近现代书画领风骚　当代绘画强势崛起

　　齐白石《山水十二条屏》

　　2011年以来，中国艺术品市场从巅峰滑落至今，市场都在翘首期盼“复苏”。偶尔出现的天价标的，偶然闪现的经典艺术品，仿佛让人们以为，市场再一次勃兴为时不远。但并不精彩的总成交业绩，又将人们拉回现实，冷静对待尚未热起来的市场大环境。即便被赋予诸多投资属性，即便市场价格高低起伏，但经典艺术品永远都难以掩盖其光芒，低端艺术品总会露出马脚。所以艺术市场的真正复兴，必然伴随着艺术创作的高潮，艺术审美需求的增长以及艺术价值的重新认知。

　　作为中国艺术品市场中占比最重的书画市场而言，一些趋势逐渐显现：近现代书画依旧占据重要地位，当代绘画份额逐渐凸显。市场价格是艺术价值的动态表现，不会完全脱离艺术独立存在。总体消沉而局部闪亮的市场格局中，或许是市场向艺术价值的真实回归。

　　独占鳌头的近现代书画

　　长期以来，近现代书画一直占据国内艺术品市场的重要地位，2017年，不论在成交数量、成交价格、市场影响还是单幅作品成交价方面，这些作品都是市场主力。齐白石、黄宾虹、吴昌硕、傅抱石等名家作品轮流上演拍卖大戏。其中，以9.32亿元成交的齐白石《山水十二条屏》、以3.45亿元成交的黄宾虹《黄山汤口》、以2.09亿元成交的吴昌硕《花卉十二屏》以及以1.87亿元成交的傅抱石《茅山雄姿》都无不以自身实力，巩固着近现代书画不可撼动的地位。

　　之所以近现代书画能够拥有如此坚实的市场地位，既有“去古未旧”的时间优势，又有着数量庞大的市场存量，但更与其自身所固有的艺术特性分不开。以吴昌硕花卉十二条屏为例，就足见近现代艺术家在诗书画印各个艺术门类的精深造诣与深度融合，成就了其他时期艺术家和作品难以企及的高度。

　　吴昌硕是“后海派”的代表画家，诗书画印全才。绘画艺术上，他充当着金石大写意花鸟风领袖人物的角色。在篆刻领域，吴昌硕开“吴派”印风;书法上，他以石鼓文为基础创新，并以石鼓笔法作行草;吴昌硕的诗文古趣，能搭配其书画篆刻，直抒胸臆，尤以题画诗为胜。从而树立了“诗书画印”结合，创立了文人综合艺术标准，影响海内外至今。花卉十二屏完成于吴昌硕七十二三岁之间，是其最富于创造力的时期，十二屏皆有长题，其中有十一幅有题诗，作品中汇集了吴昌硕全方位的艺术成果，其艺术价值不言而喻。

　　当代绘画崛起

　　在中国艺术品市场中，近现代绘画的身影后，当代艺术品也正以旺盛活力逐渐显露出强大市场潜力。不仅一些重要作品成交价格可以与近现代名作抗衡，整体作品数量也正呈现增长态势。丰富了绘画这一门类的艺术品数量，出现更多作品供投资者选择。

　　亮相于北京保利十二周年秋季拍卖会的崔如琢指墨山水十二条屏镜心，就创作于2017年，经多轮竞价，最终以2.41亿元成交。其2010年作品《秋烟漠漠雨蒙蒙》亮相于保利香港2017年春季拍卖会，以1.26亿元成交，2016年作品《万里平铺雪满天》在北京保利十二周年春季拍卖会上以1.38亿元成交。

　　值得回忆的是，从2013年之后，香港保利连续五年九次推出崔如琢书画精品专场拍卖会，总成交额达25.97亿港币，其中八件作品过亿元港币成交，成为中国艺术品的里程碑事件。

　　如同近现代名家作品一样，崔氏作品的市场价值也源自其作品的艺术内涵。崔如琢自幼留恋丹青，少年时经常临摹故宫藏画，废寝忘食，夜以继日。在创作实践中，崔如琢继石涛、潘天寿之后，以手指作画笔，开创指墨书法先河。季羡林在观看崔如琢画册后曾说：大气磅礴，气势恢宏，有中国气象，认为崔如琢的指墨山水，前无古人，后无来者，开创了中国画的新时代。

