Material and ink are the relationship between form and image, and are also the two elements commonly referred to by antique appraisal experts in calligraphy and painting appraisal. The material is' dead ', and the ink is' alive'. The former is easy to convey, while the latter is difficult to comprehend. The reason is simple. For things that are 'dead', as long as there is sufficient time and scientific analysis, ordinary people can accept them. But it cannot be ruled out that there are also people who are unable to understand. It is not time that can dissect the secrets of what is' alive '. Pen and ink require people to perceive with passion and understand with their brains. Of course, without a large amount of information and profound knowledge, it is impossible to achieve it. Everyone has different levels of knowledge and understanding, and their receptivity naturally varies.

材料指的是書畫家創(chuàng)作以外的東西。具體分紙（絹）質(zhì)，墨色，顏料，印泥四部分。表面上看，這四點(diǎn)沒有多大學(xué)說。 其實(shí)不然，特別是在鑒定遠(yuǎn)古書畫作品時(shí)，材料的區(qū)分可以直接對(duì)某些膺品作出科學(xué)的論斷，無須深入。 比如一幅明代的書畫，如果發(fā)現(xiàn)作品的材料不到年紀(jì)，或者是新的，  就根本不用再深入研究，要知道，古人是不會(huì)用后人的東西。

Materials refer to things that are not created by calligraphers and painters. Specifically, it is divided into four parts: paper (silk) quality, ink color, pigment, and printing mud. On the surface, these four points do not have much theory. In fact, it is not the case, especially when identifying ancient calligraphy and painting works, the distinction of materials can directly make scientific judgments about certain counterfeits without going deep. For example, if a painting or calligraphy from the Ming Dynasty is found to have materials that are not old or new, there is no need to delve deeper into it. It should be noted that ancient people did not use things from later generations.

材料學(xué)說基本可以概括成一定義：一點(diǎn)假即全假，也就是說發(fā)現(xiàn)材料的其中一點(diǎn)是假的，就可以斷定整件作品是假的！于書畫作品殘破接筆， 不能籠統(tǒng)概括混合其中，應(yīng)另開思路科學(xué)對(duì)待！ 雖說材料一點(diǎn)假即全假，但是，材料真不一定作品真，同時(shí)代的仿品，老紙新作等膺品存世量巨大， 只有在肯定材料的基礎(chǔ)上，鑒定才有必要深入研究。

The material theory can be basically summarized as a definition: a little bit of falsehood is all falsehood, which means that if one point of the material is found to be false, it can be concluded that the entire work is false! As for the fragmented brushstrokes in calligraphy and painting works, they cannot be generalized and mixed together, and should be treated scientifically with a different approach! Although the materials may be fake at all, the authenticity of the materials does not necessarily mean the authenticity of the works. There is a huge amount of contemporary imitations, old paper and new works, etc. Only on the basis of affirming the materials can it be necessary to conduct in-depth research in appraisal.

值得補(bǔ)充的是，新手對(duì)于一些用老紙，老墨，老顏料，老印泥制造的偽作，會(huì)產(chǎn)生一定的疑惑，其實(shí)這個(gè)疑惑是很天真的， 因?yàn)槟?顏料， 印泥只有在紙質(zhì)上使用之后，經(jīng)過長時(shí)間氧化，才能體現(xiàn)出它的古氣，現(xiàn)成使用這些老材料，出來的效果其實(shí)和新材料相差無幾，是很容易分辨的。 除了同時(shí)代的仿品以外，現(xiàn)成的任何偽作是沒有古氣的。 總之，材料是鑒定的基礎(chǔ)，在鑒定過程中，應(yīng)嚴(yán)謹(jǐn)對(duì)待，不可輕視。

It is worth adding that beginners may have some doubts about some counterfeits made from old paper, ink, pigments, and printing paste. In fact, this doubt is very naive, because ink, pigments, and printing paste can only show their ancient style after being used on paper for a long time after oxidation. The effect of using these old materials now is actually similar to that of new materials, and it is easy to distinguish. Except for contemporary imitations, any ready-made forgery is devoid of antiquity. In short, materials are the foundation of appraisal, and in the appraisal process, they should be treated rigorously and not underestimated.

筆墨是作者創(chuàng)作之心境，筆墨是作品表達(dá)之語言。筆墨可以反映出書畫的時(shí)代氣息，個(gè)人風(fēng)格， 鑒定一件作品，要熟悉作品的時(shí)代氣息，進(jìn)而了解作者的生活年代，活動(dòng)場所， 然后研究作者不同年代不同的風(fēng)格，這些知識(shí)有些是掌握的，有些是可以靈活推理，畢竟書畫歷史悠久，名家輩出， 存世量巨大，任何鑒定家不可能涉足書畫之全部。

Pen and ink are the author's creative mood, and pen and ink are the language of expression in the work. Pen and ink can reflect the era atmosphere and personal style of calligraphy and painting. To identify a work, one must first familiarize oneself with the era atmosphere of the work, then understand the author's era of life and activity venues, and then study the author's different styles in different eras. Some of these knowledge are mastered, while others can be flexibly inferred. After all, Chinese calligraphy and painting has a long history, with many famous artists and a huge amount of surviving world, No appraiser can touch upon all aspects of Chinese calligraphy and painting.

作品的時(shí)代氣息，是證實(shí)作者生活年代，活動(dòng)場所的前提。我們知道，在書畫發(fā)展史上，同一個(gè)時(shí)代，不同的地域，都活躍著不同的書畫流派，所以，當(dāng)熟悉了作品的時(shí)代氣息，就可以深入分割研究不同地域的不同流派，二者前后融會(huì)貫通，從而達(dá)到鑒定的目的。筆墨是鑒定書畫時(shí)代氣息的法寶，也是鑒定的必經(jīng)之路，鑒定書畫時(shí)代氣息以筆墨入手。

The contemporary atmosphere of the work is a prerequisite for confirming the author's era of life and place of activity. We know that in the development history of Chinese calligraphy and painting, different schools of calligraphy and painting are active in the same era and different regions. Therefore, once you are familiar with the contemporary atmosphere of the work, you can deeply divide and study different schools in different regions, and the two are integrated before and after, thus achieving the purpose of identification. Pen and ink are the magic weapon for identifying the atmosphere of the calligraphy and painting era, and are also the necessary path for identification. Identifying the atmosphere of the calligraphy and painting era starts with pen and ink.

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