去伪存真提高书画收藏的鉴别能力

收藏本身是一种特殊的化现象,收藏品多为具有艺术价值的物、古玩、工艺品、各种材料的化装饰品等化产品,这就要求收藏具备一定的审美能力和鉴赏能力,也就是独特的“眼力”。传世的历代书画实物很多,情况极为复杂。有的真伪混杂,花样繁多,有的作品,时代不明,不太容易搞清楚。常看书画的人都知道,有的作品作自己书有名款或钤有印章,有的（大半是元代以前的）则是没有款印的。因此,在鉴别中,辨真伪是首要的。[第一段]     

古瓷收藏误区

误区其一：以为年代越久远的器皿就越珍贵。其实,尽管是年代久远,又货真价实,这并不能说明它就有收藏价值。比如,有的古瓷,诸如一些杂窑的陶盘碟、瓦罐什么的,而实际无论从艺术价值,还是经济价值上来说,都是很低的,根本说不上有很高的收藏价值。[第一段]     

遁入空门吟长风——南宋佚名《寒山拾得行吟图》研探

西安美术学院收藏佚名《寒山拾得行吟图》,上钤有历史上三位著名人物的收藏印章。我们从画作的艺术表现入手,对其造型风格特征及绢质材料等综合因素进行考证,初步认定这是一幅南宋作品。具有珍贵的收藏价值和学术研究空间。     

汽车中的绝世藏品

按照百度百科的解释：藏品即具有一定历史价值、科学价值和艺术价值,并反映自然界发展变化规律和人类科学文化进程的历史见证物。汽车,由于工业化流水线式生产,通常意义上被认为是消费品,并不具备收藏价值,但是某些车型却因为某种原因,不仅出售时就奇货可居,若千年后更是身价倍增。或许,以下这些车型就位列其中,究其原因很简单,因为它们都是全球限量生产仅一台的车型,它们就是汽车中的绝世藏品。     

丽水市博物馆藏木刻版画研究

丽水市博物馆收藏有一批金逢孙和潘仁先生捐赠的木刻版画作品,是研究抗战木刻运动的重要实物,反映了美术救国的思想,具有极高的历史、艺术价值。     

四川省博物馆藏竹雕笔筒

中国竹雕艺术的滥觞,不晚于南齐。从四川省博物馆藏的竹雕笔筒来看,明朱氏祖孙、濮仲谦、清吴之璠等艺术家风格各异,各领风骚,其作品有极高的艺术价值和收藏价值。     

浅析陕西凤翔泥塑的价值构成及评估标准

陕西凤翔因泥塑丰富的文化内涵和朴实的表现手法,被誉为＂民间工艺美术之乡＂。但多年来,由于开发不当等因素,使其文化价值降低,处于濒临灭绝的边缘。通过调查研究,制定民俗艺术资源评价体系,更好地继承、保护和发展民间艺术,成为一项十分紧迫的任务。本文从凤翔泥塑的艺术特色、情感价值、民俗价值、市场可开发性以及价值评估等方面展开分析,以期为西北民间艺术的传承和保护提供借鉴。     

书画艺术品的价格简

书画艺术品的市场正空前红火且方兴未艾,那么,对于收藏者或者投资者,如何来认识它的价格,具体而论,也就是以怎么样的价格买进哪一位书画家的哪一件作品,才具有收藏或者投资的价值？尤其是如何认识今天还在世的某一位书画家作品的价格？从短期的效应应该怎样认识？从长期的效应又应该怎样来认识？是必须认真考虑的一个问题。     

谈舞蹈编导课程教学中的创新能力培养

创新是一切艺术的根源和核心,如果艺术创作没有了创新能力,那么创作也就失掉了灵魂,舞蹈作为艺术门类的一种,其编排自然离不开创新。舞蹈是一种以人体肢体动作作为语言的独特艺术表现形式,随着社会的发展,一些陈旧的舞蹈已经不能满足观赏者的审美标准,一个舞蹈是否具有强烈的艺术魅力,不仅在于表演者是否有深厚的艺术功底,还在于舞蹈编导是否能够推陈出新,编排出具有新意的舞蹈作品。     

拍前预览

翰海2013秋季拍卖会定于12月4-9日在北京朝阳悠唐皇冠假日酒店举行,4-6日预展,7-9日拍卖。此次拍卖对应时下收藏热点及新兴板块,常规的古代、近现代书画、油画雕塑、古董珍玩等专场将继续以往规格,以精品为主导,兼顾不同收藏品位,推出层级丰富的文物艺术品。首度推出的＂斯文草堂——文房雅玩＂专场,诸多书斋佳品材质上乘、工艺精致,格调高雅,体现出文房艺术的观赏性和艺术价值。金铜佛像专场一直以学术与品质的专注受到海内外藏界的赞许,     

艺术收藏品的价值增长点

在中国艺术品市场由“非典”之后的疯狂进入“金融风暴”之后盘整的今天,冷静地思考艺术收藏品的价值增长点何在？是我们不得不做的一道功课,不做好这一门功课,将很难应对下一轮市场的崛起。     

Culture and nature in the mediterranean: towards an integrated approach

Tate Britain’s 2011 poster campaign boldly states ‘This is Britain’ and reproduces two works from the collection, one historic, one modern or contemporary, with a strip of Union Jack flag at the bottom. The design suggests a sense of coherence in the collection and in British art in general. This article questions the purpose of this supposed coherence, by questioning its art historical basis, and focusing on its consequences for the reception and perception of historic, modern and contemporary British art amongst Tate’s audience, both within and without the gallery space. The ideas presented draw on press commentary, visitor statistics and museum advertising practice and look at three points in Tate’s history: the Millbank gallery’s 1897 opening, the 2000 rebrand as Tate Britain and the current moment of this poster campaign. This article will argue that the transhistorical juxtapositions seen in these posters are a central tenet of how Tate builds its own identity and that of British art, and that these posters are used as a satellite exhibition space, but with a curatorial approach other to that of the gallery itself, so that the collection is displayed to attract the maximum potential audience.     

