Reinterpreting Suzhou Fake: Cultural Inheritance and the Art Market

The Suzhou Fakes from the late Ming and early Qing dynasties were frequently regarded as forgeries, resulting in relatively scarce overall evaluations and studies of them. Previous research on the Suzhou Fakes focused more on authenticity identification, but lacked studies on their artistic value and historical positioning. This research takes various versions of Spring Dawn in the Han Palace as a case study to reevaluate the artistic and historical roles of Suzhou Fakes from this period. Employing multidisciplinary methods, including literature review, image analysis, comparative studies, brushwork and material technology analysis, as well as archival and circulation history research. The study reveals distinguishable differences in composition, colour, and technique among the versions, reflecting the social, cultural, and market demands of different dynasties. Rather than mere copying, these works are based on the continued use of traditional brushwork and style, with intentional restructuring to meet the aesthetic and functional needs of their time. This article holds that the Suzhou replicas should be regarded as an important element in cultural inheritance and the art market, which provides a new perspective for the identification of the authenticity of artworks and the assessment of the market.