I think the different image that Chinese and "Murano" weights have is based on the perception that Chinese weights are all "factory" produced, no artistic involvement, no soul, and "Murano" is perceived as being created (notice "created" vs "produced") by artisans, who, even if they are working for a production studio, still imbue each piece with a piece of themselves. Certainly unfair, but I think a common gut level feeling.
Almost all the Chinese product you find here in the USA is the bottom level product, you may get the better product in Europe than we do here.
As far as Murano, I rarely pay any attention whatsoever to that "label", since, at least on ebay, everything that isn't labeled gets called Murano, it's ridiculous. I wasn't aware that there were phony labels, or that the artisans were mingling countries. It only makes sense, it is one world after all, and if Italy's most famous food (pasta) is Chinese in origin, certainly modern glass techniques will intermingle.
I tend to know more about American studio glass, from the 70's forward, and tend to do the same thing here, at a gut level, I certainly think much higher of the Lundberg, Lotton, Josh Simpsons, Cathy Richardson, Chris Heilman, Randy Strong, Correreia, Satava, Orient & Flume, etc.
Then I put the higher end production studios Karg, Eickholt, Robert Held, Glass Eye Studio, (I think of GES as the American Caithness) pieces on a middle level.
Whereas, what I call the Midwest "factories" Fenton, Joe Rice, Gibson, Dunleavy, Prestige, St. Clair (and the many others) on a bottom American level.
My own personal taste is usually for the small studio's, an artist and a few apprentices, learning the craft. For the most part, if you can buy multiple pieces that are roughly identical, who cares, versus each piece (even if in the same category) is different enough, that you can see the differences.
Just my opinions of course.
Bob