印章是文件上的证明物，是“取信于人”的东西，书画家用以表示自己的创作，鉴赏家用以表示自己的鉴别，都是相当郑重的。由于印章的质地比较坚固，所以某些印章可以延续用若干年，甚一生。印章虽然会因用久而损坏，但究竟不是每一件作品都新刻一印，而常是若干件书画上同用某一或几个印，所以从印章的真伪来帮助判断作品的真伪，是有相当依据的。下面山东收购名人字画就介绍下字画收购中印章检查的相关事项。
Seals are proofs on documents and "trustworthy" things. Calligraphers and painters express their creation and connoisseurs express their identification, which are quite solemn. Because of its strong texture, some seals can last for several years, even for a lifetime. Seals may be damaged for a long time, but not every work is engraved with a new seal, but often several paintings and calligraphy with one or more seals, so it is quite reasonable to help judge the authenticity of the work from the authenticity of the seals. Next, Shandong's acquisition of celebrity calligraphy and painting will introduce the related matters of seal inspection in the acquisition of calligraphy and painting.
如果书画家死了，印章还在的话，别人可以将它盖到伪造的书画上去。有些书画家所用的印章比较固定，不经常换，容易核对；某些书画家的印章却既多且乱，根本无法核对。所以印章不完全足以为据，只能作为辅助依据。书画凭借纸绢而存在，纸绢对鉴定之重要自不待言。不同的纸绢有它的不同特点，在不同纸绢上作书画，便出现不同的效果。
If the painter dies and the seal is still there, others can cover it with forged 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 disorderly to check at all. Therefore, the seal is not entirely sufficient as a basis, can only be used as a supplementary basis. Calligraphy and painting exist by means of paper silk, which is of great importance to identification. Different paper silk has its different characteristics. When painting and calligraphy on different paper silk, different effects will appear.

画家各有他们自己喜用的纸绢，以期能更好地表达他们的艺术特点。当然也还与他们当时取得的方便条件有关。有少数几种纸只有在历史上某一时期有，而且数量不多，米芾、欧阳修都用一种白色发灰的纸，只北宋有。一种很白很细的纸也产于北宋，南宋高宗时也还有一些。明大家沈周、文征明等常用一种白棉纸，质松而容易变黑。
Artists have their own favorite paper and silk in order to better express their artistic characteristics. Of course, it was also related to the convenient conditions they had obtained at that time. There are a few kinds of paper only in a certain period of history, and the quantity is not much. Mifu and Ouyang Xiu all use a kind of white grey paper, only in the Northern Song Dynasty. A kind of very white and fine paper was also produced in the Northern Song Dynasty, and there were also some in the Southern Song Dynasty when Gaozong was in power. Shen Zhou and Wen Zhengming often used a kind of white cotton paper, which was loose and easy to turn black.
有不少收藏者错误地认为，应当用塑料布封存书画的方式来防潮，将书画锁在保险柜里防盗。但这样的结果必定会导致书画受潮、霉变，湿热正是霉菌的温床。表示，古人就有风凉曝画的传统。藏家可以选择天气晴朗干燥时，将字画一件件挂起，吹去潮气后再收起。册页也需一面面翻开，使潮气散失。特别提醒，风凉曝画不是晒画，切忌将字画放在阳光下曝晒，否则会使纸张翘起，画面颜色变淡失神。
Many collectors mistakenly believe that plastic cloth should be used to seal the painting and calligraphy in a way of moisture-proof, lock the painting and calligraphy in the safe against theft. But such a result is bound to lead to painting and calligraphy damp, mildew, damp and hot is the hotbed of mildew. Experts say that the ancients had a tradition of painting with cool wind. Tibetans can choose to hang their paintings and calligraphy one by one when the weather is clear and dry, then blow off the moisture before collecting them. Pages also need to be turned over one side to make the moisture dissipate. Special reminder, cool exposure painting is not sun-drying, do not put the painting and calligraphy in the sun, otherwise it will make the paper warped, the color of the picture become light and distracted.
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