　　因此，即便有拍卖公司集中力量经营崔如琢的作品，也是顺应其作品艺术内涵与市场需求导向的真实反映。

　　当代中国画的崛起之时，中国油画的市场地位也在进一步凸显，使其逐渐成为市场一极，吸引着投资者目光。

　　曾梵志1996年作品《面具系列1996 No. 6》在2017年艺术拍卖中放出光彩。曾梵志是国际艺坛备受关注的中国当代艺术家，随着其作品相继在巴黎市立现代美术馆与卢浮宫展出，代表曾梵志的艺术创作受到西方最高艺术殿堂认同，标示了中国当代艺术经过30年急起直追，与西方艺术并驾齐驱。赵无极1964年作品《29.09.64》、《29.01.64》以及陈丹青多幅作品，都在2017年艺术市场中大放异彩。标志着中国油画受众逐渐增加，相关作品开始在市场中与传统中国书画分庭抗礼。

　　盛况掩映下的哀伤

　　2017年，各大拍行的拍卖活动都要晚于往年，将要走到尾声之际，各大拍场“捷报”频传。成交量不断刷新，是否意味着艺术市场的全面复苏在拍卖公司庆祝“大麦”，欢呼“白手套”之时，一些人并不认为如此。

　　收藏家严陆根通过媒体表示，造成2017年秋拍市场火爆的原因是：好长时间没有好东西，这一次秋拍有了很多好东西，引起藏家纷纷入手;规避货币风险是投资人进入艺术市场的重要因素;年底资金回笼，投机投资找不到新空间，所以艺术品成了很多投资人的重大投资趋向。

　　2017年艺术市场中，单件作品成交金额抢眼，但掩盖不住其身后中、低价位作品的成交量和成交价格并没有太多起色。甚至有人直言“明显是顶级艺术品的狂欢”“只是看上去回暖”。

　　在一个健康的艺术品市场中，既需要偶尔出现高价格优质作品成交，更需要大量的中低价位作品呈现活跃的交易活动，在投资者之间自由流转。如果仅有少量作品活跃，而大多数并不景气，我们就不能武断地评价为市场复苏，也正是整体成交的低落，才更凸显了少数艺术精品的交易价格。

　　从依旧坚挺的近现代名家作品和正在崛起的当代重要画家作品中，我们能够强烈感受到，市场价格的坚挺，得益于艺术价值的彰显。轻艺术而重市场，是前些年市场火爆时造成的浮躁反映，这些现象透支了艺术品应有的价值量，使得当下众多艺术品复苏乏力。

　　在成熟的艺术市场中，艺术家制定润格，接受正常的经济利益外，应潜心创作，把销售交给市场。曾经一些年，有些艺术家上阵卖画，为市场交易作画，创作大量应酬之作，造成了价格与艺术价值倒挂。鉴于此，当下除了偶尔一些“救市”大作外，藏家既不愿意在此刻将珍藏出手，买家也不愿再次冒险入市。艺术市场需要深度觉醒才能健康平稳运行。

　　如同达·芬奇《救世主》一样，真正惊人的成交价格，凝结着艺术家数十年的心血，凝结着创作时迸发的灵感，更凝结着数个世纪的时间流转。价格让市场和时间去衡量，没有思想、缺乏艺术价值、通过简单复制制造出的“流水线”作品，终将被觉醒的市场淘汰。

