藏琴成金 杨氏藏琴赏析

当代收藏已经不再公限于收藏传统的书画和瓷器,随着收藏家的精英化和收藏市场的成熟化,＂藏琴成金＂正成为近年艺术品市场的大势所趋。由于唐宁时期的古琴的数量极为有限,在艺术市场中出现机构较少。     

雅昌艺术财富论坛上海落幕

2009年9月10日至12日,由中国艺术品门户网站雅昌艺术网主办的雅昌艺术财富论坛三场系列讲座在上海展览中心圆满落幕。作为上海当代“亚太区收藏家发展项目”合作伙伴,在SHcontemporary 2009举办期间,雅昌艺术网特别针对艺术市场投资、艺术收藏等等热门议题,规划雅昌艺术财富论坛系列讲座。     

浅谈中国书画的收藏与前景

我国的书法和绘画收藏,具有悠久的历史,如从已出土的汉代缯书和帛画算起,至今也有二千多年的历史,它随着经济的兴衰时起时落。到了20世纪50年代,我国的民间书画收藏,由于受经济发展和文化导向的影响,一度坠入低谷,但国家博物馆系统的收藏却空前高涨,到了20世纪七八十年代,特别是我国改革开放、经济发展以后,书画艺术品的收藏,步入了新阶段,走上了正常的发展道路。一、空前的收藏热1.收藏家、“好事者”和收藏机构大增在我国艺术市场,沉寂了多年的民间书画收藏活动已经复苏,并在短短十几年中迅速得到发展,收藏家、“好事者”以及群众自发组织…     

简讯

首届艺术市场·北京论坛在京举行5月25日,由首都师范大学主办的首届艺术市场·北京论坛在京举行。此次论坛,汇聚了中外艺术市场研究的专家学者和艺术市场领域的政策制定者、经营者、投资人和收藏家,共同探讨艺术市场存在的问题与挑战,商讨应对措施等。论坛主题包括以下五项:中西艺术品拍卖市场的比较研究,艺术品的金融化,艺术品收藏,古董店画廊与艺术品电子商务,以及艺术市场专业人才培养与学院相关教学体系的建立。     

复制和流水操作

近年来,有不少理论家和收藏家致力于散布这样一种观点：一件书画艺术品,是否有艺术价值和收藏价值,决定于它的创作方式。＂复制＂的,和＂流水线式操作＂的作品是对艺术的亵渎,是没有艺术价值的,当然也是没有收藏价值的。反之,＂原创＂的或＂即兴式操作＂的作品,是否就一定有艺术的价值？有收藏价值？他们没有说,     

浅谈艺术市场中的艺术品投资越金

中国的艺术品市场增长迅猛,2010年起在全球的市场份额已从08年的第三位跃居到第一,并且每年持上升趋势。据统计,全国有各类收藏家及爱好者9000余万人,从国内艺术品投资情况看：十多年以前,一些企业家以个人或企业的名义开展收藏,其中很多企业在专家指导下已取得较好收益。如电广传媒等部分上市公司也将艺术品作为重要投资方向。从收藏界最权成机构——欧洲艺术基金会发布,2009年、2010年度中国艺术品拍卖市场的年度成交额分别为212．5亿元和573亿元,中国已取代法国成为世界第三的艺术品交易中心（美国第一,英国第二）。     

读山西博物院藏画黄慎《苏武牧羊图轴》

隋唐以来,扬州即以经济繁荣而著称,是一座历史文化名城。进入清代．经康熙、雍正、乾隆三朝百年的发展,已成为我国东南沿海的贸易中心。经济的繁荣使各地的文人名士汇集扬州,进行诗文书画交流与创作,促进了地区文化艺术事业的兴盛,出现了一批画家,“扬州八怪”是其中最具有代表的画家群体。     

永登苦水社火民俗艺术价值评估研究

苦水社火是一种具有浓郁地方特色的民俗艺术,因其举办时间、所处地域、古老的历史传说和独有的高高跷、太平鼓等表现形式,表现出较强的艺术性、原生性和独特性,成为当地具有核心竞争力的民俗艺术品。评估苦水社火的历史价值、经济价值、社会价值、艺术价值,建立起与之相关的多项产品体系,形成品种覆盖效应,可使这一民俗艺术品种更好地繁荣和发展。     

