與
字畫鑒定評估有關的知識是多方面的，有些比較直接，有些就間接一些。努力學習和掌握這些知識，對于書畫的鑒定，往往產生比較大的作用。
The knowledge related to the appraisal and evaluation of calligraphy and painting is multifaceted, some are more direct, while others are more indirect. Working hard to learn and master these knowledge often has a significant impact on the appraisal of calligraphy and painting.
一、書畫家的字號、籍貫和生卒時間
1、 Calligrapher and painter's trade name, place of origin, and date of birth and death
掌握書畫家的字號、籍貫和生卒時間，對于書畫的鑒定工作很有幫助。這些問題往往被某些作偽者忽略，假如我們比較熟悉的話，那么，就能夠比較容易地看出問題。
Mastering the trade name, hometown, and time of birth and death of calligraphers and painters is very helpful for the identification of calligraphers and painters. These issues are often overlooked by some counterfeiters, and if we are familiar with them, we can easily identify them.
但是，有些書畫家的生卒時間等問題，在過去的文獻中，有的沒有記載，有的記載不夠真確，這樣，作品本身就變成了一手材料，它能補充文獻的不足或糾正文獻的錯誤。
However, some calligraphers and painters have issues with their birth and death dates. In previous literature, some have not recorded them, while others are not accurate enough. As a result, the work itself becomes first-hand material, which can supplement the shortcomings or correct errors in the literature.
例如：有些書畫家的作品具有一定的藝術水平，但在文獻上根本就查不到這位畫家，更談不上弄清他的字號、籍貫、生卒時間、藝術專長和主要活動了。這樣的例子是相當多的。
For example, some calligraphers and painters have certain artistic levels in their works, but this painter cannot be found in the literature, let alone clarify his trade name, hometown, birth and death time, artistic expertise, and main activities. There are quite a few examples like this.
二、文史知識
2、 Knowledge of Literature and History
在書畫鑒定中，還常常用避諱分為避朝諱（避當皇帝及先帝的名字）與避家諱（避作者家中長輩或祖先的名字）兩種。在鑒定學中，避朝諱比比較容易掌握，避家諱就比較難以掌握了。避諱的方法主要有三種：
In the appraisal of calligraphy and painting, taboos are often divided into two types: avoiding dynasty taboos (avoiding the names of emperors and ancestors) and avoiding family taboos (avoiding the names of elders or ancestors in the author's family). In forensic science, avoiding taboos is easier to master than avoiding taboos at home. There are three main ways to avoid taboos:
一種是將要避諱的字缺寫一筆（多為后一筆），另一種是將避諱的字換個意思相盡的替代字，還有一種是將要避諱的字空格不寫。
One is to write a missing stroke (mostly the last stroke) for the word to be avoided, the other is to replace the word to be avoided with a substitute word with the same meaning, and the other is to not write the blank space for the word to be avoided.
當然，運用避諱進行書畫斷代，要了解避諱的時代特點，例如宋代"玄"、"朗"等字是由北宋真宗趙桓大中祥符五年開始避諱的，在此以前這樣的字是不避諱的。如果見到一幅宋代人寫的字或者繪畫作品的題詩，款暑是大中祥符五年以前，對這些不避諱是符合規律的，而款為大中祥符五年以后的，這些字不避諱就不合規律，就有問題了。
Of course, when using taboo in dating calligraphy and painting, it is necessary to understand the characteristics of the era of taboo. For example, the characters "Xuan" and "Lang" in the Song Dynasty were taboo from the fifth year of the Dazhong Xiangfu reign of Emperor Zhenzong of the Northern Song Dynasty, and such characters were not taboo before this time. If you see an inscription poem written by a Song Dynasty person or a painting, it is in line with the law to avoid these characters five years before the Da Zhong Xiang Fu, while it is not in line with the law to avoid these characters five years after the Da Zhong Xiang Fu. This is a problem.
我們這兒所講的只是一般的情況，此外，也還有個別特殊的例外，如米芾的《蜀素貼》卷中，前后有兩個"殷"字，一個缺一筆，另一個就不缺。這就要根據具體的作品作具體的分析。同時，對于避諱問題也不能僵死地一成不變地對待，有些臨古的書法作品，完全按照原樣臨而不避諱。
What we are talking about here is only the general situation, and there are also some special exceptions, such as in Mi Fu's "Shu Su Tie" volume, there are two "Yin" characters before and after, one missing a stroke, and the other not missing. This requires specific analysis based on specific works. At the same time, the issue of taboos cannot be rigidly fixed. Some ancient calligraphy works are completely presented without taboos.
In short, the issue of taboos is complex. In the appraisal of calligraphy and painting, the use of taboos to determine the era must be analyzed based on specific circumstances and flexibly grasped according to different conditions. For more related content, come to our website http://www.longxiapy22.com Consulting!
