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Crossing views on real and fake China porcelain

Journal article
Authors Sophie Duhem
Émilie Roffidal
Maris Boyd Gillette
Laurent Schroeder
Antony Allen
Pierre Ansas
Published in Les Cahiers de Framespa
Volume 31
Issue 2019
Publication year 2019
Published at School of Global Studies, Social Anthropology
Language en
Links https://journals.openedition.org/fr...
Keywords Chinese porcelain, genuine, fake, art markets, museums, collectors
Subject categories Social Anthropology, History, Arts

Abstract

The issue of "genuine" and "fake" recurrently agitates art markets and museums. This is a complex issue that must be grasped by researchers in its transdisciplinary dimension - crossing history, art history, archeology or economic history - as it must be also understood in its technical and material dimensions mobilizing the hard sciences and the field of expertise. This multifaceted approache, necessary for any global consideration of the genuine / fake phenomenon, is even more problematic for Chinese porcelain, since it includes a terminology difficult to set. Thus, the vocabulary of "false" in Chinese, English or French is very diverse; it also reflects various conceptual realities. Is there a "genuine" and/or a "fake" Chinese porcelain? What precise criteria define today the boundaries between what is genuine and what is not? Can we not consider, for example, the aesthetic qualities and uniqueness of an imitated porcelain ware as an expression of a authenticity? In this text, an interview led by Sophie Duhem and Émilie Roffidal, specialists in Asian art market, collectors, academics and curators discuss four key issues : . definitions and perceptions of "fake" Chinese ceramics . locations, methods and strategies of creating genuine and fake . ethical questions (financial, patrimonial, stakes, etc.) . Significant experiences and/or significant events on this topic of genuine and fake.

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