中贸圣佳2003年艺术品拍卖会拍品点评

中贸圣佳国际拍卖公司2003年拍卖会,定于2003年11月1-3日往北京亚洲大酒店亚洲会堂举行。此次拍卖会推出书画收藏家专场、扇画专场、近代书法:争场、古代书法专场、近代绘画专场、占代书画专场、瓷器古玩专场,一共七个专场,拍品约计1600余件。一.著名书画收藏家专场此场一共推出三名著名书画收藏家的珍藏品228件。这些作晶包容了80余名著名近代美术家的佳作,涵盖了我国近代浙杭、上海、岭南、金陵、长安、北京等各个美术流派。这几年随着艺术品拍卖市场的升温,     

江南文化与江南女子——晚清早期海上画派工笔仕女画艺术与收藏

自宋代以来,江南地区伴随商品经济的空前繁荣和物质文明的快速发展,逐步形成了一种与其他地域完全不同的秀雅端庄、经世务实的区域文化。尤其在文学和艺术方面,江南重乡土、重教育,自古以来就耕读传家、文人辈出,以致到了晚清时代,江南诞生了大量艺术造诣极高的工笔仕女画家,将江南地区的江南女子描绘得形神兼备,对后来的海上画派的人物画产生了十分重要的影响。     

‘Ugly but . . . important’: the Albanian Hoard and the making of the archaeological treasure in the early twentieth century

This paper deploys the Metropolitan Museum's Albanian (or Avar) Treasure as a case study to explore the role and value assigned to the named treasure during the early twentieth century, a moment when Americans – most notably J.P. Morgan – were among the wealthiest and most avid collectors of Byzantine and medieval art. Outlining the market conditions for such treasures, the archaeological practices that authenticated them, and the art historical categories that gave them meaning, the paper demonstrates the extent to which the archaeological treasure was a social creation built by various players: finders, dealers, scholars, museums and collectors.     

The Upper Paleolithic Rock Art of Iberia

Nearly 200 rock art sites of Upper Paleolithic age are currently known on the Iberian Peninsula, in both caves and the open air. Over half are still concentrated in Cantabrian Spain and they span the period between c. 30–11 kya, but–tracking the course of human demography in this geographically circumscribed region–many of the images were probably painted or engraved during the Solutrean and, especially, Magdalenian. Dramatic discoveries and dating projects have significantly expanded the Iberian rock art record both geographically and temporally in recent years, in close coincidence with the growth of contemporaneous archeological evidence: cave art loci in Aragón and Levante attributable to the Solutrean and Magdalenian, many cave art sites and a few open-air ones in Andalucía and Extremadura that are mostly Solutrean (in line with evidence of a major Last Glacial Maximum human refugium in southern Spain), the spectacular Côa Valley open-air complex in northern Portugal (together with a growing number of other such loci and one cave) that was probably created during the Gravettian-Magdalenian periods, and a modest, but important increase in proven cave and open-air sites in the high, north-central interior of Spain that are probably Solutrean and/or Magdalenian. Despite regional variations in decorated surfaces, themes, techniques and styles, there are broad (and sometimes very specific) pan-Iberian similarities (as well as ones with the Upper Paleolithic art of southern France) that are indicative of widespread human contacts and shared systems of symbols and beliefs during the late Last Glacial. As this Ice Age world and the forms of social relationships and ideologies that helped human groups survive in it came to an end, so too did the decoration of caves, rockshelters and outcrops, although in some regions other styles of rock art would return under very different conditions of human existence.     

Reforming Connoisseurship: State and Collectors in Shanghai in the 1950s and 1960s

This paper examines the relationship between the state and art collectors during the 1950s and 1960s in Shanghai. It explores how the state gained control over art and collecting, by building state museums, by co-opting connoisseurs and their collections, and by extending “socialist transformation” to the antiquities market in 1956. However, state control was far from complete, and some trade in antiquities continued outside of official channels. To crack down on this illegal trade, cultural authorities in Shanghai launched a Five-Antis Campaign in 1964 to punish alleged art speculators. Through its cultural institutions and political campaigns, the state controlled culture but did not monopolize it.     

