印章是文件上的证明物，是“取信于人”的东西，书画家用以表示自己的创作，鉴赏家用以表示自己的鉴别，都是相当郑重的。由于印的质地比较坚固，所以某一家的某些印可以延续用若干年，甚一生。印虽然会因用久而损坏，但究竟不是每一件作品都新刻一印，而常是若干件书画上同用某一或几个印，所以从印章的真伪来帮助判断作品的真伪，是有相当依据的。但印章本身比使用印章的书画家寿命长。
The seal is the proof on the document, is "trusted to others" thing, calligraphers and painters to express their own creation, connoisseurs to express their own identification, are quite solemn. Because of its strong texture, some of the prints of a certain family can last for years, even a lifetime. Although the seal will be damaged for a long time, but after all, not every work is carved a new seal, but often a number of calligraphy and painting with a certain number of seals, so from the authenticity of the seal to help determine the authenticity of the work, there is a considerable basis. But the seal itself is longer than the painter and calligrapher who uses seals.
书画家死了，如果印章还在，别人可以将它盖到伪造的书画上去。有些书画家所用的印章比较固定，不经常换，容易核对；某些书画家的印章却既多且乱，根本无法核对。所以印章不完全足以为据，只能作为辅助依据。 书画凭借纸绢而存在，纸绢对鉴定之重要自不待言。不同的纸绢有它的不同特点，在不同纸绢上作书画，便出现不同的效果
The calligraphers are dead. If the seal is still there, others can cover it with fake paintings and calligraphy. Some calligraphers and painters use more fixed seals, not often changed, easy to check; some calligraphers and painters'seals are too many and messy to check at all. Therefore, the seal is not enough to be used as an auxiliary basis. Calligraphy and painting exist with paper and silk, and paper silk is important for identification. Different kinds of paper and silk have different characteristics, and painting and calligraphy on different paper and silk has different effects.
画家各有他们自己喜用的纸绢，以期能更好地表达他们的艺术特点。当然也还与他们当时取得的方便条件有关。有少数几种纸只有在历史上某一时期有，而且数量不多，米芾、欧阳修都用一种白色发灰的纸，只北宋有。一种很白很细的纸也产于北宋，南宋高宗时也还有一些。明大家沈周、文征明等常用一种白棉纸，质松而容易变黑。
Artists have their own paper and silk that they like to use in order to better express their artistic characteristics. Of course, it is 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 number is not large, Mifu, Ouyang Xiu are using a kind of white grey paper, only the Northern Song Dynasty. A very white and thin paper was also produced in the Northern Song Dynasty. Ming, Shen Zhou, Wen Zhengming and other commonly used white cotton paper, loose and easy to blacken.
有不少收藏者错误地认为，应当用塑料布封存书画的方式来防潮，将书画锁在保险柜里防盗。但这样的结果必定会导致书画受潮、霉变，湿热正是霉菌的温床。表示，古人就有风凉曝画的传统。藏家可以选择天气晴朗干燥时，将字画一件件挂起，吹去潮气后再收起。册页也需一面面翻开，使潮气散失。特别提醒，风凉曝画不是晒画，切忌将字画放在阳光下曝晒，否则会使纸张翘起，画面颜色变淡失神。
Many collectors mistakenly believe that plastic cloth should be used to seal the way painting and calligraphy moisture-proof, painting and calligraphy locked in the safe against theft. But such a result will inevitably lead to damp and mildew in calligraphy and painting. Damp heat is the hotbed of mold. Experts say that the ancients have the tradition of cool exposure. The collectors can choose to hang up paintings and pieces when the weather is clear and dry. The album also needs to be opened on one side to make the tide lose. Special reminder, wind-cooled exposure is not painting, do not put calligraphy and painting in the sun exposure, otherwise it will make the paper cocked up, the color of the picture faded.
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