收購名人字畫：從大眾視角說書畫收藏

　　Acquiring Celebrity Calligraphy and Painting: A Public Perspective on Calligraphy and Painting Collections

　　前段時間，大雅堂按往年慣例為當(dāng)代某畫家舉行了一場迎新春書畫展，現(xiàn)場人潮涌動，場面，據(jù)說標(biāo)價平尺達(dá)幾十萬，仍有人趨之若鶩。在經(jīng)濟(jì)調(diào)整期，書畫收藏能有如此火熱的場面，也算是個例了。

　　Recently, Rongbaozhai held a New Year's calligraphy and painting exhibition for a contemporary painter as usual. The crowd was overwhelming and the scene was unprecedented. It is said that the price per square foot reached hundreds of thousands, and there are still people flocking to it. In the period of economic adjustment, the scene of calligraphy and painting collection being so hot is also an exception.

　　藏書賞畫自古就是的雅事，從皇宮內(nèi)府到士大夫，再到有一定經(jīng)濟(jì)實力的文人士子，無不熱衷此行。到了明清和近現(xiàn)代，參與收藏的人數(shù)、投入的資金體量以及有關(guān)收藏的著述達(dá)到令人驚嘆的地步，盛宣懷、龐元濟(jì)、張伯駒等大收藏家往往為求一紙豪擲千金，收藏風(fēng)氣之盛可謂甚囂塵上。

　　Collecting books and appreciating paintings has always been a high-end and elegant activity. From the imperial palace to the literati class, and even to literati with certain economic strength, everyone is enthusiastic about this trip. In the Ming and Qing dynasties, as well as in modern times, the number of people involved in collecting, the amount of funds invested, and the writings related to collecting reached an astonishing level. Large collectors such as Sheng Xuanhuai, Pang Yuanji, and Zhang Boju often spent a lot of money in pursuit of a single piece of paper, and the atmosphere of collecting was extremely prosperous.

　　在物質(zhì)極大豐富的今天，收藏不再是商賈巨富和文人雅士的，已逐漸成為大眾物質(zhì)生活和精神生活的一部分。而承載著歷史、文化、藝術(shù)信息的書畫，作為收藏品的意義，可以用兩個通俗的詞語概括，那就是好玩、值錢。有人從內(nèi)心喜歡，讀懂了里面的信息，對作品藝術(shù)境界、審美表達(dá)產(chǎn)生崇敬和共鳴，甚對作者生活方式、所處的時代環(huán)境和文化氛圍有一種向往和憧憬；而有人則看到的是商機(jī)和財富，將收藏作為一種投資或者投機(jī)行為，對其低風(fēng)險、益青睞有加。

　　In today's era of great material abundance, collection is no longer the exclusive domain of wealthy merchants and literati, but has gradually become a part of the material and spiritual lives of the masses. The significance of calligraphy and painting as collectibles, which carry historical, cultural, and artistic information, can be summarized in two simple words: fun and valuable. Some people like it from the bottom of their hearts, understand the information inside, admire and resonate with the artistic realm and aesthetic expression of the work, and even have a longing and longing for the author's lifestyle, the era environment and cultural atmosphere; However, some people see business opportunities and wealth, and view collecting as an investment or speculative activity, favoring its low risk and high efficiency.

　　伴隨著經(jīng)濟(jì)發(fā)展和時代變遷，書畫收藏渠道也不斷豐富。改革開放以來，書畫由過去單一的文物商店出售，到現(xiàn)在的拍賣行、畫廊、文化市場以及線上的網(wǎng)絡(luò)店鋪、網(wǎng)拍應(yīng)用程序、網(wǎng)絡(luò)直播售賣等。每種銷售方式各有特點，往往線上線下互相交叉，作品檔次、客戶群體也各有差別。一般情況下，拍賣公司和實體畫廊，大多出售已故或已成名的書畫家作品，檔次相對較高，保真性強(qiáng)。網(wǎng)絡(luò)店鋪是新世紀(jì)初期隨著互聯(lián)網(wǎng)發(fā)展而興起的新生事物，在書法論壇時代，網(wǎng)店風(fēng)騷，對當(dāng)今一些書壇名家的市場培育、交流和宣傳起到了關(guān)重要的作用。隨著新媒體發(fā)展，更便捷直觀的移動客戶端和直播平臺的出現(xiàn)，網(wǎng)絡(luò)店鋪逐步退出了舞臺。直觀便捷的新媒體滿足了各類消費者的需求，同時也呈現(xiàn)出了低端化趨勢，市場供給泥沙俱下，魚龍混雜。處在多元多平臺共存的時代，如何做好書畫收藏，從大眾收藏的視角講，有幾點淺顯的建議供參考。

