主要看筆鋒，筆墨，情感，格調(diào)意境，流派風(fēng)格，構(gòu)圖，落款  時(shí)代特征與個(gè)人風(fēng)格 書畫是作品，必然留下時(shí)代特征，不同時(shí)代字畫特征不一。唐朝之前的山水畫恐怕難令人置信，用楷書冒充西漢書法也不會(huì)有人相信。只要對(duì)字畫年代宇型、畫技畫風(fēng)有大概了解，明顯的偽品欺騙就可鑒別。對(duì)于名家作品，要了解名家的生平、藝術(shù)風(fēng)格與創(chuàng)作題材范圍，更要了解他們的筆墨技法。名家的藝術(shù)表現(xiàn)技法是長(zhǎng)期操練后而形成的，一般人要模仿難免有敗筆顯露，抓住某人筆法特點(diǎn)研究深，則容易辨認(rèn)偽作。

The main focus is on the brushstrokes, brushstrokes, emotions, style and artistic conception, genre and style, composition, and personal style. Calligraphy and painting are works that inevitably leave behind the characteristics of the times, and the characteristics of calligraphy and painting vary in different eras. Before the Tang Dynasty, landscape paintings were probably hard to believe, and no one would believe using regular script to impersonate Western Han calligraphy. As long as you have a general understanding of the era, style, techniques, and style of calligraphy and painting, obvious counterfeits and deception can be identified. For the works of famous artists, it is important to understand their biographies, artistic styles, and creative themes, as well as their brushstroke techniques. The artistic expression techniques of famous artists are formed after long-term practice. It is inevitable that some people will fail to imitate them. If one studies the characteristics of a person's brushwork deeply, it is easy to identify counterfeits.

紙、帛的鑒別 字畫是作于紙和帛之上的，帛的壽命一般百年左右，紙的壽命約在千年之內(nèi)。當(dāng)然，出土文物中的紙帛由于地下埋葬環(huán)境的不同，仍可能超越千年。例如絹帛在晉唐之前是單絲織成，直到宋代才發(fā)現(xiàn)雙絲織成的絹帛，比元明時(shí)期的絹顯得細(xì)密。由絹的質(zhì)量類別可以斷定字畫年代。紙，也有時(shí)代痕跡。隋唐之前，紙以麻料作原料，顯得纖維較租，紙張不夠細(xì)潔;隋唐之后，樹皮被用來造紙，其紙質(zhì)就比以前精細(xì);北宋中期后，造紙?jiān)隙鄻踊?，紙質(zhì)也呈現(xiàn)多樣化了。

The identification of calligraphy and painting on paper and silk is based on them. The lifespan of silk is generally around a hundred years, while the lifespan of paper is within a thousand years. Of course, the paper and silk unearthed from cultural relics may still exceed a thousand years due to different underground burial environments. For example, silk was woven from single silk before the Jin and Tang dynasties, and it was not until the Song dynasty that it was discovered that silk woven from double silk appeared finer and denser than silk from the Yuan and Ming dynasties. The quality category of silk can determine the era of calligraphy and painting. Paper also has traces of the times. Before the Sui and Tang dynasties, paper was made from hemp as raw material, which made it appear that the fibers were more expensive and the paper was not fine and clean enough; After the Sui and Tang dynasties, tree bark was used for papermaking, and its paper became finer than before; After the mid Northern Song Dynasty, the raw materials for papermaking became diversified, and paper also became more diverse.

實(shí)際上，民間收藏的字畫僅以明清以后時(shí)期多見，這是因?yàn)榧?、絹本身難于歷經(jīng)數(shù)百年保存的緣故。再加上造偽者的混淆，所以有人認(rèn)為古字畫中相當(dāng)部分是魚目混珠。 裝演鑒別 各個(gè)時(shí)代裝橫有其特色。如元代宮廷藏畫選擇專人裝裱，大德四年“以古玉象牙為軸，以鸞鵲木錦碧天續(xù)為裝核”。明代書畫則在書畫卷增加了引首，有的還被寫上了字，立軸有寬邊、窄邊之分，有的還加了詩(shī)堂。清代宮廷書畫的裝核用料和技術(shù)形式都勝于明代，顯得更為講究。

In fact, folk collections of calligraphy and painting are only common in the period after the Ming and Qing dynasties, because paper and silk themselves are difficult to preserve for hundreds of years. In addition, due to the confusion caused by counterfeiters, some people believe that a considerable portion of ancient Chinese characters and paintings are mixed with fish and eyes. The identification of costumes and performances in different eras has its own characteristics. In the Yuan Dynasty, the imperial court chose a dedicated person to frame the paintings. In the fourth year of Dade, "ancient jade and ivory were used as the axis, and Luan Que wood, brocade, and blue sky were used as the core for decoration.". In the Ming Dynasty, calligraphers and painters added introductions to their scrolls, and some even had characters written on them. The vertical axis was divided into wide and narrow edges, and some even added poetry halls. The materials and technical forms used in the decoration of court calligraphy and painting in the Qing Dynasty were superior to those in the Ming Dynasty, making them more sophisticated.

印章鑒別 宋代字畫作品許多不上印章，部分上蓋銅印與玉印，印色有密印和水櫻元代印章質(zhì)料有木、象牙、銅、玉等，印色為油印和水櫻元代自王冕始用石料印章。明代石料印章普遍，篆文刻法采用“錘頭式”，使用大多是油櫻清代印章形狀、字體、字形均呈多樣化，印色為油質(zhì)。 畫中人物衣服與生活用具的鑒別 各個(gè)年代冠服往往不同，生活用具也有差別，可以據(jù)以鑒別。

Seal identification: Many Song Dynasty calligraphy and painting works do not have seals, and some are covered with copper and jade seals. The seal materials of the Yuan Dynasty include wood, ivory, copper, jade, etc. The seal materials of the Yuan Dynasty include oil seals and water cherry seals. Since Wang Mian, stone seals have been used. During the Ming Dynasty, stone seals were common, and the seal script was carved using the "hammer head style". Most of the seals were made of oil. In the Qing Dynasty, the shapes, fonts, and shapes of the seals were diverse, and the printing colors were made of oil. The identification of clothing and daily necessities for characters in paintings often varies from different eras, and daily necessities also differ, which can be used for identification.