部分人一开始就把“藏画”定格在真迹上,并称绝大部分是原创作品,容不得别人怀疑了。在展出场所,只要哪一位观众对某一幅作品表示怀疑说“那是假画”,马上就会有人铆上他,和他当场辨论。甚至连如今健在的画家本人,如我的老师王流秋,当场否定冒充自己作品的赝品时,也无济于事,难以说服他们那是一幅伪作。当然,后来正式展出时没有挂出这幅赝品。李柏霖先生在接受台湾某杂志电话采访时,曾对如今尚健在的“雨夜楼藏画”的作者否定冒充自己作品的情况说: Some people set the “Tibetan painting” on the true track at the very beginning and claimed that the vast majority of them were original works that no one could doubt. At the place of exhibition, as long as one of the audiences is skeptical about a certain piece of work, saying “that is a fake picture”, somebody immediately rifles him and talks with him on the spot. Even the painter now alive, such as my teacher Wang Liuqiu, denied any fake copy of his work on the spot, and it was hard to convince them that it was a fake. Of course, this fake item was not posted at the official exhibition. In a telephone interview with a Taiwanese magazine, Mr. Li Bailin once said to the author, who is still living in the “Rainy Night House Tibetan Painting,” that he denied posting his own work: