Investment Analysis of Qing Four Kings

Ancient masterpieces refers to the size of the ancient well-known painters and calligraphers created within 2 square feet of the paintings, and its form mainly includes the bucket square, fan painting, hand scrolls, albums, lenses and other forms. Famous small works in fine, not expensive in large, and works by the limitations of space, the creation of the difficulty is often greater, in the square inch better reflect the artist's profound ability and the painter's personal heart.

At present, the masterpiece in the whole auction market performance is stable, the price is moderate, then its future development prospects? This paper takes the "four kings of the Qing dynasty" as an example, and takes its painting and calligraphy sketches in the past ten years in China Guardian spring and autumn auctions as the data base, from the value of the auction collection, the demand of the painting and calligraphy market and the appreciation space of the works of the ancient masters of painting and calligraphy sketches of the art of the art of the market for systematic analysis of the investment market.

In the 2010 spring auction, Chinese painting and calligraphy performed outstandingly, especially Chinese ancient painting and calligraphy, with high price lots appearing one after another, occupying 36% of the top 100 Chinese artworks sold. China Guardian's Ancient Painting and Calligraphy section focused on more than 500 pieces of treasures from the Song, Yuan, Ming and Qing dynasties and genres, with lots selling for more than RMB 1 million accounting for more than 10% of the total, while the Song copy of Guo Zhongshi's Four Hunting and Riding Pictures, recorded in the Shiqu Baoji Book of Songs, was sold at a price of RMB 79.52 million; Beijing Poly's Ancient Paintings and Calligraphy section of the Spring Auction of 2010 generated a total of RMB 1.36 billion in sales; Beijing Poly's Ancient Paintings and Calligraphy section sold for RMB 1.36 billion. Beijing Poly in the 2010 spring auction of ancient paintings and calligraphy specializing in the sale of 1.36 billion yuan, become the mainstay of Poly spring auction, and Huang Tingjian's calligraphy

products, such as Shen Zhou, Chen Chun's masterpieces, which was created by the Qing dynasty painter Hua Yan, "Birds and Flowers" to 16,785,780 yuan price of the sale; and the Xiling painting and calligraphy of ancient works of art plate has also achieved a turnover rate of 86.33% with a turnover of 138 million yuan of the impressive results.

Based on the above data, although the collection of ancient Chinese paintings and calligraphy is facing a high market price that is difficult for collectors to accept, but because of its own outstanding artistic value, clear records, orderly delivery of the collection, in good condition, small amount of survival, and value retention and other characteristics, it is still valued by both old and new collectors and concerns, and it has the possibility of creating a new high price, and it has occupied an important position in the whole art market. Position. So, there is a foot on the price of the practice and rules. The reason for this, on the one hand, with the painting and calligraphy masters of the rundown standard; On the other hand, also with the establishment of the country after the acquisition of some of the works of painters and calligraphers of the national way related.

In fact, the ancient Chinese calligraphy and painting can not be priced by the foot. Here the so-called "price according to feet" in the "feet", there are two meanings: one refers to the specifications of the rice paper, the second refers to the square foot of the work. The reason for this is because the ancient Chinese painting and calligraphy is the painter in the process of the same thing as me, move think wonderfully, because the results of the feelings, so there are a lot of paintings on the concept of the interpretation and notes, but are not related to the size: Gu Kaizhi of the Eastern Jin Dynasty put forward the "theory of the transmission of the spirit" (see Zhang Yanyuan, "record of paintings through the ages"), and Xie He of the Southern Dynasty proposed The "Six Methods of Painting" (see the record of "Paintings"), which are derived from the "Six Pieces of Painting" (see the record of "Six Pieces of Painting").

If Gu Kaizhi's and Xie He's discussions on the concept of painting quality and so on still remained in the creation of paintings themselves, Zhang Huaijiao of the Tang Dynasty took a big step forward on this basis and began to pay attention to the influence and role of paintings in a wider scope. In his work "Painting Breakdown", he put forward the three qualities of "God, Wonderfulness, and Ability". According to a later explanation by Zhu Changwen in Continuing the Broken Book, "Outstandingly exceptional, it can be called God. Exquisite use. It can be described as wonderful; it can be described as capable. Can be called the ability", we can see that Zhang Huaigong "three products" based on two, one is the contribution to the development of painting and calligraphy, and the other is the calligraphy and painting works to bring the viewer's inner artistic feelings, and the two are interdependent.

