在鑒別的范疇里，書畫的真?zhèn)?，基本上取決于著錄、題跋、印章等等作為條件來保證書畫本身的真實可信。而在這些條件之中，又認為主要的是印章。
In the scope of identification, the authenticity of calligraphy and painting basically depends on the description, postscript, seal and so on as conditions to ensure the authenticity of the calligraphy and painting itself. Among these conditions, seal is considered as the main one.
收藏者為了對書畫留下經(jīng)過自己收藏的痕跡和欣賞者的寄情翰墨，往往在書畫上印上自己的印章或加上題跋，或者再將書畫的內(nèi)容如尺寸、款識、印章、題跋等等詳盡地作了記錄，編成著錄。
In order to leave traces of calligraphy and painting that have been collected by themselves and the appreciative calligraphy and painting, collectors often print their own seals or add inscriptions and postscripts on the calligraphy and painting, or record in detail the contents of the calligraphy and painting, such as size, style, seals, inscriptions and postscripts, and compile them into a description.
一，認為印章的種類有兩類，除了收藏印章之外，還有一種是書畫作者自己的印章。通過這多種印章來作決定。鑒別的主要依據(jù)是作家的印章，收藏印章兩方面保證來證實書畫的可靠性。
1、 It is believed that there are two types of seals. In addition to collecting seals, there is also a seal of the calligraphers and painters themselves. Make decisions through these seals. The identification is mainly based on the seal of the writer, and the collection of seals is guaranteed to confirm the reliability of calligraphy and painting.
鑒別印章的辦法是核對，畫家楊弘岳怎樣來核對?先把已經(jīng)被承認是真的印章作為范本，與即將受鑒別的印章，從它的尺寸、篆法、筆劃的曲折、肥瘦、白文或朱文來進行核對。
The way to identify seals is to check them. How does the Chinese painter Yang Hongyue check them? First, take the seal that has been recognized as true as a model, and check it with the seal that will be identified from its size, seal character, stroke twists and turns, fat and thin, white or red characters.
核對所持態(tài)度一般是：一種是當被鑒別的印章在一方以上，其中只有一方與范本相符，那么，其他的幾方，雖然不符也被承認，理由是既然有一方相符了，其他幾方雖不相符，也不會出于偽造；
The attitude of verification is generally as follows: one is that when the identified seal is more than one party, and only one party is consistent with the model, the other parties, although not consistent, are also recognized, because since one party is consistent, the other parties, although not consistent, will not be forged;
另一種是恰恰相反，一方符合，其他不符合，則那相符的一方，也判定是偽，理由是，那一方符合的，只不過是足以亂真的偽造而已。
The other is on the contrary. If one party is in conformity and the others are not, the matching party will also be judged to be false, on the grounds that what the other party is in conformity with is just a fake enough to be false.
一是以多數(shù)服從少數(shù)，一是以少數(shù)服從多數(shù)，多少年來這一力、法，信服了多少收藏家與鑒賞家。
First, the majority is subordinate to the minority. First, the minority is subordinate to the majority. Over the years, this force and law have convinced many collectors and connoisseurs.
印章怎樣斷代?深知印史尤為重要。知道什么時代、什么風(fēng)格，審時度勢，方可明辨是非。一般戰(zhàn)國古璽及秦漢印多為銅印，明清印多為石印。
How is the seal dated? Deeply aware of the importance of printing history. Only when we know what era and what style we are in, can we judge right from wrong. Generally, the ancient seals of the Warring States Period and Qin and Han Dynasties are mostly bronze seals, while the seals of the Ming and Qing Dynasties are mostly stone seals.
銅印多為鑄印，石印多為刻印。古璽的風(fēng)格奇絕險峻，漢印的風(fēng)格樸茂雄渾，明清流派印的風(fēng)格亦各異。
Copper seals are mostly cast, while stone seals are mostly engraved. The style of ancient seals is unique and precipitous, the style of Han seals is simple and vigorous, and the styles of Ming and Qing school seals are also different.
明代文彭的秀潤，何震的猛利，清代丁敬的雄健高古，鄧石如的風(fēng)健婀娜，吳讓之的圓轉(zhuǎn)飄逸，趙之謙的多姿多彩，黃土陵的挺勁秀雅，吳昌碩的古樸渾厚。近代齊白石的雄強猛烈，來楚生的奇險蒼茫等等。
Wen Peng's beauty in the Ming Dynasty, He Zhen's ferocity, Ding Jing's majesty and elegance in the Qing Dynasty, Deng Shiru's wind is healthy and graceful, Wu Rangzhi's roundness and elegance, Zhao Zhiqian's variety, the Loess Mausoleum's vigor and elegance, and Wu Changshuo's simplicity and simplicity. In modern times, Qi Baishi was powerful and fierce, and the adventure of coming to Chusheng was boundless.
