Many people want to enjoy their works and save costs. Therefore, replicas are produced under this background, and even flourish.
Especially with the development of science and technology, nowadays, the reproduction of calligraphy and painting can perfectly reproduce the rare classic art handed down from generation to generation, which not only provides an effective way for the protection and dissemination of artistic treasures, but also brings the artistic treasures living in museums into the public's field of vision.
cultural relic
Has the market ushered in the era of "re-engraving"?
Art treasures from ancient times to the present are not only the favorite things of emperors and generals, but also "suitable for the public" and are favored by the general public. There are even many collectors who are willing to sacrifice their lives in front of their beloved collections. However, in the face of high prices, they often flinch.
However, most of the original works are either buried in the dust of history or shelved and displayed in museums.
Under such circumstances, replicas can enter the homes of ordinary people at a price of nearly 1,000 yuan, so that many working-class collectors can take these precious "cultural relics" and "national treasures" into their pockets. This can not help but make people sigh that "Wang Xietang died in front of swallows and flew into the homes of ordinary people."
Previously, as soon as the Palace Museum held the "Special Exhibition of Stone Canal Treasures", a large number of replicas of rare treasures such as Zhang Zeduan's Riverside Scenery in Ming and Qing Dynasties, Tang Yin's Scenery of Prostitutes in Shu Meng Palace, and Han Yun's "Five Cattle Map" were carefully presented and unexpectedly became popular, which not only became a great event in the collection art world, but also became a cultural hot news of the whole society. Many people not only have this question: has the cultural relics market ushered in the era of "replicas"?
cultural relic
Replicas have been incorporated into the "cultural creativity" industry.
Famous painters and calligraphers of past dynasties are not only the product of historical precipitation, but also the cultural treasure of the Chinese nation, and are handed down from their ancestors. And some famous painters and calligraphers we are familiar with are mostly collected by major museums and kept in the market. Tens of millions or even hundreds of millions of original works belong to the elite of small and high-end society, and it is difficult to really popularize them.
For example, the classic masterpieces such as Han Xizai's Night Banquet and Wang Xizhi's It's Snowing, It's Sunny, which used to be seen only by royalty and dignitaries, have now flown into the homes of ordinary people. If there is no copy of calligraphy and painting, many people may never see the elegance of these masterpieces.
Nowadays, the reproduction of cultural relics and artworks has become a part of cultural and creative industries, and its market share is also expanding at a high speed. At present, in the transaction records of some museums, auction houses, galleries and other institutions, the prices of high-fidelity calligraphy and painting replicas are all around 10 thousand yuan, and the market is very good.
replica
Often understood as a fake!
Replication, originally a sign of post-modernism, has strong plasticity in vision and many changes in artistic techniques. Copy itself can copy the style of art collection, but in the end, copy is repetition, not creation! This is also the place where replicas are most criticized.
The insiders believe that copying actually points to identity. This identity is dangerous because it is not conducive to the innovation of artistic works. Not only that, they also raised another question. These printed copies look "genuine", which may lead to chaos in the art market.
However, some people think that it is unnecessary to look at replicas in this way. Replicas are also the product of the development of the times. Its appearance fills the gap, so that people will not regret for life because they can't see the original. So aside from prejudice, we just need to see the practical value of copywriting.
Bian Xiao believes that it is understandable to make "replicas" to meet the cultural hunger and aesthetic needs of ordinary people, and to buy "replicas" to meet the regret that you can't own or even see the real thing with your own eyes is also a reasonable way of cultural consumption.
But "replica" is "replica", which is just a regrettable supplement. However, if "replicas" are used to pass off as genuine products and cheat money, that is what we resolutely oppose and have been criticizing.