Be reminded there are 5 parts to the story of the fake Chen Ming Yuan Gourd-shaped Zisha Hu in coming China Guardian AUTUMN AUCTION 2021:

Be reminded there are 5 parts to the story of the fake Chen Ming Yuan Gourd-shaped Zisha Hu in coming China Guardian AUTUMN AUCTION 2021:

• The seven archaeologically excavated Shi DaBin Pots are the Guardians auction of the Shi DaBin legacy
• Deterioration in stone wares like Zisha Pots by Ciram Art laboratory.
• Something about the top grade Mingguo Old Masters’ forgeries especially the Chen Ming Yuan forgeries that are giving the Old Zisha Hu learning and collecting world a very big headache but now no more headache with Ren Fu Collection’s excavated Pots with archaeological records.
• The fake Chen MingYuan Gourd-shaped Zisha Hu in the China Guardian AUTUMN AUCTION 2021 is one of the top-grade fake Chen Ming Yuan Pots in the market and why Ren Fu Collection must keep the 10% knowledge secret to prevent the forgers from getting the upper-hand?
• Huang Qian Liang’s fraud-ridden world is getting smaller and Ren Fu Collection’s truth-seeking world is getting bigger

THE SEVEN ARCHAEOLOGICALLY EXCAVATED SHI DABIN POTS ARE THE GUARDIANS OF THE SHI DABIN LEGACY…………………………

The curator Li Shui Yi of the Hong Kong Museum in 2007 in the book titled “Proceedings of the “2007 International purple sand Symposium” (see page161) expressed her low confidence in the over a hundred Chen Ming Yuan Pots collected and exhibited by museums when she said, “ The more than a hundred Chen Ming Yuan Pots exhibited by the museums I do not which is genuine Chen Ming Yuan Pots and which is fake Chen Ming Yuan Pots”, and she added, “ We have seven archaeologically excavated Shi DaBin Pots but not one archaeologically excavated Early Kangxi Chen Ming Yuan Pot”.

Yes, Ladies and Gentlemen, what Miss Li Shui Yi, the curator of the Hong Kong Museum was implying was that it’s very hard for fraudsters or forgers to put up a fake Late Ming Shi DaBin Pot for auction, for sale or for exhibition because there are 7, we repeat seven archaeologically  excavated Shi DaBin Pots for references as benchmarks. These 7 archaeologically excavated Shi DaBin Pots expose any fake Shi DaBin Pot which dare to appear on the market.

Yes, Ladies and Gentlemen, these seven archaeologically excavated Shi DaBin threaten to give any expert a bad name if he/she dare to say their fake Shi DaBin Pots are genuine Shi DaBin. And Ladies and Gentlemen, that is why the organized fraudsters and forgers avoid showing off their fake Shi DaBin Pots like a plague except those made in Mingguo period.

Not for fake Chen Ming Yuan Pots where there were a lot, a lot of fake Chen Ming Yuan Pots made by Mingguo top contemporary Potter who innocently made the Chen MingYuan Pots without putting their names on the Pots for the Shanghai dealers who fraudulently sold them as genuine Early Kangxi Chen Ming Yuan Pots.

But Ladies and Gentlemen, these forgeries in the over a hundred  Chen Ming Yuan Pots in museums’ collection and the hundreds more in the market have a very big problem now which they never anticipated?

Yes, Ladies and Gentlemen, these organized fraudsters and fake Chen Ming Yuan Pots did not anticipate Ren Fu Collection coming………and Ren Fu Collection came, Ren Fu Collection saw and Ren Fu Collection conquer and ruin their plans just like in the words of the Roman Emperor Julius Caesar 2,000 years ago.

Ren Fu Collection will send 100 books titled, “Saving Old Purple-Sand Clay Teapots” to honorable, respected Arts people of museums, auctions, international magazines, newspapers and national televisions. We will send a book to the curator of Hong Kong Museum Li Shui Yi and tell her just like 99 other prominent Arts people around the world  about Ren Fu Collection’s brave and heroic effort to save Old Zisha Hus like Chen Ming Yuan’s legacy which is slowly being destroyed by organized frauds, fake stories and the countless hundreds of fake Chen Ming Yuan Pots in the market including the museums.

DETERIORATION IN STONEWARES LIKE ZISHA HUS BY CIRAM ART LABORATORY OF FRANCE……………………….