Ju Jingxuan added the Yipin to his theory (as recorded in the Record of Famous Paintings and Drawings of the Tang Dynasty), categorizing as Yipin those whose "style is outside of the norm," such as Wang Mo, Li Lingcheng, and Zhang Zhihe. Later, Zhang Yanyuan's Record of Famous Paintings of All Ages put forward the theory of five qualities: "natural, divine, wonderful, exquisite, and meticulous", pointing out that the essence of painting skills lies in the intention and the use of the brush, and emphasizing the significance of the painting itself and the cultural tastes of the painting, as well as the traditions and inheritance of the art of painting, and especially valuing the painter's human character.

To the Northern Song Dynasty, Liu Daoxu put forward the painting evaluation and identification guidelines of "six elements", "six lengths", and "three grades" (see the record of "Sacred Dynasty Famous Paintings"). The so-called "six": the rhyme and power, the system of old, reasonable variations, painted with Ze, to and from the natural, the teacher learns the short; the so-called six long: rough halogen for the pen, the secluded and astringent for the talent, the fine for the power, the wild and strange for the rationale, no ink for the coloring, the flat paintings for the long; three products, God, the wonderful, the ability. The key to assessing the quality of a painting is to "first look at its meteorology, then determine its position, secondly root its meaning, and finally seek its reason". In the Northern Song Dynasty, Emperor Huizong Xuanhe year by the official compilation of the palace collection of paintings compiled by the official "Xuanhe Painting Records" is reflected in the Song Dynasty Painting Academy of the quality of the standard, emphasizing the intention and style, "not to imitate the predecessor, but the mood of the object of the form and color are as natural, the rhyme high and simple for the work".

Southern Song Dynasty, the creation of court painting has reached its peak, Deng Chun in his book "painting", but strongly respected its relative literati painting, that the painting works of the chiaroscuro only determined by the character, emphasizing the painter's cultural cultivation and artistic interest. Later, in the Ming Dynasty, Dong Qichang further upgraded literati painting and put forward the "North and South Sect Theory" (see the record in Rongtai Bijie), "There are two sects of Zen Buddhism, North and South, which were first divided in the Tang Dynasty. Painting of the north and south of the two sects, also in the Tang Dynasty; but their people are not north and south ear. In the North Sect, Li Sixun and his son colored landscapes, which were handed down to the Song Dynasty by Zhao Gan, Zhao Boju, and Bohu, as well as to Ma and Xia. In the Southern School, Wang Mochizuki (王摩诘) began to use wash and light coloring, and changed the method of chopping. In the Southern Sect, Wang Mochizui began to use a wash of light, changing the style of chopping. His works have been passed down to the four great masters of the Yuan Dynasty, including Zhang Jade, Jing, Guan, Dong, Ju, Guo Zhongshu, and the Mijias. After the Sixth Patriarch, there are horse pony, Yunmen, Linji children and grandchildren, and the Northern Sect is slightly carried away", with the aesthetic and artistic view of literati painters, to disparage the Southern Song Dynasty before the courtyard painting and green landscape painting system, such as the Northern Sect, and to promote the literati painting as the representative of the Southern School of Painting.

Whatever theories and opinions, they are not based on the size of the work as a standard, but on the basis of a comprehensive consideration of the expression of the content of the paintings, the techniques of expression and the characteristics of the times, the artistic power of the use of brush and ink, the degree of realization of the unity of the form and spirit, as well as the painter's character and personal integrity, the artist's artistic achievements and artistic status in the process of the development of the paintings, and the number of paintings created by the painter, etc., to determine the grade of the paintings. On the basis of such factors as the painter's personal character and personal cultivation, as well as the painter's artistic achievements and artistic status in the development of painting, and the number of paintings created by the painter, the grade of a painting can be judged.