The seal is the proof on the document, and it is something that "wins the trust of others". The calligraphers and painters express their creation, and the connoisseurs express their identification, which are quite solemn. As the quality of seals is relatively strong, some seals can be used for several years or even a lifetime. Although seals may be damaged due to long use, not every work is engraved with a new seal. Instead, some or more seals are often used on several paintings and calligraphy. Therefore, it is quite reasonable to judge the authenticity of works from the authenticity of seals. The following is about the seal inspection in the acquisition of calligraphy and painting.

如果書畫家死了，印章還在的話，別人可以將它蓋到偽造的書畫上去。有些書畫家所用的印章比較固定，不經(jīng)常換，容易核對；某些書畫家的印章卻既多且亂，根本無法核對。所以印章不完全足以為據(jù)，只能作為輔助依據(jù)。書畫憑借紙絹而存在，紙絹對鑒定之重要自不待言。不同的紙絹有它的不同特點(diǎn)，在不同紙絹上作書畫，便出現(xiàn)不同的效果。

If the calligrapher and painter is dead and the seal is still there, others can put it on the forged calligraphy and painting. The seals used by some calligraphers and painters are relatively fixed, and they are not changed often, so they are easy to check; The seals of some calligraphers and painters are too many and messy to check. Therefore, the seal is not enough as a basis, can only be used as a supplementary basis. Calligraphy and painting exist by means of paper and silk, and it goes without saying that paper and silk are important for identification. Different kinds of paper and silk have their own characteristics. Painting and calligraphy on different kinds of paper and silk have different effects.
                 

畫家各有他們自己喜用的紙絹，以期能更好地表達(dá)他們的藝術(shù)特點(diǎn)。當(dāng)然也還與他們當(dāng)時(shí)取得的方便條件有關(guān)。有少數(shù)幾種紙只有在歷史上某一時(shí)期有，而且數(shù)量不多，米芾、歐陽修都用一種白色發(fā)灰的紙，只北宋有。一種很白很細(xì)的紙也產(chǎn)于北宋，南宋高宗時(shí)也還有一些。明大家沈周、文征明等常用一種白棉紙，質(zhì)松而容易變黑。

Artists have their own favorite paper and silk, in order to better express their artistic characteristics. Of course, it was also related to the convenient conditions they obtained at that time. There are a few kinds of paper only in a certain period of history, and the quantity is not much. Mi Fu and Ouyang Xiu all use a kind of white gray paper, only in the Northern Song Dynasty. A kind of very white and fine paper was also produced in the Northern Song Dynasty, and there were some in the Southern Song Dynasty. In Ming Dynasty, Shen Zhou and Wen Zhengming used a kind of white cotton paper, which was loose and easy to turn black.

有不少收藏者錯(cuò)誤地認(rèn)為，應(yīng)當(dāng)用塑料布封存書畫的方式來防潮，將書畫鎖在保險(xiǎn)柜里防盜。但這樣的結(jié)果必定會導(dǎo)致書畫受潮、霉變，濕熱正是霉菌的溫床。表示，古人就有風(fēng)涼曝畫的傳統(tǒng)。藏家可以選擇天氣晴朗干燥時(shí)，將字畫一件件掛起，吹去潮氣后再收起。冊頁也需一面面翻開，使潮氣散失。特別提醒，風(fēng)涼曝畫不是曬畫，切忌將字畫放在陽光下曝曬，否則會使紙張翹起，畫面顏色變淡失神。

Many collectors mistakenly believe that the painting and calligraphy should be sealed with plastic cloth to prevent moisture, and the painting and calligraphy should be locked in the safe to prevent theft. But such a result will certainly lead to painting and calligraphy damp, mildew, damp heat is the hotbed of mold. Experts say that the ancients had a tradition of exposure to the wind and cool. Collectors can choose when the weather is sunny and dry, hang up the calligraphy and painting one by one, blow out the moisture and then put them away. The album also needs to be opened side by side, so that the moisture is lost. Special reminder, cool exposure painting is not sun painting, do not put the calligraphy and painting in the sun exposure, otherwise it will make the paper warped, the color of the picture fade.

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