Goal and Target
A unusual path for a museum like ours, that of focusing on the theme of Fakes, where critics and art scholars have been tormented since the paternity or maternity of a work of art determines its ultimate value, and because the discovery of deception and the hunt for the deceiver makes artistic evaluation an intriguing process.
The aim is to exhibit 23 works from our museum that are normally unknown to the public in which the styles of the Chinese Tang or Song dynasties, as well as reproductions of ancient Benin bronzes and Amazonian ritual diadems become the point from which to rekindle a flashback that brings ancient rites or traditions back to life. The Museum thus takes the opportunity to celebrate an "equal beauty" with the other works on display. The evaluations and reflections on these "Fakes" are up to the public.
The aim is to exhibit 23 works from our museum that are normally unknown to the public in which the styles of the Chinese Tang or Song dynasties, as well as reproductions of ancient Benin bronzes and Amazonian ritual diadems become the point from which to rekindle a flashback that brings ancient rites or traditions back to life. The Museum thus takes the opportunity to celebrate an "equal beauty" with the other works on display. The evaluations and reflections on these "Fakes" are up to the public.
Yellow Dragon Vase
A porcelain vase with a trumpet neck, rounded belly and expanded foot. Decoration: yellow dragons, clouds and flowers, on a red background.
It imitates a vase from the Ming Period, Emperor Jiajing (1522-1566). Very few vases of these colors were produced in the kilns of JingdeZheng. The original is preserved in a museum in Taipei.
Made in the early 1900s.
Qing Dynasty
Emperor Guangxu Period (1875-1908)
It imitates a vase from the Ming Period, Emperor Jiajing (1522-1566). Very few vases of these colors were produced in the kilns of JingdeZheng. The original is preserved in a museum in Taipei.
Made in the early 1900s.
Qing Dynasty
Emperor Guangxu Period (1875-1908)
Tripod Censer
Tripod censer that wants to imitate the Sancai (three colors) of the Tang period (6th-10th century), made at the turn of the 20th century to feed the market in the West.
Rounded body with a short cylindrical neck and mouth opening. Three feet in the shape of a dragon. From the mouth of the vase there are two handles in the shape of a fantastic animal, whose jaws are joined to the body of the vase.
Rounded body with a short cylindrical neck and mouth opening. Three feet in the shape of a dragon. From the mouth of the vase there are two handles in the shape of a fantastic animal, whose jaws are joined to the body of the vase.
Ceramics and Sancai
The coloring of the glazes was obtained by adding metal oxides (iron, copper and cobalt) which, during firing, gave rise to monochrome glazes (respectively, brown in various shades, green and blue). Among these, green glaze was the most widespread in the Han dynasty.
During the Tang dynasty, the combination of different shades of lead glazes left to drip onto the same object characterized sancai (“three colors”) ceramics, produced in the north and characterized by brilliant chromatic contrasts.
During the Tang dynasty, the combination of different shades of lead glazes left to drip onto the same object characterized sancai (“three colors”) ceramics, produced in the north and characterized by brilliant chromatic contrasts.
Benin Bronzes
Painting - Landscape
Watercolor on paper, lined on paper and silk frame. Imitation of a painting by the painter Xi Gang (1746-1803).
The painting is of good artistic quality. The context of its creation is unknown. Possibly late 19th century.
The paintings are not fakes as we conceive them in the West, but rather a tribute to that master in the typical Confucian attitude, according to the style of that master, openly declaring it in the calligraphy. Otherwise, if an author creates the same painting and signs it with the name of the imitated master, then this creation is a fake.
The painting is of good artistic quality. The context of its creation is unknown. Possibly late 19th century.
Painting in China
In Chinese culture, painting and calligraphy are considered the highest form of art. There is therefore enormous admiration for the great masters of the past.The paintings are not fakes as we conceive them in the West, but rather a tribute to that master in the typical Confucian attitude, according to the style of that master, openly declaring it in the calligraphy. Otherwise, if an author creates the same painting and signs it with the name of the imitated master, then this creation is a fake.
Private Collection (19th century)
