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款识最早指青铜器上铸刻的文字,唐初学者颜师古(581—645)释义:“款,刻也;识,记也。”后来书画作品的署名也谓之落款:只画不题谓无款;仅题姓名谓穷款;姓名之外又题写诗文的谓之长款或题跋。题跋位置有的题在画面,也有的题写画轴的引首、隔水、诗塘、拖尾等位置:绘画题跋有作者自题,也有他人题跋和后世的收藏鉴识题跋等。对于绘画题款的发展,明清人多有总结。明代沈灏(1586—1661)《画塵》:“元以前多不用款,款或隐之石罅。恐书不精,有伤画局。”~([1])清代钱杜(1764—1845)说:“画之款识,唐人只小字藏于树根石罅,
The earliest paragraph refers to the engraved bronze on the text, the early Tang Yan Chu ancient scholars (581-645) Interpretation: ”section, engraved; knowledge, mind also.“ Later paintings signed also said: The title is no money; only the title surname is poor; name and wrote poetry that long paragraph or inscriptions. Some titles inscriptions in the picture, there are also some of the title of the title of the first scroll, water, poetry ponds, tail and other locations: painting inscriptions have the author from the title, others have inscriptions and future generations of the collection of identification inscriptions and postscripts. For the development of painting inscriptions, there are many people in the Ming and Qing Dynasties. The Ming Dynasty Shen Hao (1586-1661) ”Dust“: ”Before the yuan more than money, paragraph or hidden stone 罅. Fear of the book is not fine, there is hurt painting. “ ~ ([1] 1764-1845) said: ”The section of the painting, the Tang Chinese only hides in the roots of stone 罅,