China Times – April 6, 2019
By Li Yiyun

As art collection becomes a popular option for asset allocation and investment, more people are stepping into the world of art collecting, with the age demographic of collectors trending younger. However, entering this field often comes with the risk of “paying tuition”—getting duped due to a lack of expertise or knowledge. To address this, art authentication expert and founder of the Mo Hai Lou International Art Research Group, Dr. Ye Guo-Shin, shares the secrets of identifying counterfeit works through the Art Connoisseurship Exhibition.

Dr. Ye explains that forgery in Chinese painting and calligraphy has existed for centuries, with techniques constantly evolving. For example, the “mountain edge substitution” method involves cutting out the inscriptions and signatures along the mountain edges in landscape paintings and replacing them with blank paper or silk of the same period and texture. A renowned artist’s inscription is then added, creating a near-perfect imitation.

Another technique is called “splitting layers,” commonly seen in the works of calligraphy master Yu You-ren. Dr. Ye notes that the special type of paper Yu often used, such as double-layered or composite Xuan paper, could be split into two sheets at a framing shop, doubling the profit. He warns that experienced eyes can immediately detect a “second sheet,” explaining that while it is still an original, it lacks the depth of ink saturation, appears uneven in areas where strokes break, and shows granular inconsistencies. “Some might think they scored a bargain,” he adds.

Dr. Ye shares an amusing example regarding Xu Beihong’s famous horse paintings: “A friend once told me they got a great deal on a Xu Beihong! I immediately asked, ‘Did you buy just the horse’s backside?’” It turns out Xu Beihong would occasionally sketch only a horse’s rear as a tongue-in-cheek commentary on sycophants (“kissing up”), and such works naturally sell for less.

Similarly, the apprentices and family members of master artists often create works that are strikingly similar to the originals. For instance, Zhang Daqian’s two prominent disciples, Sun Yun-sheng and Sun Chia-chin, became adept at replicating their teacher’s style. Dr. Ye compares Zhang Daqian’s original Bade Garden to Sun Chia-chin’s Solitary Pine in Bade Garden, illustrating what he refers to as “twin forgeries.”

Another case is Fu Yi-yao, daughter of artist Fu Bao-shi, whose paintings were once praised by literary figure Guo Moruo as “virtually indistinguishable from her father’s.” By comparing Fu Bao-shi’s Mountain Rain with Fu Yi-yao’s work, one can see a remarkable resemblance—”an eight or nine out of ten match,” according to Dr. Ye. However, her exceptional mimicry has led unscrupulous dealers to remove her signature and sell her works as authentic Fu Bao-shi pieces.

Dr. Ye emphasizes that, in today’s flourishing art market, where incidents of forgery are rampant, it is crucial to rely on evidence rather than hearsay in art authentication. His goal is to raise awareness and teach collectors to approach authentication with logical and factual methods.