一個的畫家，應(yīng)該有書畫的理論，通曉書法、畫法、篆刻，而且具有嫻熟的技法。如張大千、傅抱石、齊白石、吳昌碩、趙之謙等。他們不僅精書畫，而且自己也會治印。
A comprehensive painter should have a theory of calligraphy and painting, be familiar with calligraphy, painting, seal cutting, and have skilled techniques. Such as Zhang Daqian, Fu Baoshi, Qi Baishi, Wu Changshuo, Zhao Zhiqian, etc. They are not only good at painting and calligraphy, but also able to cure seals themselves.
書畫上的印章，主要分為三類：一、作者本人的印章。二、題跋人的印章。三、收藏、鑒賞人的印章。這些印章又分為三個方面：一、姓名、字號、齋館、堂號印。二、閑文、吉語、警句印。三、收藏、鑒賞印。
The seals on calligraphy and painting are mainly divided into three categories: first, the seal of the author himself. 2、 The seal of the person who wrote the postscript. 3、 Collect and appreciate people's seals. These seals are divided into three aspects: first, name, shop name, hall number seal. 2、 Free text, auspicious language, epigram seal. 3、 Collect and appreciate seals.
書畫鑒賞要從作品的風(fēng)格、筆墨、色彩、構(gòu)圖、章法、畫法、印章、紙張、裝裱、題跋等方面來進行，其中主要的方面還是書畫本身及書法、印章。本文就來教大家如何從印章入手鑒別書畫。
Appreciation of calligraphy and painting should be carried out from the aspects of style, ink, color, composition, composition, painting, seal, paper, mounting, inscription and postscript of the works. The main aspects are the calligraphy and painting itself, calligraphy and seal. This article will teach you how to identify calligraphy and painting from seals.
印章作為鑒定書畫的一個主要方面，是必須重視的，因為對于書畫來說，大多都是有印的。
As a major aspect of identification of calligraphy and painting, seals must be paid attention to, because for Chinese calligraphy and painting, most of them have seals.
如果一幅標明清中期作品上的印章與已知的確為真跡上的印章完全一致，其他方面又無疑問，基本上就可以斷定為真跡。
If the seal on a work marked in the middle of the Qing Dynasty is exactly the same as that on a known authentic work, and there is no doubt about other aspects, it can basically be determined as an authentic work.
因為在一般情況下，臨摹復(fù)制的印章多少都會與原印有所不同，印章是非常難仿制得與原印一模一樣的。印章上鑒別，會出現(xiàn)所見印章與真跡印章的一些差異。
Because in general, the copied seal is somewhat different from the original seal, and it is very difficult to copy the seal exactly like the original seal. There will be some differences between the seal you see and the genuine seal.
如印文的粗細，邊框的寬窄、破損，印跡的清晰與模糊等。這可能有以下幾個原因：一方印章初用和久用會有所不同，初用的印章，字跡會清楚一些，用久了，印章的清晰程度會發(fā)生變化。
Such as the thickness of the seal, the width and damage of the border, and the clearness and vagueness of the impression. This may be due to the following reasons: the initial use and long-term use of a seal will be different. The handwriting of the initial seal will be clearer, and the clarity of the seal will change over time.
此外，印泥的好壞、濃淡、干濕等，也會使印章鈐蓋后產(chǎn)生變化。邊框的寬窄與蓋印時的用力和下墊物有關(guān)，有時會產(chǎn)生寬窄不同的變化。
In addition, the quality, thickness, dryness and wetness of the ink pad will also change after the seal is affixed. The width of the frame is related to the force and underlay during the stamping, and sometimes it will vary.
印跡的清晰程度又與使用印章的人的手法有一定關(guān)系，有人蓋印用力大，有人用力小，有人稍加搖晃，此外，下墊物的質(zhì)量與多少，天氣的冷暖，久置不用的印泥與經(jīng)常使用的印泥，
The clearness of the impression has something to do with the technique of the person using the seal. Some people use more force to seal, some use less force, and some shake slightly. In addition, the quality and quantity of the underlay, the cold and warm weather, the ink paste that has been used for a long time and the ink paste that is often used,
這些都會使鈐出的印章效果不同，有的人還在剛蓋過印章的印跡上撒上一些白粉或色粉，以防止書畫作品擠壓時的沾污。
These will make the seal effect different. Some people also sprinkle some white powder or toner on the impression that has just been sealed to prevent the contamination of calligraphy and painting works during extrusion.

