书画鉴定的辅助依据只是相对于主要依据而言，它包括题款、题跋、印章、纸绢、装裱、著录等。称它们为辅助依据是指即使这些内容全是真的，也只能作为辅助材料，因只有当一件书画作品的本身是真的，这些材料才有价值。如果主体立不起来,辅助材料再正确也绝不能将这件作品定为真的。
The auxiliary basis for identification of calligraphy and painting is only relative to the main basis. It includes title, postscript, seal, paper and silk, mounting, description, etc. Calling them auxiliary basis means that even if these contents are all true, they can only be used as auxiliary materials, because only when a painting and calligraphy work itself is true, these materials can be valuable. If the subject can not stand up, no matter how correct the auxiliary materials are, the work can never be regarded as true.
题款。
Title payment.
题款也叫款识是指书画作品上作者自署的姓名字号，创作年月、绘制地点及其他内容等。识别这些由作者题写的名款，可以鉴定出其书法本身所反映出来的风格。
Title money, also known as identity, refers to the name and name of the author, creation date, drawing place and other contents on the calligraphy and painting works. Identifying these famous inscriptions by the author can identify the style reflected in his calligraphy itself.
题跋。
Preface and postscript.
题跋是指同时人或后人所题的款识，它包括在书画作品内或裱头的天地、拖尾等处的题记。鉴定题款要注意的是，不但要鉴定书法本身的真伪，还要考证题跋者与作者的关系及题跋内容本身的可靠程度。
Inscriptions and postscripts refer to the inscriptions written by people at the same time or later generations. They include the inscriptions in the calligraphy and painting works, or in the heaven and earth, tail and so on. What we should pay attention to is that we should not only identify the authenticity of the calligraphy itself, but also verify the relationship between the author and the author of the inscription and postscript and the reliability of the content of the inscription and postscript itself.
印章。
Seal.
印章包括书画家本人的印章和鉴藏家的收藏印两类。从内容上分，它包括姓名、字号、斋名、闲文等多样。从印文的内容、字体以及钤盖的方式可看出某些时代与个性的特征,并可从印质和印色上分辨真伪。
Seals include those of calligraphers and painters and those of collectors. From the content point of view, it includes name, shop name, Zhai name, idle text and so on. From the content, font and the way of sealing, we can see the characteristics of some times and personalities, and can distinguish the authenticity from the quality and color of the printing.
纸绢。
Paper silk.
纸绢是书画特有的载体，是文化发展的一个标志。从纸绢的不同时期的发展，本身就给书画鉴定提供了一定的辅助依据。如唐代的麻料纸，五代的澄心堂纸，北宋代的粉笺、蜡笺纸等。须注意的是，每位书画家在用纸绢方面都有自己的不同爱好与习惯,这就给鉴定不同书画家的作品提供了一定的参考价值。
Paper silk is a unique carrier of Chinese painting and calligraphy, and a symbol of the development of Chinese culture. From the development of paper and silk in different periods, it provides a certain auxiliary basis for the identification of calligraphy and painting. For example, the hemp paper of the Tang Dynasty, the chengxintang paper of the Five Dynasties, and the powder paper and wax paper of the Northern Song Dynasty. It should be noted that each calligrapher and painter has his own different hobbies and habits in using paper and silk, which provides a certain reference value for identifying the works of different calligraphers and painters.
装裱。
Framed.
装裱是书画艺术的一种特有的样式。装裱的祥式有立轴、手卷、中堂、册页、屏条等。但从现存的书画作品看，保留原有旧裱的已不多见，很早的是北宋的一种”宜和装”。如手卷中的"引首”装裱样式是在明代才有，“诗堂”也在这时出现。要留心的是，有一种‘金蝉脱壳"的伪裱手法，即将原来的旧裱保留，而将原来的书画本身换成仿造的伪本嵌装进去而不留痕迹。
Mounting is a unique style of Chinese painting and calligraphy. The auspicious forms of mounting include vertical scroll, scroll, nave, album, screen strip, etc. However, from the perspective of the existing calligraphy and painting works, it is rare to retain the original old mounting. It was a kind of "Yihezhuang" in the Northern Song Dynasty very early. For example, the mounting style of "foreword" in the scroll was only available in the Ming Dynasty, and the "poem hall" also appeared at this time. It should be noted that there is a false mounting technique of "golden cicada peeling off its shell", that is, the original old mounting is retained, and the original calligraphy and painting itself is replaced by a fake copy and embedded without leaving any trace.
著录。
Description.
字画鉴定评估提醒，著录是将收藏或过目的书画作品进行梳理,并用文字记录下来就称著录，如果再将这类文字编辑成书出版，就叫书画著录书。这类书籍无疑对鉴定书画有一定的参考价值。书画著录书可分为宫廷收藏与私家收藏著录两类。对历代著录书必须一分为二,具体分析，切不可盲目依从，因有许多伪作就是依据著录仿造的。
Calligraphy and painting appraisal and evaluation remind that description is to sort out the collected or passed calligraphic and painting works and record them in words. If such words are edited into a book and published, they are called calligraphic and painting description books. Such books undoubtedly have certain reference value for the identification of calligraphy and painting. Calligraphy and painting description books can be divided into court collection and private collection description. The description books of the past dynasties must be divided into two parts. The specific analysis must not be blindly followed, because there are many fake works based on the description.
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