At present, the famous sketches are stable in the whole auction market, and the prices are moderate, so what are their future development prospects? This paper takes "Four Heavenly Kings of Qing Dynasty" as an example, and based on the transaction data of their sketches in Guardian, China in recent ten years, systematically analyzes the art investment market of ancient famous sketches from three aspects: the value of auction collection, the demand of calligraphy and painting market and the appreciation space of works.
In the spring auction of 20 10, China's paintings and calligraphy were outstanding, especially China's ancient paintings and calligraphy, with many high-priced lots, accounting for 36% of the top 100 artworks in China. China Guardian has produced more than 500 treasures of various schools in the Song, Yuan, Ming and Qing Dynasties in the Gu Shuhua plate, among which the lots with a transaction price of more than 6.5438+00 million yuan account for more than 654.38+00% of the total, while the four hunting and riding pictures of Song people imitating Guo Zhongshu recorded in Shiqu Baodi were sold for 79.52 million yuan. Beijing Poly 2065.438+00 The total turnover of ancient calligraphy and painting spring auction was 65.438+36 billion yuan, which became the main force of Poly Spring Auction, while Huang Tingjian's calligraphy works
Commodities, such as masterpieces by Shen Zhou and Chen Chun, among which flowers and birds by Hua Yan, a painter in Qing Dynasty, were sold at RMB 16785780; The ancient works of Xiling calligraphy and painting also achieved an amazing turnover rate of 86.33% and a turnover of 65.438+0.38 billion yuan.
From the above data, although the collection of ancient Chinese paintings and calligraphy is facing a high market position that collectors can't accept, it is still valued and concerned by new and old collectors because of its outstanding artistic value, clear description, orderly collection, good appearance, small amount of existence and high preservation, and it has the possibility of creating high prices again, occupying an important position in the whole art market. Therefore, there are conventions and rules for pricing by feet. On the one hand, the reason is related to the level of painting and calligraphy masters; On the other hand, it is also related to the way the state purchased some painters' works after the founding of the People's Republic of China.
In fact, China's ancient paintings and calligraphy can't be priced by ruler. The "ruler" in the so-called "valuation by ruler" here has two meanings: one refers to the specifications of rice paper, and the other refers to the square ruler of the work. The reason for this is that China ancient paintings and calligraphy are the result of the painter's wonderful thoughts and sentimental feelings in the process of keeping things the same as me, so there are many explanations and annotations about the concepts of painting, but they have nothing to do with the scale: Gu Kaizhi in the Eastern Jin Dynasty put forward the theory of "vivid" (see Zhang Yanyuan's Record of Famous Paintings in Past Dynasties), and Sheikh in the Southern Dynasties put forward vivid charm, brushwork, pictographic images and so on.
If Gu Kaizhi and Sheikh's discussion on the concept of painting quality still stays in the painting creation itself, then Zhang Huaiguan in the Tang Dynasty took a big step forward on this basis and began to pay attention to the influence and function of painting works in a wider range. He put forward the theory of "God, Wonderful and Capable" in the book Painting Broken. According to Zhu's explanation in "Continued Books and Broken Books", "outstanding and unique, it can be described as fantastic. Exquisite use Very wonderful; It can be seen that Zhang Huaiguan's theory of "three natures" has two bases, one is his contribution to the development of calligraphy and painting, and the other is the inner artistic feeling that calligraphy and painting bring to viewers. The two are interdependent.
Zhu added yi pin to his theory (see Records of Famous Paintings in Tang Dynasty), and classified those who had "strange methods" as yi pin, such as Wang Mo, Liling Province and Zhang. Later, Zhang Yanyuan put forward the five points of "Nature, Spirit, Beauty, Refinement and Delicate" in the Record of Famous Paintings in Past Dynasties, pointing out that the fundamental of painting skills lies in conception and pen use, emphasizing the significance and cultural taste of painting itself, as well as the tradition and inheritance of painting art, and paying special attention to the painter's character.
By the time of the Northern Song Dynasty, Liu Daochun had put forward the appraisal standards of "six essentials", "six strengths" and "three qualities" (contained in the Records of Famous Paintings of the Holy Dynasty). The so-called six essentials are: energetic charm, Gu Zhuo style, reasonable variation, gorgeous painting, natural coming and going, and short study room; The so-called six elders: rough suffering is the pen, eccentricity is the talent, implication is the strength, madness is the reason, no ink is the dye, and equality is the length; The three products are god, wonder and energy. The key to evaluating the quality of a painting is to "observe its weather first, then decide whether to stay or not, delve into its meaning, and finally seek its reason." Xuanhe Painting Collection, compiled by the government during the reign of Huizong Xuanhe in the Northern Song Dynasty, embodies the quality standards of the Song Dynasty Painting Academy, emphasizing the conception and style. "It doesn't imitate predecessors, but the modality of things is natural and the brushwork is simple."
During the Southern Song Dynasty, the creation of palace paintings reached its peak. However, in the book "Painting with", Deng Chun admires literati painting, believing that the vividness of painting only lies in personality, and emphasizes the painter's cultural accomplishment and artistic interest. Later, in the Ming Dynasty, Dong Qichang further promoted literati painting and put forward the theory of "Southern and Northern Schools" (see the record in Rong Tai Bieji). "Zen has two schools, the Southern School and the Northern School, which were divided in the Tang Dynasty. There are two paintings, North and South, also from the Tang Dynasty. But he's not a north-south ear. Father and son of Beizong painted landscapes and spread them to Zhao Gan, Zhao Boju, Bozi, Ma and Xia in Song Dynasty. In Nanzong, the king began to use the method of shading and changing hooks. It was handed down by four families: Jing, Guan, Dong, Ju, Guo Zhongshu, Mi and his son, and even Yuan. For example, after the sixth ancestor, Lin Ji had ponies, cloud gates, children and grandchildren, and the northern faction was weaker. " Based on the aesthetic and artistic views of literati painters, it belittles the northern painting schools such as courtyard painting and turquoise landscape painting before the Southern Song Dynasty, and praises the southern painting school represented by literati painting.
No matter what kind of theory or viewpoint, it is not based on the scale of painting, but on the basis of comprehensive consideration of the performance content, performance skills and characteristics of the times, the artistic skill of pen and ink application, the realization degree of the unity of form and spirit, the painter's personality and personal accomplishment, the artist's artistic achievements and status in the development of painting, and the number of artists' creations. , you can judge the grade of the painting.