書畫鑒定的輔助依據只是相對于主要依據而言，它包括題款、題跋、印章、紙絹、裝裱、著錄等。稱它們為輔助依據是指即使這些內容全是真的，也只能作為輔助材料，因只有當一件書畫作品的本身是真的，這些材料才有價值。如果主體立不起來,輔助材料再正確也絕不能將這件作品定為真的。
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.
題款。
Title payment.
題款也叫款識是指書畫作品上作者自署的姓名字號，創作年月、繪制地點及其他內容等。識別這些由作者題寫的名款，可以鑒定出其書法本身所反映出來的風格。
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.
題跋。
Preface and postscript.
題跋是指同時人或后人所題的款識，它包括在書畫作品內或裱頭的天地、拖尾等處的題記。鑒定題款要注意的是，不但要鑒定書法本身的真偽，還要考證題跋者與作者的關系及題跋內容本身的可靠程度。
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.
印章包括書畫家本人的印章和鑒藏家的收藏印兩類。從內容上分，它包括姓名、字號、齋名、閑文等多樣。從印文的內容、字體以及鈐蓋的方式可看出某些時代與個性的特征,并可從印質和印色上分辨真偽。
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.
紙絹。
Paper silk.
紙絹是書畫特有的載體，是文化發展的一個標志。從紙絹的不同時期的發展，本身就給書畫鑒定提供了一定的輔助依據。如唐代的麻料紙，五代的澄心堂紙，北宋代的粉箋、蠟箋紙等。須注意的是，每位書畫家在用紙絹方面都有自己的不同愛好與習慣,這就給鑒定不同書畫家的作品提供了一定的參考價值。
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.
裝裱。
Framed.
裝裱是書畫藝術的一種特有的樣式。裝裱的祥式有立軸、手卷、中堂、冊頁、屏條等。但從現存的書畫作品看，保留原有舊裱的已不多見，很早的是北宋的一種”宜和裝”。如手卷中的"引首”裝裱樣式是在明代才有，“詩堂”也在這時出現。要留心的是，有一種‘金蟬脫殼"的偽裱手法，即將原來的舊裱保留，而將原來的書畫本身換成仿造的偽本嵌裝進去而不留痕跡。
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.
著錄。
Description.
字畫鑒定評估提醒，著錄是將收藏或過目的書畫作品進行梳理,并用文字記錄下來就稱著錄，如果再將這類文字編輯成書出版，就叫書畫著錄書。這類書籍無疑對鑒定書畫有一定的參考價值。書畫著錄書可分為宮廷收藏與私家收藏著錄兩類。對歷代著錄書必須一分為二,具體分析，切不可盲目依從，因有許多偽作就是依據著錄仿造的。
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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