古代字画的稀有性决定了它们的宝贵性，一些不法分子通过伪造古代字画牟取暴利，这些违法行为在搅乱书画收藏市场的同时，也给书画收藏者带来了一大困扰--如何鉴别古代字画的真伪？下面我们一起来了解下墨迹分析法。

The rarity of ancient calligraphy and painting determines their value. Some criminals make huge profits by forging ancient calligraphy and painting. These illegal acts disturb the calligraphy and painting collection market, but also bring a big trouble to the calligraphy and painting collectors -- how to identify the authenticity of ancient calligraphy and painting? Let's learn about ink analysis.

道高一尺魔高一丈，鉴别技术在发展，仿制者的仿制水平也在提高。如果仿制者摸准鉴定人员的鉴定套路，用古代水墨、古代宣纸在古代纸张上书写、绘画，通过上述方法就无法或难以识别古代书画的真伪。因此，发展新的科学分析方法对古代书画的真伪和年代进行鉴定，具有重要的意义。

The way is better than the devil, the identification technology is developing, and the imitation level of imitators is also improving. If the imitator touches the appraisal routine of the appraisers and writes and draws on the ancient paper with ancient ink and rice paper, it is impossible or difficult to identify the authenticity of ancient calligraphy and painting through the above methods. Therefore, it is of great significance to develop new scientific analysis methods to identify the authenticity and age of ancient calligraphy and painting.

古代油墨的制作工艺通常是将煤烟或松烟（松树烟雾）与熔化的胶体混合成墨坯，再加入一些珍贵的天然草药和其他添加剂，然后锤击墨坯，压入模具中，自然风干，后在其上描金。在上海和安徽的一些油墨制造厂仍然遵循古老的工艺，将油烟或松烟与牛皮明胶混合，然后锤击近10000次，制成油墨坯。

The production process of ancient ink is usually to mix coal smoke or pine smoke (pine smoke) with molten colloid to form an ink blank, add some precious natural herbs and other additives, then hammer the ink blank, press it into the mold, dry it naturally, and then paint gold on it. Some ink manufacturers in Shanghai and Anhui still follow the ancient process, mixing lampblack or pine smoke with cow hide gelatin, and then hammering nearly 10000 times to make ink blanks.

而在现代油墨的制作工艺中，化石原料（即工业炭黑）替代了天然油烟。因原料来源不同（古代墨中的炭黑通常是由松烟、桐油等天然材料制成，而现代墨中的炭黑则是由天然气裂解而成），古今炭黑在粒度、石墨化程度、结晶、表面基团类型等微观结构特征上存在显著差异。因此，炭黑就是辨别古今字画的突破口。

In the production process of modern ink, fossil raw materials (i.e. industrial carbon black) have replaced natural lampblack. Due to different sources of raw materials (the carbon black in ancient ink is usually made of natural materials such as pine smoke and tung oil, while the carbon black in modern ink is cracked from natural gas), there are significant differences between ancient and modern carbon black in particle size, graphitization degree, crystallization, surface group type and other microstructure characteristics. Therefore, carbon black is the breakthrough to distinguish ancient and modern calligraphy and painting.

同时，我们还不能忽略，一种无论古代、现代油墨制作工艺中都离不开的物质——明胶。只要测定出明胶的“年龄”，就基本可以判断出字画的所处年代了。

At the same time, we can not ignore gelatin, a substance that is indispensable in both ancient and modern ink making processes. As long as the "age" of gelatin is determined, the age of calligraphy and painting can be basically determined.

有关的研究人员选择了五种不同时代的墨迹进行光谱分析，5个样本均有准确的标记日期，可信度高，适合作为测年实验的参考。通过FT-IR和拉曼光谱分析，研究人员认为墨迹中的明胶和炭黑的微观结构变化可以作为书画年代测定或新旧估计的标准。

Relevant researchers selected five inks of different ages for spectral analysis. The five samples have accurate date marks, which are highly reliable and suitable for reference in dating experiments. Through FT-IR and Raman spectrum analysis, the researchers believe that the microstructure changes of gelatin and carbon black in ink can be used as a standard for the dating of calligraphy and painting or the estimation of new and old.

根据对近代、民国、清代和明代六种墨迹微观结构分析的初步结果，研究人员认为可以通过明胶上基团结构来确定墨痕的持续时间，还可以借助炭黑的晶粒尺寸变化来估算书画的贮存时间，从而鉴定字画的真伪。

 According to the preliminary results of the microstructure analysis of six ink stains in modern times, the Republic of China, the Qing Dynasty and the Ming Dynasty, the researchers believe that the duration of ink stains can be determined by the group structure on gelatin, and the storage time of calligraphy and paintings can be estimated by the change of grain size of carbon black, so as to identify the authenticity of calligraphy and paintings.

济南收购字画的研究人员也指出，由于古代书画的稀有性和不可破坏性，早期的样本很难收集和分析，这一初步研究能为文物的鉴定和保护提供指导。

The researchers who bought calligraphy and painting in Jinan also pointed out that due to the rarity and indestructibility of ancient Chinese calligraphy and painting, it is difficult to collect and analyze early samples. This preliminary study can provide guidance for the identification and protection of cultural relics.

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