ABSTRACT
This chapter explores the production of fakes and forgeries of Ban Chiang painted pottery by talented and not-so-talented artists in the seventies and eighties and how selling fake antiquities affects the antiquities market, drawing on what we know about forgery in European art. I propose a classification of replicated Ban Chiang designs from fraudulent forgeries to tourist souvenirs, sometimes recognizable from symmetry mistakes. The chapter includes the role of museums in the collection and display of real and forged artifacts and the complexities of repatriation when current owners of antiquities try to send their artifacts, including pots, home.