来源：光明网

A strong rise of contemporary painting and painting in modern timesQi Baishi's "Twelve screens of landscape"
Since 2011, the Chinese art market has slipped from its peak to the present, and the market is looking forward to "recovery". The occasional skyline, the occasional flash of classic art, seems to make people think that the market is once again flourishing. But it is not a wonderful total transaction performance, and will bring people back to the reality, calm down the market environment that has not yet been hot. Even if they are given a lot of investment properties, even if the market price of ups and downs, but the classical art always difficult to hide its light, the low-end art always exposed. Therefore, the real revival of the art market is bound to be accompanied by the climax of artistic creation, the growth of the aesthetic demand for art and the recognition of the artistic value.
As the most important calligraphy and painting market in China's art market, some trends are emerging: modern calligraphy and painting still occupy an important position, and the share of contemporary painting is becoming increasingly prominent. The market price is the dynamic performance of the artistic value, and it will not be completely separated from the existence of art independence. The market pattern of overall depression and partial glittering may be the true return of the market to the value of art.
Near modern calligraphy and painting
For a long time, modern calligraphy and painting have been playing an important role in the domestic art market. In 2017, these works were the main force of the market, no matter in the number of transactions, transaction price, market impact or the price of single works. Qi Baishi, Huang Binhong, Wu Changshuo, Fu Baoshi and other famous works are taking turns on the auction. Among them, the turnover of 932 million yuan Qi Baishi twelve "," landscape screen to 345 million yuan turnover of Huang Binhong "," Mount Huangshan soup mouth to 209 million yuan turnover of Wu Changshuo "and" flower screen twelve to 187 million yuan turnover of the "Maoshan Fu Baoshi" are majestic on own strength, the consolidation of modern painting can not shake position.
The reason why modern calligraphy and painting can have such a solid market position is not only the time advantage of "going to the old but also the huge market stock", but it is also inseparable from its inherent artistic characteristics. In twelve Wu Changshuo flower screen as an example, it shows the profound attainments and the depth of fusion of modern artists painting of the Arts in poetry, the achievements of the other period of artists and works hard to reach the height.
Wu Changshuo is the representative of "Houhai painter", poetry and print all rounder. In the art of painting, he acts as the role of the leader of the gold and stone flower and bird wind. In the field of carving, Wu Changshuo opened the "Wu School" India wind; calligraphy, he takes the stone as the foundation of innovation, and to Shigu for Wu Changshuo's poetry writing cursive; antiquity, collocation can the calligraphy carving, especially in the poems on the paintings straight from the heart, sheng. In order to establish the "poetry and print" combination, founded the literati art standard, influence at home and abroad so far. Twelve flower screen completed between Wu Changshuo Qishiersan, is the most creative period, twelve screen are long, there are eleven picture with a poem, a collection of Wu Changshuo works in a full range of artistic achievements, its artistic value is self-evident.
The rise of contemporary painting
In the Chinese art market, after the figure of modern painting, contemporary art is also showing strong market potential with vigorous vitality. Not only the price of some important works can be countered with the modern famous works, but the number of the whole works is also showing a growing trend. The number of works of art in this type of painting has been enriched, and more works are available for investors to choose.
In the 12th anniversary autumn auction of Beijing Baoli, the twelve screens and mirror hearts were created in 2017. After several rounds of bidding, they finally traded at 241 million yuan. The 2010 work "autumn rain" appeared in the misty smoke poly spring auction in Hongkong in 2017, to 126 million yuan turnover, 2016 in the snow "10000 tile works" in Beijing poly 12th anniversary spring auction to 138 million yuan turnover.
It is worth remembering that since 2013, Hongkong Poly has launched nine special auction of Cui Ruzhuo's paintings and calligraphy products for nine times in five years, with a total turnover of 2 billion 597 million Hong Kong dollars, of which eight works have been traded in HK $100 billion, making it a milestone in Chinese art.
As the works of modern masters like Cui, the market value of the works from the meaning of art works. Cui Ruzhuo childhood nostalgia youth painting, often copying the Imperial Palace paintings, and round the clock. In the practice of writing, Cui Zhuo followed Shi Tao and Pan Tianshou as a painting brush with his fingers and pioneered the calligraphy and calligraphy. Ji Xianlin watched Cui Ruzhuo album after once said: the magnificent, grand and magnificent, there are China weather, that Cui Zhuo refers to the ink landscape, with no predecessors, no latecomers, ushered in a new era of China painting.
Therefore, even if the auction companies concentrates on the work of Cui Zhuo, it is also a true reflection of the artistic connotation of his works and the market demand.
At the time of the rise of contemporary Chinese painting, the market position of Chinese oil painting has also been further highlighted, making it a market pole and attracting investors' attention.
Zeng Vatican's 1996 work "the 1996 No. 6 of the mask series" was put out in the art auction in 2017. Ceng Fanzhi is China contemporary artists of international art has attracted much attention, with its works have been exhibited in Paris city of Museum of Contemporary Art and Le Louvre Museum, on behalf of Ceng Fanzhi's artistic creation by Western art hall marked the highest identity, China contemporary art after 30 years to catch up with Western art racing together bridle to bridle. Zhao Wuji's 1964 work "29.09.64", "29.01"