论艺术中介的管理

随着市场经济的不断深入与发展,艺术中介在艺术市场上作用越来越大并不断凸显出艺术流通中的主导地位。如何加强艺术中介的管理已到了必须从学理上进行总结与分析的时候。本试着从管理学的角度分析了艺术中介管理的原则、管理、场地选择、社会关系、资金来源、人事管理、广告宣传和品牌意识。旨在为艺术管理学做一些基础性的工作。     

The artist’s resale right revisited: a new perspective

This paper revisits the debate concerning the legal provisions of the artist’s resale right with the aim of providing some new perspectives. Using recently released empirical studies, the paper argues that while resale right payments may be concentrated on established artists in value terms, small amounts will be paid to a large number of relatively unknown artists, particularly in the European market where lower value transactions are large in number. By drawing on the non‐economic literature on pricing art in the primary art market, the paper suggests the rationales of the resale right, often seen as invalid in the past, may actually be valid. Art dealers will be faced with complex economic impacts as the resale right is legislated.     

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.     

中国艺术考古学的奠基

艺术考古学作为一门在考古学与艺术学的边缘地带产生的交叉学科,其形成和确立顺应了考古学与艺术学学科发展的必然趋势;同样,考古学与艺术学理论的发展也为艺术考古学的建立奠定了理论和实践上的坚实基础。     

Social Values and Rock Art Tourism: An Ethnographic Study of the Huashan Rock Art Area (China)

The rapid expansion of cultural tourism has led to increased numbers of visitors to rock art sites throughout the world. The rise of rock art tourism has affected not only the preservation of rock art sites, but also the social values attributed to the sites by communities in the immediate vicinity. Social values refer to the social and cultural meanings that a place of heritage holds for a particular community. This article aims to discuss the influence of tourism on the social values that uphold local communities’ emotional attachment to rock art heritage, using the Huashan rock art area in China as a case study. Zuojiang Huashan Rock Art Cultural Landscape is the first rock art heritage in China proposed to be inscribed on the UNESCO World Heritage List and officially obtained World Heritage Status in July 2016. This article argues that many of the changes generated by the endeavour towards tourism promotion by the authorities in their pursuit of World Heritage designation have contributed to the reinforcement of the social values under discussion. However, negative feelings among the communities in response to the undesired consequences of the designation campaign might have resulted in the attenuation of such values. The ultimate goal of the research is to prompt further reflection on existing rock art heritage management mechanisms both in China and worldwide.     

民国时期北平城市粮食市场区位分布及其等级研究

民国时期北平城市人口众多,粮食需求颇费。北平火车站附近的粮栈作为第一级市场将粮食输入到北平城内,一级销售商携带粮食样品在第二级粮食交易市场进行商品交换,第三级市场销售商在二级交易市场确定货源后,将粮食供应全市人民,最终覆盖整个北平城。第一级粮食市场承担代替外地粮商销售买卖的功能,多集中在车站附近;二级粮食市场确定了一级市场的货源后,进一步将粮食供应系统扩大;三级销售市场的主要表现形式为米庄和陆陈行,其特点为数量大、规模小、覆盖范围广,有效地将粮食输入给最终消费者。粮食供给直接关系到民生问题,本文围绕粮食这一主题,探讨了民国时期北平城市粮食市场的总体运作原则、粮食商业的运行模式以及每级粮食供应商的特点与粮食流通方式,指出北平粮食市场的三个级别间的相互联系。     

Rock Art and Ritual: An Archaeological Analysis of Rock Art in Arid Central Australia

Rock art researchers throughout the world have explicitly or implicitly invoked ritual as an activity associated with the production of rock art but the articulation between the structure and composition of rock art assemblages and ritual behaviour remains poorly understood. Anthropologist, Roy Rappaport (1999) argued that all ritual, whatever the content or focus, has a universal structure. We review this proposition in the context of ritual studies and propose a method aimed at assessing the potential for identifying ritual structure in rock art assemblages. We discuss an archaeological analysis undertaken on the rock art assemblages in arid Central Australia, which aimed at distinguishing such a ritual structure among engraved assemblages, likely to have a Pleistocene origin, as well as more recent painted, stencilled and drawn assemblages. This analysis, despite its limitations, provides the foundation for developing a model, which will enhance the understanding of the relationship between the production of rock art and ritual.