Painters in the Ming Dynasty also used it.
Turn a little knowledge for reference.
The identification of silk and paper is another way to identify calligraphy and painting. According to the research of scholars in the Republic of China, the silk paintings in the late Zhou Dynasty, Chu tombs in the Warring States Period and later Han tombs in Mawangjiao were all painted on a fine monofilament, but so far, double filaments (that is, the warp is double filaments and the weft is single filaments) have not been used. From the Five Dynasties to the Southern Song Dynasty, silk developed and changed compared with the previous generation. On the surface, in addition to monofilaments, there are also forms of double filaments. The warp of this kind of double filament is a group of two filaments, and there is a filament gap between each group, and the weft is a monofilament. Generally speaking, the silk of the Yuan Dynasty was a little thicker than that of the Song Dynasty, not as thin and white as that of the Song Dynasty, and it was still in a loose state. On the whole, the silk of the Ming Dynasty seems to be rough. There was a kind of low-quality thin silk in the early and middle Ming Dynasty. Because this kind of silk is too thin to drip ink, painters often put it on paper before painting and calligraphy. The material of paper is another criterion to judge the age of painting and calligraphy. In the ancient paper, Han and Jin dynasties, hemp was mostly regenerated from waste materials such as linen, sacks, Ma Xie and fishing nets, and raw hemp was also used-hemp was used in the north and ramie was used in the south. Its characteristic is that the fiber is thick and it is difficult to make it fine. Dull, hairless, fiber bundles are round, sometimes lignin can be seen. Most of the paintings and calligraphy in Sui, Tang and Five Dynasties were made of hemp paper, such as Preface to Lanting, Zhang Shi by Du Mushu and a large number of Tang Dynasty classics unearthed in Dunhuang. After the northern song dynasty, it decreased sharply, but in the northern Liao and Jin dynasties, linen was still used as the sutra. There are almost no paintings and calligraphy with hemp paper in the future. During the Sui and Tang Dynasties, we began to see paper made of bark, mostly made of bamboo or sandalwood bark, which is characterized by fine fibers and is a fine product produced with the development and progress of handicraft industry. This material is also relatively dull, only slightly brighter than hemp paper, and the fibers are bundled into flat sheets with slight paper wool. There is also paper made of mulberry bark, which is characterized by thinner and brighter fibers, easy to grow long hair on the paper surface and flat fiber bundles. At the beginning of the northern song dynasty, a large number of bark papermaking appeared in calligraphy ink. After that, bark paper was produced all over the country. Paper-making with bamboo for painting and calligraphy began in the Northern Song Dynasty. Bamboo is hard, and it is the most difficult to make pulp, because it can't be processed by predecessors, so it is not used. Bamboo paper fibers are the thinnest, bright and hairless, fiber bundles or hard thorns, and corners are also seen outside the corners. After the mid-Northern Song Dynasty, the raw materials for making calligraphy and painting paper were available, so it was not easy to distinguish the times with paper. Appraisal of Decoration Each era's painting and calligraphy decoration has its own characteristics, which can be used as an auxiliary basis for dating. For example, the paintings and calligraphy collected by the court in the Southern Song Dynasty all have a prescribed mounting format-Shaoxing Yufu binding style, and there are strict regulations on what materials to use for mounting different grades of paintings and calligraphy, such as what head to use, what Zi Ling to use and what axis to use; The color, size and shaft head of the vertical shaft have certain formats. Palace paintings in the Yuan Dynasty were mounted by special personnel. In the fourth year of Dade, "Wu Zhi, a mounter, was ordered to take ancient jade ivory as the axis, lotus magpie wood brocade and blue silk as the mounting, and the refined lacquer box was stored in the treasurer, with a total of 646 paintings." The decorative forms of calligraphy and painting in the Ming Dynasty have been further developed, and the introduction of calligraphy and painting volumes has been added. Some of them are written in words, some are imitated with narrow edges, and some are made of silk or wide edges of silk. The longitudinal axis is divided into wide and narrow sides, and some have added poetry halls. The mounting of Tibetan paintings in Qing Palace has its unique style.