According to Ciram Laboratory based in France, an Art laboratory with an extensive background in archaeomaterial physics and chemistry, whose work is focused on investigating and analyzing works of art and objects of significant cultural heritage:each type of stone will have its own particular natural occurring phenomena of deterioration, even if preserve from bad weather. This occurs in relation to its exposure to moisture, heat and the development of vegetable and animal organisms. Various mineral phases are likely to be differently weathered, especially the most fragile phases, when they are subjected to more or less aggressive environment over a long period of time.

Why is the understanding of naturally occurring phenomena of deterioration important in determining the antiquity of Purple-Sand clay teapot?

The reason is Old Purple-Sand clay teapot cannot be scientifically dated and therefore this is the next best dating method.

How then are we to spot a fake Purple-Sand clay teapot?

The answer is a simple mantra of practice makes perfect as they say and one convenient way of doing it is to look on-line Ian the thousands of post-GuangXu period(1875 to present day) Purple-Sand clay teapots in mainland China auctions that have taken place in the last ten years or so and compare them to Ren Fu Collection’s huge collection of excavated Pre-Daoguang period(1821 to Late Ming) Purple-Sand clay teapots including the twenty-nine archaeologically excavated Purple-Sand clay teapots so far found in mainland China and the hundreds of archaeologically sea-salvaged Purple-Sand clay teapots .

And when you get a picture of what a post-Daoguang period and pre-Daoguang period Purple-Sand clay teapots look like, you will know, in terms of deterioration, a new forgery or fake Purple-Sand clay teapot looks like a post-Guangxu period Purple-Sand clay teapot: shiny and in perfect conditions with minimal or no deterioration on it because natural occurring deterioration takes a long time to develop which in the case of pre-Daoguang period Pots, it takes hundreds of years so that even if the Pot is treated to look old by immersing it in acid and urine to create deterioration and calciferous growths and then buried in earth to appear unearthed, the tell tale signs of forgery will emerged intact when examined closely by an experienced eye.

When you have achieved this step in identifying an old Pot, the next question is: how old Igor what Niande is the Pot?

It’s an easy answer again: using all the archaeologically excavated or sea-salvaged Purple-Sand clay teapots as benchmarks for example by examining the Pot’s form, shape and style like the shape of the knob, lid, spout, body or even the joining line inside the Pot to name a few, can tell you in which Niande or Emperor’s reign the Pot was made.

SOMETHING ABOUT THE TOP GRADE MINGGUO OLD MASTER FORGERIES ESPECIALLY THE  CHEN MING YUAN FORGERIES THAT ARE GIVING THE OLD ZISHA HU LEARNING AND COLLECTING WORLD A VERY BIG HEADACHE BUT NOW NO MORE HEADACHE WITH REN FU COLLECTION’S EXCAVATED POTS WITH ARCHAEOLOGICAL RECORDS………………….

Yes, it’s a top grade, beautiful, exquisite Chen Ming Yuan Gourd-shaped Pot one could be easily fooled into believing Chen Ming Yuan in Early Kangxi made the Pot but on closer inspection with a magnifier reveals a nest of ugly questions like why does a 300 hundred over years old Pot look so new with immaculate, sharp and fresh contours on the leaves and stalk decoration of the Gourd-shaped Pot not to mention the fresh new looking inscriptions that if it is in a court of law leaves very little room for convincing a jury of honest, truth-seeking people that the Pot is a real Early Kangxi Chen Ming Yuan but very easy to reach the verdict that the Gourd-shaped Chen Ming Yuan Zisha Pot is a fake Chen Ming Yuan Pot.

We all know the first wave of Zisha Hu forgeries in Mingguo period is the deadliest because the forgeries were made by top contemporary Potters of that period and the fake Old Masters’ Pots were top grade forgeries. Compare to the first wave, the second wave of forgeries when Taiwanese flocked to Yixing in the 1980s to make fake Pots were tame and mostly low grade. The third or present wave is the biggest because it combined all the 3 waves, namely, the first wave of forgeries in Mingguo, the second wave of forgeries in the 1980s  and the ongoing third wave of low grade fake and fake copies of unearthed Pots by Fujian forgers who are relentlessly copying unearthed Pots in big numbers and looking for new unearthed Pots to copy as we speak.(so that is another reason why Ren Fu Collection does not reveal the 2nd and 3rd thousand Pots).

The first wave is the deadliest wave of forgeries because top contemporary Mingguo Master Potters were roped in by the big Shanghai dealers(you can call them organized fraudsters if you like) to make the best and top grade forgeries, some are copies of Old Masters’ work but most are self-creations that the Old Masters did not make. These financially-starved Mingguo Master Potters were told not to sign or put their names on the newly made Pots because the Shanghai dealers have other dishonest, fraudulent ideas which is to sell the Pots as genuine Old Master Potters’. That is why we see a lot of top grade Fake Shi DaBin or Chen Ming Yuan Pots today which are made by these Mingguo Master Potters and a lot of the forgeries are of better quality than the Old Masters’.

