竹编还是藤编、划痕要不要处理、落款看不清，一次答清

后台这几个问题都出现在器物进门半年之后。竹编和藤编到底怎么选，用久了有小划痕要不要处理，底下的手写落款磨得看不清了要不要紧。三个问题看着零碎，指向同一件事，器物在日常里会变，人得知道哪些变化可以放着不管。所谓包浆，是指器物经长期使用、擦拭与氧化后，表面形成的一层温润光泽，属于正常使用痕迹；它与开裂、起壳、露胎等损伤性质不同，判断时看有无结构性问题。

▍问答

问｜竹编和藤编，哪一种更适合家里常用

答｜看摆在哪儿。竹编硬、挺、耐水，做茶席垫、果盘、收纳篮更利落，缺点是怕长期潮湿，梅雨季易生霉，也别放在暖气边，干湿剧变会开裂。藤编柔韧、耐潮、抗压，做椅子、灯罩、脏衣篮更合适，怕的是暴晒与长期干燥，藤条一旦发脆就不能承重。南方湿热选藤更稳，北方干燥选竹更耐久。

问｜用久了有小划痕，要不要处理

答｜分材质看。平遥推光漆器的浅划痕多在表面漆膜上，可用细蜡顺着纹理轻抛，多数能淡下去；一旦露白见胎，就别自己补，交给会修的人处理。木器与竹器的浅痕随包浆加深会自然融合，不必动。银器划痕属于正常使用痕迹，擦银布顺着一个方向擦即可。瓷器上的灰黑细线常是金属餐具留下的金属印，用软橡皮或专用清洁剂轻擦能去掉，别用钢丝球。

问｜器物底下的手写落款看不清了，要不要紧

答｜一般不影响使用，也不影响它作为器物的价值，但要留意两点。落款是来源线索，看不清时别自行描补，描过反而失去凭据；可以用手机微距拍下来存档，连同购买时的说明、证书放在一起。真正要确认作者，看的是工序特征与当时的记录，落款只是其中一条。

问｜这些判断，韵和鸣会帮忙看吗

答｜会。器物出手前我们把工序与作者写进说明，出手后使用、保养、修护的问题都可以来问，拿不准的拍张照片发过来。韵和鸣做的是非遗手工品严选与出海，器物与非遗老师联名，署名这件事在我们这里是有据可查的，不必靠底下一行字去猜。

▍说在最后

三件事的答案其实同一个方向。材料的脾气要顺，痕迹该留的留，凭据该存的存。器物不是买回来就定型的摆件，它跟着屋子里的湿度、光线和人的习惯一起变。

一只藤编收纳篮靠在墙边，藤条接头处颜色比别处深一些

你手上有没有一件用出了痕迹、却越看越顺眼的器物？留言说说它是什么，下期「答疑录」也许就写它。

📩 非遗项目｜匠人举荐｜跨境出海｜线下联营

欢迎留言或后台联系，我们与匠人同行。

—— 韵和鸣 · 与匠人同行

〖答〗

English

Bamboo or rattan, which suits daily use at home?

It depends on where it sits. Bamboo is firm and water-tolerant, better for tea mats, fruit trays and baskets, but it dislikes sustained damp and moulds in humid seasons, and it cracks if kept beside a radiator. Rattan is pliant, moisture-tolerant and load-bearing, better for chairs, lampshades and laundry baskets, though it suffers in direct sun and dry air, and once cane goes brittle it cannot carry weight. Humid south, rattan is safer; dry north, bamboo lasts longer.

Should small scratches be treated?

It depends on the material. Shallow scratches on Pingyao polished lacquer usually sit in the film and soften with fine wax along the grain; once the body shows through, stop and give it to someone who repairs. Light marks on wood and bamboo blend in as patina builds and need nothing. Scratches on silver are ordinary wear; wipe with a silver cloth in one direction. Grey lines on porcelain are often metal marks from cutlery and lift with a soft eraser or a proper cleaner, never steel wool.

Does a faded handwritten signature underneath matter?

Usually it affects neither use nor the piece's value as an object, with two cautions. A signature is a clue to provenance; if it fades, do not retouch it, since a retouched mark loses its evidential value. Photograph it close-up and keep the image with the paperwork from purchase. Confirming a maker relies on process characteristics and contemporary records, of which the signature is one.

Will YUNHEMING help judge these things?

Yes. Before a piece leaves we write process and maker into its description, and questions on use, care and repair are welcome afterwards; send a photograph when unsure. YUNHEMING curates handmade heritage work for overseas markets and co-signs pieces with the makers, so authorship is documented here rather than guessed from a line underneath.

The three answers lean the same way: work with the material's temper, keep the marks worth keeping, and save the evidence worth saving. An object is not a fixed ornament once bought; it changes with the humidity, the light and the habits of a household.

A rattan basket leaning against a wall, the joins of the cane darker than the rest

Do you own something marked by use that looks better for it? Tell us what it is; the next Ask and Answer may take it up.

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