Material and ink are not only the relationship between form and image, but also the two elements in the identification of calligraphy and painting, which is often said by experts in the identification of antiques. The material is "dead" and the ink is "alive". The former is easy to say, while the latter is difficult to understand. The reason is very simple. As long as there is enough time and scientific analysis for "dead" things, the average person can accept them. However, it is not ruled out that there are also people who do not understand. For "living" things, it is not time to dissect the secret. Pen and ink need people to use passion to understand and brain to understand. Of course, it is impossible to do this without a lot of information and profound knowledge. Everyone's level of knowledge and understanding is different, so is their ability to accept.

材料指的是书画家创作以外的东西。具体分纸（绢）质，墨色，颜料，印泥四部分。表面上看，这四点没有多大学说。 其实不然，特别是在鉴定远古书画作品时，材料的区分可以直接对某些膺品作出科学的论断，无须深入。 比如一幅明代的书画，如果发现作品的材料不到年纪，或者是新的，  就根本不用再深入研究，要知道，古人是不会用后人的东西。

Materials refer to things other than those created by calligraphers and painters. 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, this is not the case, especially in the identification of ancient calligraphy and painting works, the distinction of materials can directly make scientific judgments about some fakes without going deep. For example, a painting and calligraphy of the Ming Dynasty, if the material of the work is not old or new, there is no need to study it further. You should know that the ancients will not use the things of later generations.

材料学说基本可以概括成一定义：一点假即全假，也就是说发现材料的其中一点是假的，就可以断定整件作品是假的！于书画作品残破接笔， 不能笼统概括混合其中，应另开思路科学对待！ 虽说材料一点假即全假，但是，材料真不一定作品真，同时代的仿品，老纸新作等膺品存世量巨大， 只有在肯定材料的基础上，鉴定才有必要深入研究。

The material theory can be basically summarized as a definition: a little false is a whole false, that is to say, if one of the materials is false, you can conclude that the whole work is false! As for the broken brushwork of calligraphy and painting, we should not generalize and mix them in a general way. We should treat them scientifically in a different way! Although a little false material means all false, it is not necessarily true. There are a large number of contemporary imitations, old paper and new works. Only on the basis of affirming the material, can the identification be necessary for further study.

值得补充的是，新手对于一些用老纸，老墨，老颜料，老印泥制造的伪作，会产生一定的疑惑，其实这个疑惑是很天真的， 因为墨， 颜料， 印泥只有在纸质上使用之后，经过长时间氧化，才能体现出它的古气，现成使用这些老材料，出来的效果其实和新材料相差无几，是很容易分辨的。 除了同时代的仿品以外，现成的任何伪作是没有古气的。 总之，材料是鉴定的基础，在鉴定过程中，应严谨对待，不可轻视。

It is worth adding that novices will have some doubts about some fake works made of old paper, old ink, old pigment, and old ink pad. In fact, this doubt is naive, because ink, pigment, and ink pad can only show its antiquity after being used on paper for a long time after oxidation. It is easy to distinguish the effect of ready-made use of these old materials from that of new materials. Except for contemporary imitations, any ready-made fakes are not archaic. In a word, materials are the basis of identification, which should be treated strictly and not despised in the process of identification.

笔墨是作者创作之心境，笔墨是作品表达之语言。笔墨可以反映出书画的时代气息，个人风格， 鉴定一件作品，要熟悉作品的时代气息，进而了解作者的生活年代，活动场所， 然后研究作者不同年代不同的风格，这些知识有些是掌握的，有些是可以灵活推理，毕竟书画历史悠久，名家辈出， 存世量巨大，任何鉴定家不可能涉足书画之全部。

The pen and ink is the mood of the author's creation, and the pen and ink is the language of the work's expression. Brush and ink can reflect the era and personal style of calligraphy and painting. To identify a work, first of all, you should be familiar with the era of the work, then understand the author's life time and place of activity, and then study the author's different styles in different years. Some of these knowledge are mastered, and some can be flexibly reasoned. After all, Chinese calligraphy and painting has a long history, with a large number of famous artists, and a huge amount of survival, It is impossible for any appraiser to get involved in all Chinese calligraphy and painting.

作品的时代气息，是证实作者生活年代，活动场所的前提。我们知道，在书画发展史上，同一个时代，不同的地域，都活跃着不同的书画流派，所以，当熟悉了作品的时代气息，就可以深入分割研究不同地域的不同流派，二者前后融会贯通，从而达到鉴定的目的。笔墨是鉴定书画时代气息的法宝，也是鉴定的必经之路，鉴定书画时代气息以笔墨入手。

The contemporary flavor of the work is the premise to confirm the author's age and place of activity. We know that in the history of the development of Chinese painting and calligraphy, different schools of painting and calligraphy are active in the same era and different regions. Therefore, when you are familiar with the contemporary flavor of the work, you can deeply divide and study different schools of painting and calligraphy in different regions, and the two are integrated before and after, so as to achieve the purpose of identification. Pen and ink are the magic weapon and the only way to identify the flavor of the era of calligraphy and painting.