And how and where did these organized Shanghainese fraudsters sell their fake Old Masters’ Pots? Hong Kong for a start because it’s a British international trading hub and from there sold to wealthy collectors from Japan, Taiwan, Nanyang and even Europe.

值得一提的是，中国嘉德2021秋季拍卖会的仿造陈鸣远葫芦形紫砂壶的故事分为五个部分：

1) 七个考古发掘的时大彬壶是时大彬遗产的守护者。

2) Ciram Art 实验室对紫砂壶等石器的老化。

3) 关于民国上等大师的赝品，尤其是陈鸣远的赝品，这让紫砂壶的学习者和收藏界感到非常头疼，但现在人们不再为任富收藏的出土陶器和考古记录而头疼了。

4）中国嘉德2021秋季拍卖会的仿造陈鸣远葫芦形紫砂壶是市场上的高档假陈鸣远壶之一，为什么任富收藏必须对百分之十的知识保密，以防止伪造者占上风？

5) 黄健亮欺诈骗的世界会越来越小，任富收藏的求真世界将越来越大。

七个考古发掘的大彬壶是时大彬遗产的守护者…………………………

香港中文大学博物馆馆长黎淑仪在《2007年国际紫砂研讨会论文集》书里（见图161）中表达了她对博物馆收藏和展出的一百多个陈鸣远壶的信心不足。“我不知道博物馆展出的一百多个陈鸣远作品是真陈鸣远壶还是假陈鸣远壶”，她补充道，“我们有七个考古发掘的时大彬壶，但没有一个康熙早期的陈鸣远壶。”。

是的，先生们，女士们，香港中文大学博物馆馆长黎淑仪小姐暗示，欺诈或伪造者很难为拍卖、出售或展览装扮一个假时大彬壶，因为有七个考古，我们重复了七个考古发掘的时大彬作为基准，这七个考古发掘的时大彬壶揭露了任何敢于在市场上出现的仿造时大彬壶。

是的，先生们, 女士们，这七个考古发掘的时大彬壶将会给任何敢说他们的仿造时大彬壶是真的紫砂老壶专家们坏名声。先生们, 女士们，，这就是为什么有组织的欺诈者和伪造者像避免瘟疫一样炫耀他们的仿造时大彬壶，除了那些民国时期的。

不是因为有很多仿造的陈鸣远壶，而是很多由民国当代顶级陶艺家制作的仿造陈鸣远壶，他们在没有将自己的名字写在壶的情况下，无辜地为上海经销商制作了陈鸣远壶，这些经销商欺诈性地将其作为康熙早期的陈鸣远壶出售。

但是，先生们，女士们，博物馆收藏的一百多个陈鸣远壶和市场上的数百多个陶瓷中的这些赝品现在有一个他们从未预料到的非常大的问题？

是的，先生们, 女士们，这些有组织的欺诈者和仿造的陈鸣远壶并没有预料到任富收藏的到来……而任富收藏来了，任富收藏看到了,  征服并摧毁了他们的计划，正如2000年前罗马皇帝朱利叶斯·凯撒（Julius Caesar）所说的那样，任富收藏征服并摧毁了他们的计划。

是的，先生们, 女士们，，这些有组织的欺诈者和仿造的陈鸣远壶并没有预料到任富收藏的到来……

任富收藏将向博物馆、拍卖会、国际杂志、报纸和国家电视台的尊敬的艺术人士发送100本书名为《拯救老紫砂泥茶壶》。我们将送一本书给香港中文大学博物馆馆长黎淑仪，告诉她像世界上其他99位杰出的艺术人一样，关于任富收藏的智慧而英勇的努力去拯救老紫砂壶，就像陈鸣远的遗产，它被有组织的欺诈者慢慢破坏，包括博物馆在内的市场上有无数的仿造陈鸣远壶。

从科学的角度来看，一把古老的紫砂泥茶壶，也称宜兴陶器茶壶，是一块腐蚀或变质的陶器。

椐位于法国的CIRAM实验室称，这是一个具广泛的考古物理和化学背景的艺术实验室，其工作是调查和分析艺术作品的重要文化遗产和对象：每种类型的石头都有其独特的自然变质现象，即使不受恶劣的天气下影响，当时间处于或多或少的浸蚀环境中时，不同的矿物相很可能会有不同风化作用，尤其是在最脆弱的阶段。

