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在书画艺术市场领域里,赝品不能简单地等同一般商品的造假和欺诈行为。因为从古以来,造成中国画赝品充斥的原因很多,有些射利之徒固然是为谋取暴利,但一些摹本完全是为了学习古人或当时的名家而临摹的,其性质与前者截然不同。因此,要识别它们与原作的区别,鉴定不仅是当前而且是日后公私收藏和市场流通中永远肩负的一项历史使命。 在中国宫廷绘画发展史上,清代的宫廷绘画创作远不及宋代,甚至也不如明代那样兴盛:就画家队伍,在全国画家当中也非一流人物。因而,清代的宫廷绘画,过去一直被美术史家们所忽视、也没有引起学者们所注意。聂崇正先生利用在故宫博物院工作的有利条件,十多年来对清代宫廷绘画深入、系统地从机构及制度、分类、分期、画家和真伪鉴别进行全方位的研究,从而填补了清代绘画史中的这一空白。在当前书画市场繁荣而掀起的伪造书画的高潮中,清代宫廷绘画也是作伪者不断涉足的范畴。与当年的“后门造”不同的是,当代作伪者利用一定的技术手段,因而伪作具有更大的欺骗性。从聂文揭露的实例,值得藏家们在收藏中引以高度重视和警惕的。
In the field of calligraphy and painting market, counterfeits can not simply be equated to the fraud and fraud of ordinary goods. Because there have been many reasons why ancient Chinese fake artifacts have been flooded for a long time, some of them are for profiteering. However, some of the copies were completely copied for the purpose of learning from the ancients or famous masters of the time. Their nature is quite different from that of the former. Therefore, to identify the difference between them and the original, identification is not only the current and future historical mission of public and private collections and market circulation will always shoulder. In the history of the development of court painting in China, the court painting in the Qing Dynasty was far from the Song Dynasty, even as flourishing as the Ming Dynasty: on the painter team and among the national painters, it was also not a first-rate figure. Therefore, the court paintings in the Qing Dynasty were neglected by art historians in the past and did not attract the attention of scholars. Mr. Nie Chongzheng took full advantage of the favorable conditions of his work in the National Palace Museum to conduct a comprehensive study of court painting in the Qing Dynasty over the past decade and systematically studied institutions and systems, classification, staging, painting and identification of authenticity to fill the gap between the Qing Dynasty This gap in the history of painting. In the climax of the fake painting and calligraphy that the prosperity of the current calligraphy and painting market set off, the court paintings of the Qing Dynasty were also the areas that the perpetrators continued to set foot in. Different from the “back door construction” of the year, contemporary pseudo-persons make use of certain technical means and thus pseudo-work is more deceptive. The examples exposed from Nie Wen deserve the great attention and vigilance of collectors in the collection.