裝裱與書畫本身的關(guān)系要間接一些，但有時也可作為鑒定書畫的有力佐證。各個時代的綾、錦，其花紋、色澤多不相同，裝裱的式樣也有出入。
名人字畫回收人員認(rèn)為前人的收藏印多蓋在裱件的接縫上，這就必然同裝裱形式有密切的關(guān)系。
The relationship between mounting and calligraphy and painting itself is somewhat indirect, but sometimes it can also serve as strong evidence for identifying calligraphy and painting. The patterns and colors of silk and brocade from different eras vary greatly, and the mounting styles also vary. Celebrity calligraphy and painting recyclers believe that the previous collection prints were mostly covered on the seams of the mounting pieces, which is inevitably closely related to the mounting form.
如宋“宣和裝”，故宮博物館藏的梁師閔《蘆汀密雪圖》是個較典型的例子：玉池用綾，前、后隔水用黃絹，白麻箋作拖尾，連本身共五段。玉池和前隔水之間蓋“御書”葫蘆印，前隔水與本身之間蓋雙龍璽及年號璽各一，本身與后隔水之間蓋年號璽二，拖尾上蓋“內(nèi)府圖書之印”，共用七璽。“宣和裝”雖有例外，但這是比較標(biāo)準(zhǔn)的格式。
For example, in the "Xuanhe Decoration" of the Song Dynasty, the "Lu Ting Mi Xue Tu" by Liang Shimin in the collection of the Palace Museum is a typical example: the jade pool is made of silk, the front and back are separated by yellow silk, and the white hemp paper is used as a trailing end. The painting itself consists of five sections. The gourd seal of the "Imperial Book" is affixed between the jade pool and the front partition water, one double dragon seal and one year seal are affixed between the front partition water and the front partition water, and the year seal is affixed between the front partition water and the back partition water. The "Seal of the Internal Library" is affixed to the tail, sharing seven seals. Although there are exceptions to 'Xuanhe Decoration', this is a relatively standard format.
不少贗跡上的偽宣和璽，往往是漫無規(guī)律，亂打亂蓋。金章宗也用七璽，染清標(biāo)常在前、后隔水上用兩印。乾隆用五璽、七璽、八璽、十三璽不等。這些都各有他們的習(xí)慣。、
Many fake proclamations and seals on the forgery are often random and disorderly, with scattered covers. Jin Zhangzong also used the Seven Seals, and often used two seals on the front and back of the dyed Qing standard across water. Qianlong used five seals, seven seals, eight seals, and thirteen seals. These all have their own habits
裱工的一般情況是清中葉以前卷子拖尾短，所以比較細(xì)；嘉、道以后拖尾長，卷子就粗了。民間裱工南北傳授不同，手法亦異。熟悉了以后，幾種有特點的裝裱不用打開書畫便能知道是何時、何地的裱工，乃是哪一家的藏品。
The general situation of framers is that before the middle of the Qing Dynasty, the tail of the paper was short, so it was relatively thin; After Jia and Dao drag their tails, the paper becomes thicker. Folk framing workers are taught differently from north to south, and their techniques are also different. After getting familiar with it, several unique types of mounting can be identified without opening the calligraphy and painting, including when and where the mounting workers are located, and even which collection they belong to.
舊時北京的裝裱匠人，手藝相當(dāng)高超，舊書畫雖然破碎不可分辨、或者脆到幾乎一吹即散，仍能裝裱如原裝。這類不太完整的書畫經(jīng)裝裱后，如果懸掛或正視，都不會看出有什么破綻。如果向陽處由背面看，則原形畢露。所以，如果遇到裱得很厚，或者裝在鏡框之內(nèi)的書畫，就一定要特別注意。
The framing craftsmen of old Beijing were highly skilled. Although old calligraphy and paintings were shattered to the point of being indistinguishable or almost fragile, they could still be mounted as original. After mounting these incomplete paintings and calligraphy, if hung or faced up, no flaws can be seen. If viewed from the back towards the sun, the original form is exposed. So, if you encounter books and paintings that are mounted very thick or inside the frame, you must pay special attention.
也有的作偽者采取金蟬脫殼的辦法，保留原裝裱，挖出書畫本身將偽本嵌裱進去。鑒別這類書畫，則不能僅憑裝裱來斷定其真?zhèn)瘟恕?/div>
Some counterfeiters also adopt the method of removing the shell of a golden cicada, retaining the original mounting, and digging out the calligraphy and painting itself to embed the fake copy inside. To distinguish this type of calligraphy and painting, one cannot simply rely on mounting to determine its authenticity.
曾經(jīng)有位藏家花大價錢買了一幅宋朝的古畫。一般人來看，確實是宋朝的畫，但仔細(xì)研究會發(fā)現(xiàn)那件東西純粹是拿宋朝的殘畫拼接起來的。造假者把各種宋朝的殘畫拼接起來，組成了一幅新的畫，還冠以出自名家之手，蒙了很多人?，F(xiàn)在很多造假者手段很高明，把古畫拼接、嫁接、挪位，很有隱蔽性。
Once a collector bought an ancient painting from the Song Dynasty at a high price. Generally speaking, it is indeed a painting from the Song Dynasty, but upon closer examination, one will find that it is purely a patchwork of remnants of the Song Dynasty. The counterfeiters pieced together various remnants of the Song Dynasty paintings to create a new one, and even labeled it as a masterpiece, which deceived many people. Nowadays, many counterfeiters are very skilled in splicing, grafting, and relocating ancient paintings, which is very covert.
所以在從裝裱形式來辨別書畫的真?zhèn)蔚臅r候，要提前來了解一些事項或者平日中多多關(guān)注到這方面的內(nèi)容點，更多事項就來我們網(wǎng)站
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So when distinguishing the authenticity of calligraphy and painting from the form of mounting, it is necessary to understand some matters in advance or pay more attention to these content points in daily life. For more matters, come to our website http://www.tz998.com Consult and learn more!
發(fā)布時間：2023-04-22 
作者：大雅堂美術(shù)館 
文章來源:http://www.tz998.com/ 
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