为什么理解自然的变质现象，或如果你喜欢腐蚀过程，这对于确定紫砂泥茶壶的古老性很重要？

原因是老的紫砂泥茶壶，无法用科学来测定年代，因此，这是一个最佳的测定方法。

那么我们要怎样来识别一个假的或伪造的紫砂泥茶壶？

答案是一句简单的口头禅：熟能生巧，一个方便的方法是在网上观看中国大陆近十年来拍卖的后光绪时期（1875年至今）的紫砂泥茶壶，并将它与任富收藏（Ren Fu Collection）的前道光时期（1821年至明末）大量出土的紫砂泥茶壶进行比较，其中包括至今为止在中国发现的二十九把考古挖掘的紫砂泥茶壶和数百把考古海捞的紫砂泥茶壶。

当你看到后光绪时期和前光绪时期的紫砂泥茶壶的照片时，你就知道，在腐蚀方面，一个新的伪造或假的紫砂泥茶壶，看起来像后光绪时期的紫砂泥茶壶；光亮且完好无损，几乎没有自然的腐蚀，因为天然发生的变质或腐蚀需要很长的时间来形成。在前道光时期的紫砂泥茶壶，是需要数百年的时间。因此，即使陶器浸泡在酸和尿液中，使其看起来老旧以产生腐蚀和含钙生长，然后埋在地下土中，以显露出土的痕迹，当它被一双经验丰富的眼睛仔细检查后，伪造的迹象也将会完整的显示出来。

当你完成确定了识别老壶的这一步后，接下来的问题是：老壶有多大了？

这又是一个简单的答案：使用所有考古发掘的或海中打捞的紫砂泥茶壶作为基准，例如：通过检查壶的形状，风格和样式，如壶盖旋钮、壶盖喷口、壶身、甚至是壶内的连接线等等，可以告诉你壶是在哪一个年代或皇帝的统治下制造的。对于没有任何出处或证据而流传下来的紫砂泥茶壶，最好是避免使用，因为它们通常是基于相互矛盾和混淆的猜测、假设，甚至是轻率的欺骗，尤其是在欺诈者手中。

关于上品的民国老大师赝品，特别是陈鸣远赝品，这让老紫砂壶的爱好学习者和收藏界非常头疼，但现在人任富收藏的出土陶器和考古记录不再让人头疼…………………。

是的，这是一个上等的、漂亮的、精致的陈鸣远葫芦形壶，让人们很容易被愚弄到相信是康熙初年陈鸣远做的壶，但用放大镜仔细观察，会发现一堆丑陋的问题，比如为什么一个三百多年的老壶看起来如此新，没有瑕疵，葫芦形壶的叶子和花茎装饰上清晰而新鲜的轮廓，更不用说那些崭新的铭文了，如果是在法庭上，几乎没有让陪审团相信诚实，实事求是的人认为，这壶是康熙初期真正的陈鸣远，但很容易得出结论，认为葫芦形的陈鸣远紫砂壶是假的陈鸣远壶。

我们都知道，民国时期的第一批紫砂壶赝品是最致命的，因为这些赝品是由当时的顶级陶艺家制作的，而假老壶大师的紫砂陶器是顶级赝品。与第一波相比，20世纪80年代台湾人蜂拥而至宜兴制造假壶的第二波造假活动较为平淡，而且大多是低级造假。第三波或者说现在的这一波是最大的，因为它把这三波结合起来了，也就是第一波民国的造假，20世纪80年代的第二波仿造和福建仿造者正在进行的第三波低档仿冒出土陶瓷，他们无情地大量仿制出土陶器，并寻找新的出土陶器进行仿制（这也是任富收藏没有披露第2和第3千只陶器的另一个原因）.

第一波是最致命的造假浪潮，因为当代著名的民国陶艺大师被上海的大经销商（如果你愿意，你可以称他们为有组织的欺诈骗子）拉拢来制作最好、最高档的赝品，有些是老大师作品的复制品，但大多数是老大师没有制作的自我创作。这些经济拮据的民国陶艺大师被告知不要在新制作的陶瓷签名，因为上海经销商还有其他不诚实、欺诈的想法，即将这些陶瓷作为真正的老陶艺大师出售。这就是为什么我们今天看到许多由这些民国陶艺大师制作的上等仿制时大彬或陈鸣远的陶艺作品，而且许多赝品的质量比老陶艺大师的好。

这些有组织的上海欺诈者是如何在哪里出售他们的仿造老紫砂壶的？香港首先是因为它是英国的自由国际贸易中心，从那里卖给日本、台湾、南洋至欧洲的收藏家。