Mohamad reza Zahedi; Hasan Karimian
Abstract
Since the onset of the Enlightenment in the early 18th century, and the subsequent establishment of museums, galleries, and private collections, the acquisition of cultural artifacts ...
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Since the onset of the Enlightenment in the early 18th century, and the subsequent establishment of museums, galleries, and private collections, the acquisition of cultural artifacts to populate these institutions became imperative. However, this period also witnessed the emergence of counterfeit works, crafted in collaboration with specialists across various disciplines. A crucial inquiry arises regarding the identification of the methods and techniques employed by forgers, the recent surge in counterfeit production, and the detrimental impact of such works on archaeological studies and museum activities. This paper aims to provide a comprehensive examination of counterfeit works, tracing their origins in Iran, elucidating the typology of counterfeit objects, detailing the methods of forgery, and analyzing their dissemination to target audiences. Through a combination of library research and field studies, this investigation reveals that counterfeit works exploit historical and cultural significance, often leveraging contemporary scientific knowledge. The lack of precise discernment by target groups regarding these counterfeit works has facilitated their creation and distribution across three primary levels: 1) individuals seeking to amass wealth, 2) domestic enthusiasts of historical and cultural artifacts, and 3) galleries and foreign museums
