装裱与书画本身的关系要间接一些，但有时也可作为鉴定书画的有力佐证。各个时代的绫、锦，其花纹、色泽多不相同，装裱的式样也有出入。名人字画回收人员认为前人的收藏印多盖在裱件的接缝上，这就必然同装裱形式有密切的关系。

The relationship between mounting and calligraphy and painting itself is somewhat indirect, but sometimes it can also serve as strong evidence for identifying calligraphy and painting. The patterns and colors of silk and brocade from different eras vary greatly, and the mounting styles also vary. Celebrity calligraphy and painting recyclers believe that the previous collection prints were mostly covered on the seams of the mounting pieces, which is inevitably closely related to the mounting form.

如宋“宣和装”，故宫博物馆藏的梁师闵《芦汀密雪图》是个较典型的例子：玉池用绫，前、后隔水用黄绢，白麻笺作拖尾，连本身共五段。玉池和前隔水之间盖“御书”葫芦印，前隔水与本身之间盖双龙玺及年号玺各一，本身与后隔水之间盖年号玺二，拖尾上盖“内府图书之印”，共用七玺。“宣和装”虽有例外，但这是比较标准的格式。

For example, in the "Xuanhe Decoration" of the Song Dynasty, the "Lu Ting Mi Xue Tu" by Liang Shimin in the collection of the Palace Museum is a typical example: the jade pool is made of silk, the front and back are separated by yellow silk, and the white hemp paper is used as a trailing end. The painting itself consists of five sections. The gourd seal of the "Imperial Book" is affixed between the jade pool and the front partition water, one double dragon seal and one year seal are affixed between the front partition water and the front partition water, and the year seal is affixed between the front partition water and the back partition water. The "Seal of the Internal Library" is affixed to the tail, sharing seven seals. Although there are exceptions to 'Xuanhe Decoration', this is a relatively standard format.

不少赝迹上的伪宣和玺，往往是漫无规律，乱打乱盖。金章宗也用七玺，染清标常在前、后隔水上用两印。乾隆用五玺、七玺、八玺、十三玺不等。这些都各有他们的习惯。、

Many fake proclamations and seals on the forgery are often random and disorderly, with scattered covers. Jin Zhangzong also used the Seven Seals, and often used two seals on the front and back of the dyed Qing standard across water. Qianlong used five seals, seven seals, eight seals, and thirteen seals. These all have their own habits

裱工的一般情况是清中叶以前卷子拖尾短，所以比较细；嘉、道以后拖尾长，卷子就粗了。民间裱工南北传授不同，手法亦异。熟悉了以后，几种有特点的装裱不用打开书画便能知道是何时、何地的裱工，乃是哪一家的藏品。

The general situation of framers is that before the middle of the Qing Dynasty, the tail of the paper was short, so it was relatively thin; After Jia and Dao drag their tails, the paper becomes thicker. Folk framing workers are taught differently from north to south, and their techniques are also different. After getting familiar with it, several unique types of mounting can be identified without opening the calligraphy and painting, including when and where the mounting workers are located, and even which collection they belong to.

旧时北京的装裱匠人，手艺相当高超，旧书画虽然破碎不可分辨、或者脆到几乎一吹即散，仍能装裱如原装。这类不太完整的书画经装裱后，如果悬挂或正视，都不会看出有什么破绽。如果向阳处由背面看，则原形毕露。所以，如果遇到裱得很厚，或者装在镜框之内的书画，就一定要特别注意。

The framing craftsmen of old Beijing were highly skilled. Although old calligraphy and paintings were shattered to the point of being indistinguishable or almost fragile, they could still be mounted as original. After mounting these incomplete paintings and calligraphy, if hung or faced up, no flaws can be seen. If viewed from the back towards the sun, the original form is exposed. So, if you encounter books and paintings that are mounted very thick or inside the frame, you must pay special attention.

也有的作伪者采取金蝉脱壳的办法，保留原装裱，挖出书画本身将伪本嵌裱进去。鉴别这类书画，则不能仅凭装裱来断定其真伪了。

Some counterfeiters also adopt the method of removing the shell of a golden cicada, retaining the original mounting, and digging out the calligraphy and painting itself to embed the fake copy inside. To distinguish this type of calligraphy and painting, one cannot simply rely on mounting to determine its authenticity.

曾经有位藏家花大价钱买了一幅宋朝的古画。一般人来看，确实是宋朝的画，但仔细研究会发现那件东西纯粹是拿宋朝的残画拼接起来的。造假者把各种宋朝的残画拼接起来，组成了一幅新的画，还冠以出自名家之手，蒙了很多人。现在很多造假者手段很高明，把古画拼接、嫁接、挪位，很有隐蔽性。

Once a collector bought an ancient painting from the Song Dynasty at a high price. Generally speaking, it is indeed a painting from the Song Dynasty, but upon closer examination, one will find that it is purely a patchwork of remnants of the Song Dynasty. The counterfeiters pieced together various remnants of the Song Dynasty paintings to create a new one, and even labeled it as a masterpiece, which deceived many people. Nowadays, many counterfeiters are very skilled in splicing, grafting, and relocating ancient paintings, which is very covert.

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