These three types of people purchase calligraphy and painting crazily in the art market

目前的國內(nèi)藝術(shù)市場(chǎng)上，業(yè)內(nèi)行家、金融資本和企業(yè)收藏是主要的三股參與力量。其中“行家”仍占據(jù)重要位置，有些堅(jiān)持收藏三四十年的大家，在收藏上已自成體系，像十分知名的佛像藏家收藏的佛像已占到國內(nèi)精品佛像收藏?cái)?shù)目的一半以上；古典家具、近現(xiàn)代書畫作品的收藏也較為流行，并在各自領(lǐng)域里形成了一些代表性的流派體系。這些傳統(tǒng)形式的收藏家秉持的收藏愛好、精神追求和對(duì)古物的保護(hù)心態(tài)，多不顯張揚(yáng)，但確已形成一種龐然規(guī)模和收藏文化。

At present, in the domestic art market, industry experts, financial capital and enterprise collections are the main three participating forces. Among them, "connoisseurs" still occupy an important position. Some people who have been collecting for 30 or 40 years have formed their own collection system. For example, the Buddha statues collected by very famous collectors of Buddha statues have accounted for more than half of the number of high-quality Buddha statues collected in China; The collection of classical furniture and modern calligraphy and painting works is also popular, and has formed some representative school systems in their respective fields. The collection hobby, spiritual pursuit and protection mentality of these traditional collectors are not obvious, but they have formed a huge scale and collection culture.

近年來，在藝術(shù)品市場(chǎng)上如日中天的新興力量則是來自新富和金融資本的風(fēng)起云涌。毫無疑問，盈利是金融資本積極進(jìn)入這一領(lǐng)域的主要目的，但我們也不能忽視其為實(shí)現(xiàn)此目的而做出的各種努力，例如包括藝術(shù)品基金、藝術(shù)品信托在內(nèi)的產(chǎn)品開發(fā)和藝術(shù)品所等創(chuàng)新制度，這些都為富人之外的客戶群體開辟了投身參與藝術(shù)市場(chǎng)的機(jī)會(huì)。

In recent years, the emerging forces in the art market are emerging from new wealth and financial capital. There is no doubt that profitability is the main purpose for financial capital to actively enter this field, but we can not ignore its efforts to achieve this goal, such as product development including art funds, art trusts, art exchanges and other innovative systems, which have opened up opportunities for customers other than the rich to participate in the art market.

而且，充裕的資金流動(dòng)性也帶動(dòng)了藝術(shù)市場(chǎng)的繁榮活躍。2010年6月3日，保利5周年春拍會(huì)上，北宋書法家黃庭堅(jiān)大字行楷書《砥柱銘卷》以4.368億元的金額創(chuàng)造了書畫拍賣史的新紀(jì)錄。國人顯然對(duì)這個(gè)驚人數(shù)字還無法適應(yīng)，一時(shí)間爭(zhēng)議之聲不絕。在國內(nèi)，藝術(shù)品身價(jià)邁過“億元”門檻的現(xiàn)象不過才剛剛開始，而在國外藝術(shù)市場(chǎng)領(lǐng)域并不稀奇，例如全球貴的一幅畫作是杰克遜·波洛克的《1948年第5號(hào)》，拍賣價(jià)為1.4億美金。

Moreover, the abundant capital liquidity has also led to the prosperity of the art market. On June 3, 2010, at the spring auction of the 5th anniversary of Poly, Huang Tingjian, a calligrapher of the Northern Song Dynasty, set a new record in the history of Chinese calligraphy and painting auction with the amount of 436.8 million yuan. It is obvious that Chinese people cannot adapt to this amazing number, and there has been a lot of controversy for a while. In China, the phenomenon that the value of works of art has exceeded the threshold of "100 million yuan" is just beginning, but it is not uncommon in the field of foreign art markets. For example, one of the most expensive paintings in the world is Jackson Pollock's "No. 5 in 1948", with an auction price of 140 million dollars.

小到過億元的《砥柱銘卷》，大到眾多藝術(shù)品的普遍虛高，這種困惑現(xiàn)象還要通過金融資本對(duì)國內(nèi)藝術(shù)品市場(chǎng)的推動(dòng)來進(jìn)行解讀。在這一領(lǐng)域里，藝術(shù)概念和藝術(shù)的衡量不能脫離藝術(shù)價(jià)值的屬性。加之近年來國民財(cái)富的增長，富人財(cái)富的增多也給收藏市場(chǎng)帶來更大的成長空間。此外，從家族財(cái)富傳承的角度，除了增添家族文化氛圍的厚重感，藝術(shù)品收藏還扮演著避稅節(jié)稅的重要角色。

As small as more than one hundred million yuan, and as large as the general high price of many artworks, this confusion should be interpreted through the promotion of financial capital to the domestic art market. In this field, the measurement of art concept and art price cannot be separated from the attribute of art value. In addition to the growth of national wealth in recent years, the increase of wealth of the rich has also brought greater growth space to the collection market. In addition, from the perspective of family wealth inheritance, art collection also plays an important role in tax avoidance and tax saving, in addition to adding a sense of gravity to the family cultural atmosphere.

目前，企業(yè)收藏正成為藝術(shù)品收藏領(lǐng)域的一個(gè)新熱點(diǎn)。一方面，合理的收藏有助于提升企業(yè)的文化內(nèi)涵和形象，大型企業(yè)的一些收藏行為是作為企業(yè)文化的構(gòu)成部分逐步發(fā)展起來，例如建立企業(yè)博物館；也不缺乏為避稅而將企業(yè)資金參與藝術(shù)品投資的情況。另一方面，也有一些企業(yè)家感覺到做實(shí)業(yè)的辛苦，積累到一定資產(chǎn)后逐步增加對(duì)收藏的關(guān)注，而把實(shí)業(yè)放下專心做收藏的也不乏其人。

At present, enterprise collection is becoming a new hotspot in the field of art collection. On the one hand, reasonable collection helps to enhance the cultural connotation and brand image of enterprises. Some collection behaviors of large enterprises are gradually developed as part of enterprise culture, such as the establishment of enterprise museums; There is also no lack of investment in works of art with enterprise funds for tax avoidance. On the other hand, there are also some entrepreneurs who feel the hard work of doing industry. After accumulating certain assets, they gradually increase their attention to collection, and there are many people who put down industry and concentrate on doing collection.

此外，國內(nèi)收藏界漸起一股新風(fēng)尚——將流失海外的文物收回國內(nèi)的愛國主義舉動(dòng)，轟動(dòng)的事件莫過于2009年蔡銘超在佳士得拍賣會(huì)上以2.8億元拍下圓明園文物兔首、鼠首的事件。而此前，他就曾以億元拍回一尊明代鎏金佛像，面對(duì)眾說紛紜的報(bào)道，他坦誠說，“我希望大家能多關(guān)注這尊流落境外數(shù)百年的國寶回來的意義，而不是我這個(gè)人。”

In addition, a new trend has emerged in the domestic collection circle - the patriotic act of taking back the cultural relics lost overseas. The most sensational event is that Cai Mingchao auctioned the rabbit head and mouse head of the Yuanmingyuan cultural relics at Christie's auction in 2009 for 280 million yuan. Before that, he had bought back a gilded Buddha statue of the Ming Dynasty for 100 million yuan. In the face of reports of different opinions, he said frankly, "I hope you can pay more attention to the significance of the return of this national treasure that has been living abroad for hundreds of years, not me."http://www.yidajxc.com