spots on the printed works are difficult to observe. Yin Yi also believes that because some works are semi-imprinted, that is, they are hand-drawn after printing, and there are still problems in the identification of such works.

Hu Hammer, director of the Former Palace Museum Information and Information Center, believes that what is needed most at present is a credible appraisal agency with certain responsibilities assigned by the state. This proposal is still difficult at the operation level. After all, the conclusion of the painting and calligraphy appraisal has a relatively large degree of personal subjectivity. Even if such appraisers like Xie Zhiliu and Xu Bangda have different opinions, let alone the general appraisers. It is precisely for this reason that China’s forensic system has not yet incorporated the identification of paintings and calligraphy. During the court’s hearing, the conclusions issued by some of the appraisal agencies are difficult to adopt as evidence. In this regard, a lawyer suggested that, in addition to practicing their own eyesight, collectors can also allow lawyers to intervene early in the transaction process to ensure that the transaction process can be implemented to monitor and prevent some "ambiguous words" caused disputes.


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