This website has been created to address the pervasive misinformation, unethical practices, and manipulative behaviors that currently afflict fine art collectors of Chinese art both in the United States and globally. Often, the finest examples of Chinese art remain concealed from the open market due to access being largely monopolized by a select group of individuals who benefit from withholding these exceptional works for their own profit. Renowned auction houses such as Sotheby’s, Christie’s, and Bonham’s maintain significant control over the global fine art market and its prevailing narratives. Institutions, including museums, universities, and associated art dealers, frequently align themselves with the interests of these auction houses to evade potential professional consequences that may arise from dissent. 

The Communist Party's ascension to power in China in 1949 severed the vital connection between collectors and their audiences. While the Cultural Revolution of the 1960s devastated many artistic legacies, China's gradual re-opening since the 1990s has facilitated the reintroduction of previously hidden collections to the market. The elite auction houses have faced a dilemma: either acknowledge the superior quality of newly available pieces and thus expand the market, or maintain their dominance through deception and misinformation. Regrettably, they have chosen the latter route, colluding with state authorities to manipulate both the market and the historical narrative. Consequently, it is essential for collectors to cultivate an analytical perspective to discern outstanding pieces and make informed investment decisions. This knowledge is particularly crucial in light of the elitism exhibited toward those who acquire art outside the corrupt networks dominated by these auction houses and dealers. 

A deep-seated loyalty among these elites compromises their objectivity, allowing them to promote inferior works at inflated prices while preserving an appearance of credibility within their professional spheres. As a result, price assessments often reflect historical market values rather than current realities, with many high-quality pieces unfairly sidelined in decorative auctions or dismissed to protect reputations. The jade market serves as a prime example of this trend, fostering apprehension among collectors regarding their acquisitions. Experts frequently label objects as rare, despite the extensive production capabilities of Chinese artisans over millennia. For instance, during the Xuande period of the Ming Dynasty, royal kilns produced in excess of one million pieces in a single year, many of which lacked the designation of masterpieces. A thorough examination of auction catalogs from four decades ago in comparison to present-day offerings reveals a troubling decline in quality; contemporary offerings often surpass those of earlier sales, reflecting China's enhanced engagement with the global market. Furthermore, the insistence on provenance as the definitive key to authenticity has distorted market perceptions. 

Collectors are misled into believing that historical lineage equates to quality, an assertion that is fundamentally flawed. Claims that the Chinese have endlessly replicated historical works are not only unsubstantiated but also implausible. Such deceptions enable sustained control over the market, perpetuating myths surrounding fakes and reproductions. Notably, high-quality period pieces starkly contrast with poorly executed fakes. The true marker of excellence lies in the meticulous craftsmanship evident in masterpieces from distinguished artisans, which are characterized by superior materials and intricate detailing. Educating collectors on the historical context of techniques and materials, particularly the distinctive cobalt used in earlier dynasties—markedly different from contemporary varieties—is paramount. 

The misrepresentations propagated by auction houses and dealers have led to the widespread victimization of unsuspecting collectors. Many appraisals are based on subjective opinions rather than empirical accuracy, further bewildering and alienating buyers. The often misguided reliance on auction records exacerbates this issue, as the finest pieces frequently change hands privately, leaving buyers inadequately prepared to assess the true market landscape. Corruption pervades every tier of the market, with many collectors unwittingly perpetuating cycles of misinformation and manipulation. Collectors must equip themselves with knowledge rather than depend on distorted narratives perpetuated by self-serving elites. A thorough and informed approach to collecting requires scrutinizing a broad range of resources, meticulously analyzing each piece, and trusting one’s judgment based on intrinsic qualities rather than external validation. While the socio-political landscape of China has profoundly impacted its art market, collectors must strive to educate themselves on the complexities of this field. Museums, often housing mediocre representations of art meant for broader audiences, can mislead collectors into believing such entries possess high quality. Genuine masterpieces, however, remain largely within the domain of affluent and aristocratic circles. 

Auction houses have a responsibility to equitably represent the best available works to all collectors, emphasizing transparency over the covert practices prevalent today. It is imperative that collectors critically evaluate their information sources and remain vigilant against the deceptive practices of contemporary dealers and auction houses. As you embark on your journey as an art collector, I encourage you to commit to developing your expertise in your chosen area. Observe, analyze, and engage with numerous pieces, maintaining a discerning focus on detail, condition, and craftsmanship. I invite you to revisit this site, where I will present exceptional jade and porcelain masterpieces to aid you in building a knowledgeable and robust collection.