　　With the development of the economy and the changes of the times, the channels for collecting calligraphy and painting are constantly enriched. Since the reform and opening up, the trading of calligraphy and painting has evolved from a single cultural relic store to auction houses, galleries, cultural markets, as well as online stores, auction applications, and live streaming sales. Each sales method has its own characteristics, often intersecting online and offline, with differences in product quality and customer base. In general, auction companies and physical galleries mostly sell works of deceased or famous calligraphers and painters, with relatively high quality and strong authenticity. The online shop is a new thing emerging with the development of the Internet at the beginning of the new century. In the era of calligraphy forum, the online shop leads the fashion and plays a vital role in the market cultivation, communication and publicity of some famous calligraphers today. With the development of new media and the emergence of more convenient and intuitive mobile clients and live streaming platforms, online stores have gradually withdrawn from the trading stage. Intuitive and convenient new media meets the needs of various consumers, while also showing a trend towards low-end. The market supply is mixed with good and bad. In the era of diverse and multi platform coexistence, how to do a good job in calligraphy and painting collection? From the perspective of mass collection, there are several simple suggestions for reference.

　　看市場反應(yīng)。市場是達(dá)到一定量的行為，如何判斷書畫家有沒有市場，有一個簡單的方法。“有人買”不是市場，“有人賣”也不是市場，因為買和賣都可能是偶發(fā)的個人行為，一個書畫家作品稍有水平，足夠優(yōu)惠，總能賣出一些，但這并不是說已形成了市場。所謂的市場是限量供給和長期有效的，長期“有人收”的作品才是真正被市場認(rèn)可了的。常見畫廊門口告示，寫著長年收購以下書畫家作品，后面有一大串名字，在這個名單里的書畫家，基本上就是被當(dāng)?shù)厥袌稣J(rèn)可了的，雖然市場有冷暖，行情有漲跌，但從中選購不用擔(dān)心以后轉(zhuǎn)手變現(xiàn)問題。

　　Observe market reactions. The market is a trading behavior that reaches a certain volume. There is a simple method to determine whether calligraphers and painters have a market. Someone buying "is not a market, and" someone selling "is not a market either, because buying and selling may be occasional personal actions. A painter or calligrapher's work may have a slight level of skill and a sufficiently favorable price, and they can always sell some, but this does not mean that a market has formed. The so-called market is limited supply and long-term effectiveness, and works that have been "collected" for a long time are truly recognized by the market. A common notice at the entrance of a gallery reads that the following calligraphy and painting works have been purchased for many years, followed by a long list of names. The calligraphy and painting artists on this list are basically recognized by the local market. Although the market has ups and downs, there is no need to worry about resale and monetization issues when choosing from them.

　　買古不買今。在一般情況下，時間軸線長的作品有歷史年輪，承載著厚重的時代信息，藝術(shù)審美的距離感，文化傳承的崇高感等因素的交疊，更能顯出其價值。比如，過去一些普通舉人秀才的字，寫得不刻意浮躁，沒有被炒作，從性價比上看收藏起來遠(yuǎn)比現(xiàn)在許多名家好很多。當(dāng)今時代書家眾多，在優(yōu)越的創(chuàng)作條件下，作品呈工業(yè)化生產(chǎn)狀態(tài)，沒有特殊的社會背景，難以作出留存后世的名作，一般書家的大多數(shù)作品只能稱之為工藝品，是否具備收藏價值，需要經(jīng)歷長時間的檢驗。

　　Buy the past, not the present. In general, works with a long timeline have historical rings, carrying heavy information of the times, a sense of distance in artistic aesthetics, and a sense of nobility in cultural inheritance, which overlap and highlight their value. For example, in the past, some ordinary literati characters were not deliberately impetuous or hyped up, and in terms of cost-effectiveness, they were much better to collect than many famous artists nowadays. In today's era, there are numerous calligraphers, and under superior creative conditions, their works are in an industrialized production state without a special social background, making it difficult to create masterpieces that can be preserved in later generations. Most of the works of calligraphers can only be called handicrafts, and whether they have collectible value needs to go through a long period of testing.

