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字画收购中印章检查的相关事项

来源:http://www.jinandayatang.com 发布时间:2021-07-21

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,甚至一生。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。下面就介绍下字画收购中印章检查的相关事项。
The seal is the proof on the document, and it is something that "wins the trust of others". The calligraphers and painters express their creation, and the connoisseurs express their identification, which are quite solemn. As the quality of seals is relatively strong, some seals can be used for several years or even a lifetime. Although seals may be damaged due to long use, not every work is engraved with a new seal. Instead, some or more seals are often used on several paintings and calligraphy. Therefore, it is quite reasonable to judge the authenticity of works from the authenticity of seals. The following is about the 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 calligrapher and painter is dead and the seal is still there, others can put it on the forged calligraphy and painting. The seals used by some calligraphers and painters are relatively fixed, and they are not changed often, so they are easy to check; The seals of some calligraphers and painters are too many and messy to check. Therefore, the seal is not enough as a basis, can only be used as a supplementary basis. Calligraphy and painting exist by means of paper and silk, and it goes without saying that paper and silk are important for identification. Different kinds of paper and silk have their own characteristics. Painting and calligraphy on different kinds of paper and silk have different effects.
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 obtained at that time. There are a few kinds of paper only in a certain period of history, and the quantity is not much. Mi Fu and Ouyang Xiu all use a kind of white gray 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 some in the Southern Song Dynasty. In Ming Dynasty, Shen Zhou and Wen Zhengming 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。专家表示,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 the painting and calligraphy should be sealed with plastic cloth to prevent moisture, and the painting and calligraphy should be locked in the safe to prevent theft. But such a result will certainly lead to painting and calligraphy damp, mildew, damp heat is the hotbed of mold. Experts say that the ancients had a tradition of exposure to the wind and cool. Collectors can choose when the weather is sunny and dry, hang up the calligraphy and painting one by one, blow out the moisture and then put them away. The album also needs to be opened side by side, so that the moisture is lost. Special reminder, cool exposure painting is not sun painting, do not put the calligraphy and painting in the sun exposure, otherwise it will make the paper warped, the color of the picture fade.