經(jīng)常擦拭或刷洗的印章，與不經(jīng)常擦拭刷洗的印章蓋出的印跡也有所不同。一幅名家的書畫作品，其印章也應(yīng)該具有一定的藝術(shù)水平。特別是文字上不能有錯誤，一個書畫家，是不可能經(jīng)常出現(xiàn)寫錯字、用錯字的現(xiàn)象的。
The stamp that is often wiped or brushed is also different from the stamp that is not often wiped or brushed. The seal of a famous painting and calligraphy work should also have a certain artistic level. In particular, there should be no mistakes in writing. It is impossible for a calligrapher or painter to often write or use wrong characters.
名家不會作假，作假決非名家。只有那些半桶水的人，仿冒名家之作，從中漁利。時下作假手段繁雜，花樣百出，技術(shù)高明，以假亂真，綜述如下，以供警惕。
Famous people can't cheat, and they are not famous people. Only those who have half a pail of water can make profits by imitating the works of famous masters. Nowadays, the means of fraud are numerous, varied, skillful and deceptive. The following is a summary for vigilance.
假冒名家，牽強附會。有新石新刻、舊石新刻、舊印補款、舊款補印。這些要從作者的風(fēng)格、特點去認真審視，只有明眼人方可看出破綻，不熟知篆刻三昧的人很難理解。書法篆刻水平不高，決假無疑。
Counterfeiting celebrities is far fetched. There are new stone carvings, new old stone carvings, old stamp supplements, and old stamp supplements. These should be carefully examined from the author's style and characteristics. Only a discerning person can see the flaws. It is difficult for those who are not familiar with seal cutting Samadhi to understand. The level of calligraphy and seal cutting is not high.
鑒別印章還要看印泥的色澤，一幅古畫印章的顏色，雖然可能是鮮艷的，但它總會有飽經(jīng)歲月、歷盡滄桑的變化，顏色會變得渾厚而沉著。
The color of the ink pad is also important for seal identification. Although the color of an ancient seal may be bright, it will always change after years and vicissitudes of life. The color will become thick and calm.
現(xiàn)代的很多書畫家，往往繼承傳統(tǒng)不夠，基本工較差，總想標新立異，只重構(gòu)圖，不重筆墨，沒有書法的基礎(chǔ)，更對篆刻沒有研究，通過印章來分析他們的作品，是非常困難的，他們的印章大多由別人代刻，蓋在自己的作品上，于風(fēng)格是否協(xié)調(diào)一致，那就因人而異了。
Many modern calligraphers and painters often do not inherit the tradition enough, and their basic skills are poor. They always want to be innovative. They only reconstruct drawings, do not pay attention to ink, have no basis for calligraphy, and do not study seal cutting. It is very difficult to analyze their works through seals. Most of their seals are carved by others and covered on their own works. As for whether the style is consistent, it varies from person to person.
每個時代的藝術(shù)品有每個時代的風(fēng)格特征，印章也是這樣書畫上的印章必須與時代風(fēng)格相一致，如不這樣，必然是贗品。
The artworks of each era have the style characteristics of each era. The seal on the calligraphy and painting must be consistent with the style of the era. If not, it must be a fake.
如清中期以前的書畫作品，不可能出現(xiàn)甲骨文字的印章。而現(xiàn)代書畫家的印章繼承傳統(tǒng)不夠，做工較差，總想與眾不同，精益求精，往往只重視構(gòu)圖，不在乎筆墨，沒有書法的基礎(chǔ)，更沒有篆刻方面的研究。
For example, in the calligraphy and painting works before the middle of the Qing Dynasty, it is impossible to have the seal of oracle bone characters. However, the seals of modern calligraphers and painters do not inherit the tradition enough, and their workmanship is poor. They always want to be different and strive for perfection. They often only pay attention to the composition of pictures, and do not care about the pen and ink. There is no basis for calligraphy, and there is no research on seal cutting.
因此，通過他們的印章來分析其書畫作品具有非常大的難度，他們的印章大多是由別人代刻，蓋于自己書畫作品上。而風(fēng)格是否協(xié)調(diào)一致，還需因人而異。
Therefore, it is very difficult to analyze their calligraphy and painting works through their seals. Most of their seals are engraved by others on their own calligraphy and painting works. Whether the style is consistent or not depends on different people.
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