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童年時因為父輩與家族間以及哥哥姐姐們的相互通信，所以來往的信件較多，于是會看到各種各樣花花綠綠的郵票，閑著無事也就學著大人把它們從信封上用水泡下來，這算是集郵？ 
等到成年有收入了，知道集郵其實是一個無底洞，一個小青工靠一份工資怎么可能收集滿世界發(fā)行的這種花紙頭，所以寧可買相機也不會去集郵，那些曾經(jīng)有過的郵票也都給了稍有收獲收集者。 但是在這個過程中對郵票是否應該從信封上撕下來有了一個正確的認識，那就是實寄封的收藏價值遠遠高于那張撕下來的郵票。實寄封的正確表述方式應該是：經(jīng)過通信寄遞后的信函封套或者其它郵政用品的總稱。廣義的實寄封還包括其他部門專設負責本系統(tǒng)內部信函傳遞的機構傳遞過的信封，以及郵票史前的郵驛封、車封、馬封和民信局實寄過的信封。
想想也是，當你把郵票從信封上撕下來后，它僅僅只是一張蓋過郵戳的郵票，而它曾經(jīng)擔負傳達信息的使命和過程其實在那個被你丟棄的信封上，同時這個信封所承載的歷史信息可能遠遠超過你的想象。 后來還見過有不少集郵的老人在那些剛剛買到的紀念郵票上蓋上郵戳，心中頗為納悶，因為蓋過郵戳就意味著不能實際使用了，后來知道這叫蓋銷票，在集郵中這也是一個集郵品種，郵票公司為了滿足這部分集郵者的愛好，也特意供應蓋銷票。如五十年代的中國集郵公司就曾向國內外集郵者供應過蓋銷票。蓋銷票的價格一般低于新票，但有的蓋銷票價格相當于新票。 由于蓋銷票是人手工將郵戳蓋在特定的位置上，所以郵票或信封的位置上都相當合適，也就是講郵品的品相相當好，但是它畢竟沒有經(jīng)過正常的郵路傳遞，沒有如同實寄封那樣承載了準確的歷史信息，它的品相也就是一個虛擬的狀態(tài)。 在本次郵展上也看到部分集郵愛好者拿著已經(jīng)貼上郵票的信封在一個個攤位前蓋上郵戳，使它成為一張蓋銷封，其實你想想就有點荒唐，你在一個新疆的攤位前在一個貼上新疆的郵票信封上蓋上一個新疆的郵戳，有意義嗎？這肯定是一個虛假的信息。 而我覺得可以作為本次郵展的參與者身份來做一個自己的實寄封郵品，也就是帶上自己的衍生品明信片，在郵展上找能夠反映本次郵展信息的章，蓋上后回家貼上郵票實寄一次，于是就有了如下的作品。
所以它承載了幾個信息，一個是2024亞洲國際集郵展覽、上海文化日、郵路的過程、住址、信件傳遞檢測的方式（條形碼），當然最重要的是我自己的原創(chuàng)攝影作品《上海城市影像系列明信片》。所以它是獨一無二的一份集郵品。
這就是一個偽郵迷做一份有趣的郵品過程，你學到了嗎？The Gains of a Pseudo Philatelist at the Stamp ExhibitionIn my childhood, due to the correspondence among my parents, family, and older siblings, I often surrounded by an abundance of letters. Consequently, I was exposed to a myriad of colorful stamps. Out of sheer curiosity and idleness, I emulated the adults by soaking these stamps off their envelopes. Was this considered stamp collecting?As I grew older and began earning a salary, I came to realize that stamp collecting is, in essence, a bottomless pit. How could a modest worker, with a single income, possibly amass a collection of these colorful pieces of paper issued worldwide? Thus, I preferred to invest in a camera rather than pursue philately, and the stamps I once had were given away to collectors who had a more fruitful pursuit.
However, throughout this journey, I developed a proper understanding of whether stamps should be removed from their envelopes. I learned that the collecting value of a postal item sent through the mail far exceeds that of a mere stamp torn from its envelope. The correct term for a sent item should encompass the totality of letters and other postal materials that have undergone the process of communication and delivery. Broadly speaking, sent items also include envelopes transmitted by organizations responsible for internal correspondence, as well as pre-stamp postal items such as horse-drawn mail, vehicle mail, and envelopes sent by local postal services.Upon reflection, once you tear a stamp from its envelope, it merely becomes a postmarked piece of paper, stripped of its original purpose. The mission of conveying information and the process it underwent reside within the discarded envelope, which may carry historical significance that far surpasses your imagination.
I later encountered numerous elderly philatelists who, upon acquiring newly released commemorative stamps, would promptly affix postmarks upon them. This puzzled me, as a postmarked stamp signifies that it can no longer be used for actual postage. Eventually, I learned that this practice is known as "cancellation," which constitutes a specific category within philately. To cater to this segment of collectors, postal companies have deliberately provided canceled stamps. For instance, in the 1950s, the China Philatelic Corporation supplied canceled stamps to both domestic and international collectors. Generally, the prices of canceled stamps are lower than those of new stamps, although some canceled stamps can be priced similarly to their pristine counterparts.Since the cancellation process involves hand-stamping the postmark in designated locations, the placement of the stamp or envelope is typically quite precise, resulting in a visually appealing item. However, it is important to note that canceled stamps have not traversed the normal postal route and thus lack the authentic historical context that a sent item, or "actual mail," embodies. Consequently, their condition exists in a somewhat illusory state.
At this stamp exhibition, I observed several enthusiasts utilizing envelopes already affixed with stamps to obtain postmarks at various booths, transforming them into canceled covers. Upon reflection, this practice seems rather absurd. For instance, stamping an envelope bearing a Xinjiang stamp at a booth in Xinjiang with a corresponding Xinjiang postmark—what significance does that hold? It is undoubtedly a fabrication of information.In light of this, I decided to participate in the exhibition by creating my own sent item. I brought along a postcard featuring my own derivative design and sought a postmark that would reflect the essence of the exhibition. After obtaining the postmark, I returned home, affixed a stamp, and sent it off. Thus, I produced the following work.
Thus, it embodies several layers of information: the 4 Asia International Philic Exhibition, Shanghai Day, the journey of the postal process, the address, and the method of letter delivery (barcode). Most importantly, it features my original photographic work, titled "Shanghai Urban Imagery Series Postcard." Consequently, it stands as a unique philatelic item.This illustrates the intriguing process through which a pseudo philatelist can create a meaningful postal artifact. Have you gleaned any insights from this?
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