　　買近不買遠(yuǎn)。所謂遠(yuǎn)近，并非單純的距離概念，而是具有地域性因素的名聲遠(yuǎn)近。處在當(dāng)?shù)厥袌?，買當(dāng)?shù)厝硕贾?、都認(rèn)識的名家作品，會具備較高流通性。在藝術(shù)水平被行內(nèi)認(rèn)可了的前提下，如果名顯當(dāng)?shù)兀虻茏颖姸啵闷浣陶d；或知交故舊廣，傳其掌故；或德才兼?zhèn)?，有美譽(yù)，形象好，那么其作品市場前景就看好。比如，在山東濟(jì)南書畫市場，魏啟后、蔣維崧以及“關(guān)黑彌岳”等書畫家作品一直很搶手。即便在區(qū)縣一級，也有市場培育良好的例子，在山東省日照市莒縣，“莒縣六老”作品被稱為“地方糧票”，在任何時候，有人賣就有人要。

　　Buy near, not far. The so-called distance is not simply a concept of distance, but a reputation distance with regional factors. Being in the local market and buying works of famous artists that are known and recognized by locals will have higher circulation. On the premise that the artistic level is recognized by the industry, if the name is prominent in the local area or there are many disciples, receive their teachings; Or knowing old friends and spreading their stories; If someone possesses both moral integrity and talent, has a good reputation, and has a good image, then the market prospects for their works are promising. For example, in the calligraphy and painting market in Jinan, Shandong, works by calligraphers and painters such as Wei Qihou, Jiang Weisong, and "Guan Heimi Yue" have always been in high demand. Even at the district and county level, there are good examples of market cultivation. In Juxian County, Rizhao City, Shandong Province, the works of the "Six Elders of Juxian" are known as "local grain coupons", and at any time, whoever sells them will demand them.

　　買定不買疑。真假是收藏的生死線，寧可花高價買被確定為真的作品，也不貪便宜買拿不準(zhǔn)的東西。當(dāng)今造假手段很多，技術(shù)也很高，鑒定真假是普通人的收藏瓶頸，如果自己眼力不夠，就需要多找行內(nèi)人掌眼，盡量選擇流傳有序的作品，與靠譜的商家打交道。要講邏輯，多問為什么，這么好的作品為什么價不高，這家店為什么無人光顧，如果沒有足夠的知識儲備和眼力，存疑即否定，不要抱撿漏心態(tài)。

　　Buy without doubt. Authenticity is the lifeline of collecting. It is better to spend a high price on a work that is confirmed to be genuine than to buy something that is uncertain at a low price. There are many methods of counterfeiting nowadays, and the technology is also very advanced. Identifying the authenticity is a bottleneck for ordinary people's collections. If one's own vision is not enough, they need to seek the help of industry insiders and try to choose works that have been circulated in an orderly manner, and deal with reliable merchants. To be logical, ask more why, why such a good work is not expensive, why this store is not visited, if there is not enough knowledge reserve and vision, doubt and deny, do not have a picky mentality.

　　看名也看實。對于收藏來說，作者的名很重要，但要看名是不是官位加身之名、自吹自擂之名、市場炒作之名，除了創(chuàng)作的高度外，書畫家的人生經(jīng)歷、德望、學(xué)識、修養(yǎng)、著述以及師承、弟子，包括個人年壽等共同成就了一個書畫家之大名。齊白石木工出身，后以賣畫為生，得貴人相助，衰年變法，門下名弟子眾多，終成一代巨匠。而啟功先生，進(jìn)入現(xiàn)代一流書畫家收藏人選，除去藝術(shù)因素，其學(xué)識德望等因素加持起到了重要作用。

　　Look at both the name and the reality. For collection, the author's name is important, but it depends on whether the name is a name that is elevated by official positions, a name that boasts about oneself, or a name that is hyped up in the market. In addition to the height of professional creation, the life experience, moral expectations, knowledge, cultivation, writings, as well as the mentorship, disciples, and personal age of the calligrapher and painter, all contribute to the creation of a great name for the calligrapher and painter. Qi Baishi came from a woodworking background and later made a living by selling paintings. With the help of influential people, he underwent reforms in his declining years and had many famous disciples, eventually becoming a great master. Mr. Qigong, as a candidate for the collection of modern first-class calligraphers and painters, played an important role not only in artistic factors, but also in his knowledge and moral expectations.

　　有一位鑒定家說過，真正貴的東西是無用的。好物，是一種趣味和情懷。喜歡的東西收到了，就是緣分，即便以后轉(zhuǎn)手散去，也不枉曾經(jīng)擁有。

　　A appraiser once said that truly expensive things are useless. Good things are a kind of fun and emotion. When you receive something you like, it's fate. Even if it changes hands and disappears in the future, it's not worth having it in the past.