Gulyás Katalin et al. (szerk.): Tisicum - A Jász-Nagykun-Szolnok Megyei Múzeumok Évkönyve 24. (Szolnok, 2015)
Régészet - Hoppál Krisztina: Az utánzás arcai. Egy kínai bronzedény eredetének nyomában Szolnokon
TISICUM XXIV. - RÉGÉSZET Bay Yunxiang 2003. A Discussion on Early Metals and the Origins of Bronze Casting in China. Chinese Archaeology 3/1 (2003) 157-165. Gettens, R. J. 1951. The corrosion products of an ancient Chinese bronze. Journal of Chemical Education 28 (1951) 67-71. Young M.L - Casadio F. - Marvin J - Chase W.T - Dunand D.C. 2010. An ancient Chinese bronze fragment re-examined after 50 years: contributions from modern and traditional techniques. Archaeometry, 52(6) (2010) 1015-1043. Wang Q. - Priewe S. - Chen K-T. - La Niece Susan 2011. A Chinese bronze gui vessel: genuine Western Zhou object or fake? The British Museum. Technical Research Bulletin 5 (2011)59-66 Zhou Wenli 2012. Distilling Zinc in China: The Technology of Large-Scale Zinc Production in Chongqing During the Ming and Ging Dynasties (AD 1368-1911). PhD Thesis, Institute of Archaeology, University College, London. Krisztina Hoppál Faces of the Fake Notes on a Chinese bronze vessel of unknown provenance from Hungary with Appendix by Boglárka Maróti and Ferenc Kristály In 2015 a Chinese bronze vessel from a private collection was brought into the Damjanich János Museum in order to identify its age and provenance. Although the object shares certain characteristics with ritual hu vessels FfSH of the Warring States period (453/403-221 B.C.), the simple decoration and frustrating writing mistakes suggest a much later, possibly modern production. Moreover, according to the X-ray fluorescence analysis conducted by Boglárka Maróti and evaluation and interpretation of this chemical result carried out by Ferenc Kristály, the suspicious composition of the surface patina was detected which also confirms a more recent origin. Therefore, despite similarities with ancient Chinese bronze artefacts, the authenticity of the object has to be called into question. In this manner, through using traditional analytic techniques along with iconography, epigraphy and archeometry, the paper seeks to add details to the background of this peculiar item and intends to draw attention on the role of context in identifying historical objects. Furthermore, as a synopsis of historical and socio-cultural features of Chinese ritual bronze vessels, it might also help to deepen Hungarian academic knowledge in this field. Translated by Krisztina Hoppál
