印章是文件上的證明物，是“取信于人”的東西，書畫家用以表示自己的創作，鑒賞家用以表示自己的鑒別，都是相當鄭重的。由于印的質地比較堅固，所以某一家的某些印可以延續用若干年，甚一生。印雖然會因用久而損壞，但究竟不是每一件作品都新刻一印，而常是若干件書畫上同用某一或幾個印，所以從印章的真偽來幫助判斷作品的真偽，是有相當依據的。但印章本身比使用印章的書畫家壽命長。
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.
書畫家死了，如果印章還在，別人可以將它蓋到偽造的書畫上去。有些書畫家所用的印章比較固定，不經常換，容易核對；某些書畫家的印章卻既多且亂，根本無法核對。所以印章不完全足以為據，只能作為輔助依據。 書畫憑借紙絹而存在，紙絹對鑒定之重要自不待言。不同的紙絹有它的不同特點，在不同紙絹上作書畫，便出現不同的效果
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.
畫家各有他們自己喜用的紙絹，以期能更好地表達他們的藝術特點。當然也還與他們當時取得的方便條件有關。有少數幾種紙只有在歷史上某一時期有，而且數量不多，米芾、歐陽修都用一種白色發灰的紙，只北宋有。一種很白很細的紙也產于北宋，南宋高宗時也還有一些。明大家沈周、文征明等常用一種白棉紙，質松而容易變黑。
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.
有不少收藏者錯誤地認為，應當用塑料布封存書畫的方式來防潮，將書畫鎖在保險柜里防盜。但這樣的結果必定會導致書畫受潮、霉變，濕熱正是霉菌的溫床。表示，古人就有風涼曝畫的傳統。藏家可以選擇天氣晴朗干燥時，將字畫一件件掛起，吹去潮氣后再收起。冊頁也需一面面翻開，使潮氣散失。特別提醒，風涼曝畫不是曬畫，切忌將字畫放在陽光下曝曬，否則會使紙張翹起，畫面顏色變淡失神。
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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