The Use of Money in Early Modern Norway

In previous Finnish collection studies, early Finnish art collections have mainly been observed through European examples, using German or English collecting or museum‐historical literature. The history of art collecting in Russia identifies several identifiable phases of art collecting, and breeds of art collectors, that coexisted in Finnish early art collecting. In this study, the prevailing circumstances and the collectors' archetypes of Imperial Russia, of which Finland was an integral part in the period of autonomy, are considered through previously unapplied literature of Russian collecting and museum history in Finnish collection studies. Central to this are two case examples from early Finnish art collecting, with related unpublished archival material. On the whole, some of the current Finnish paradigms of the initial stages of art collecting in Finland are questioned, emphasizing, for example, the meaning of the social network, pivotal for the maturation of the collector and for the selection of subjects for collecting.     

民俗类博物馆与非物质文化遗产展示

本文结合河南省安阳市民间艺术博物馆近年来的工作实践,就当下非遗保护展示在综合类博物馆中展示位置日益靠前的普遍现象,论述民俗类博物馆在非遗保护、研究、收藏、尤其是展示中应该发挥的重要作用.     

乾隆内府书画装潢初探

中国古代书画装潢历史悠久,技艺精湛。但是长期以来,这一技艺主要是依靠在实际操作中的口手相传,缺乏文字记载,相关研究也多局限于手法技巧,较少涉及时代风格与艺术特色。由于古书画在屡易其主的过程中往往经历了多次改装,也造成历代装潢基准作品的匮乏和不确定。乾隆内府书画装潢集历代之大成,代表了有清一代的最高水平,而北京故宫博物院相对完整的清宫书画原装潢收藏也为其风格研究提供了条件。本文试图以此为切入点,在系统梳理院藏乾隆内府书画装潢原件的基础上,初步探讨其时代风格与艺术特色,希望能对中国古代书画装潢艺术的进一步研究有所裨益。     

Being Hegelian after Danto

In this article I will discuss some systematic issues of Arthur Danto's philosophy of art and art history from a Hegelian perspective. Belonging to "Absolute Spirit," art can be called a "spiritual kind." Since spiritual kinds are reflective and self-determining, they are not susceptible to philosophical definition. Nevertheless, elements of essentialism can be maintained when describing art's historicity and conceptual structure. To this end, "art" can be interpreted as a two-tier concept: in inherently reflecting its concept, it projects its own conditions into the past, co-opting "prehistorical" artworks as predecessors and classical examples. Hegel's view of art as conceptually structured in itself can have disenfranchising or reenfranchising consequences: either reducing art to minor philosophy, or acknowledging its privileged access to its own essence. After Danto's detachment of the philosophy of art from aesthetics, Hegel would himself be deprived of the possibility to "define" art by intuition ( Anschauung ). Even if the spirit consists of essential kinds, philosophy is not in a privileged position to establish the essence of art and thus the difference between art and philosophy. Rather, philosophy must acknowledge art as a neighbor (Heidegger) and as partner in a dialogue.     

The (Jean) Nouvel Other: Primitivism and the Musée du Quai Branly

The Musée du Quai Branly, located beside the Eiffel Tower in Paris, opened in June 2006. Constructed to house France's important collection of non-western art, the museum has been promoted as ‘decidedly post-colonial’ and a place of ‘reconciliation and sharing’. Historians have situated the creation of the museum within political debates over the restructuring of several of France's museums and, more broadly, the country's position in a post-colonial world, while focusing little critical attention on the building itself. The author argues that Jean Nouvel's architectural program for the Musée du Quai Branly—a ‘primitive shelter’ surrounded by a ‘sacred wood’—gives physical form to a primitivist aesthetic. The unproblematised binaries of self versus other and culture versus nature evident in Nouvel's design reveal a surprisingly unsophisticated theoretical standpoint. As a frame in which to view and understand the objects on display, the Musée du Quai Branly invites a primitivist—and colonial—reading of its collection.     

上海成都民间收藏曾熙信札选注（上）

曾熙是民国著名书法家、画家、收藏家,字子缉,号嗣元,又号俟园,晚号农髯,自署七十三派嗣孙熙、老农、老髯等。1861年11月19日出生于湖南省衡山县石市乡洪家堂。光绪二十九年（1903年）进士。辛亥革命后,绝意仕进。     

上海成都民间收藏曾熙信札选注(下)

曾熙致姚云江八封筠庵弟请以赵叔牡丹六<幅>、一幅赵仲穆山水欲乞弟向钱庄押借洋四百元,熙为保人可否?乞既回数语。云江弟熙顿首初三(图16)牙痛旋愈旋翻,极不欲服药,然今日更甚,仍乞弟来商之。季爰近得邹衣白山水,极佳,可看也。云江髯启十一月四日(图17)