1. The artistic level of the work itself

作品本身的藝術(shù)水平，才是衡量其價值的主要因素。這涉及到書畫的三境界：景物境界、筆墨境界和人文境界。一幅作品本身對山川自然“象其物宜”的描繪，就是景物的境界?？梢钥吹剿募挤ā⒕吧?、章法布局之妙。如果在景物的基礎(chǔ)上，還有“筆精墨妙”的筆墨境界那就更好。

The artistic level of the work itself is the main factor to measure its value. This involves three realms of painting and calligraphy: scenery realm, brush and ink realm and humanistic realm. A work's own description of the nature of mountains and rivers "as suitable as its objects" is the realm of scenery. You can see its techniques, the beauty of the scenery, and the wonderful layout of the organization. It would be better if there was a "fine brush and ink" realm based on the scenery.

的山水畫以筆取氣得其陽剛之美，以墨取暈得其陰柔之美。筆墨的精妙可氣韻，氣韻生動乃畫之高境。書畫作品的人文境界可以體現(xiàn)在題材、畫旨、畫趣、詩詞題跋等方面。就像李可染《童趣》的題畫詩“忽聞蟋蟀鳴，容易秋風(fēng)起”，一句題跋使整個畫境因之鮮活，滲透出一股田園詩般的質(zhì)樸深情。

Chinese landscape painting obtains its masculine beauty by drawing qi with pen, and its feminine beauty by drawing faint with ink. The subtlety of brush and ink can give birth to verve, and the vivid verve is the high realm of painting. The humanistic realm of calligraphy and painting works can be reflected in the subject matter, painting purpose, painting interest, poem inscription and postscript, etc. Just like Li Keran's painting poem "When you hear crickets chirping, it's easy for the autumn wind to rise" in Childhood Interest, an inscription and postscript make the whole painting vivid and permeate a simple and deep feeling like an idyllic poem.

有些字畫的市場可能由于一時的社會環(huán)境或偶然事件造成它的上升或下降，比如書畫官員的卸任會導(dǎo)致其作品的直降。所以，收藏者要保持冷靜的頭腦，給藝術(shù)本體以足夠的重視。

The market price of some calligraphy and painting may rise or fall due to temporary social environment or accidental events, for example, the resignation of calligraphy and painting officials will lead to a direct decline in the price of their works. Therefore, collectors should keep a cool head and pay enough attention to art noumenon.

2、書法水平的高低

2. The level of calligraphy

老一輩藝術(shù)家張仃曾呼吁“守住畫的底線”，這個底線就是書法。書法表現(xiàn)在國畫中，一是書法用筆，二是題跋書寫的藝術(shù)美。畫講究書法用筆，“以書入畫”是古代畫家一直在實(shí)踐和追求的。“骨法用筆”指的就是書法用筆。蘇東坡、倪瓚、徐渭、黃賓虹等都是以書入畫的高手。

Zhang Ding, an older artist, once called for "keeping the bottom line of Chinese painting", which is calligraphy. Calligraphy is shown in traditional Chinese painting, first, the use of calligraphy pen, and second, the artistic beauty of inscription and postscript. Chinese painting pays attention to the use of calligraphy, and "painting with calligraphy" has been practiced and pursued by ancient painters. "Skeletal brush" refers to the calligraphy brush. Su Dongpo, Ni Zan, Xu Wei, Huang Binhong and others are masters of painting with calligraphy.

書法是一門需要長年累月練習(xí)的藝術(shù)，寫書者要平心靜氣才行?，F(xiàn)在好多畫家不注重書法的練習(xí)，也不重視筆墨，導(dǎo)致畫面沒有筆墨的氣韻，甚連款都不敢落，提筆露怯，這樣的作品或藝術(shù)家就不算是潛力股。同樣的作品，題跋較長者比窮款者價值要高一些。

Calligraphy is an art that requires years of practice. The writer should be calm. Nowadays, many painters do not pay attention to calligraphy practice and brush and ink, which leads to the lack of the charm of brush and ink in their paintings. They even dare not pay attention to money, and show timidity in drawing. Such works or artists are not potential stocks. For the same works, those with long inscriptions and postscripts are more valuable than those with poor money.

3、有沒有學(xué)術(shù)支撐

3. Is there any academic support

言之無文，行而不遠(yuǎn)。書畫家的學(xué)術(shù)水平會影響他創(chuàng)作的深度和可持續(xù)度。理論指導(dǎo)實(shí)踐，這也是古人要讀萬卷書的一個原因。通過閱讀、創(chuàng)作與交流，久而形成自己的一套理論體系，或是對藝術(shù)的獨(dú)特視角，這對藝術(shù)家的成長有重要的意義。這種知識還包括文學(xué)、史學(xué)、音樂、舞蹈、中醫(yī)等等，從傳統(tǒng)文化中汲取營養(yǎng)，豐富和深化創(chuàng)作內(nèi)涵，作品才有格調(diào)。

Words without words will not go far. The academic level of a calligrapher and painter will affect the depth and sustainability of his creation. Theory guides practice, which is one of the reasons why ancient people wanted to read thousands of books. Through reading, creation and communication, a set of theoretical system or a unique perspective on art has been formed for a long time, which is of great significance to the growth of artists. This knowledge also includes literature, history, music, dance, traditional Chinese medicine, etc. Only by absorbing nutrition from traditional culture and enriching and deepening the connotation of creation can a work have its style.

4、作者綜合修養(yǎng)

4. Author's Comprehensive Cultivation

人們常說“畫如其人”“書如其人”。畫是人格的顯現(xiàn)，人格是修養(yǎng)的結(jié)果。如果一個畫家畫得很好，修養(yǎng)也高，那他就一定是潛力股。綜合修養(yǎng)的提高，需要讀萬卷書和行萬里路。尤其是古典文學(xué)方面的知識，要融會貫通，并在情感之時，配合意象訴諸筆端，形成獨(dú)特的面貌。

People often say that "paintings are like people" and "books are like people". Painting is the manifestation of personality, and personality is the result of self-cultivation. If a painter paints well and has high self-cultivation, he must be a potential stock. The improvement of comprehensive cultivation requires reading thousands of books and traveling thousands of miles. In particular, the knowledge of Chinese classical literature should be well understood, and when emotions are emerging, it should be combined with images to appeal to the pen to form a unique look.

5、影響力

5. Influence and popularity

名家與非名家，是衡量藝術(shù)價值和投資價值的重要界限。在某種程度上，藝術(shù)品投資就是投資名家的作品。這里名家也分大名家和小名家。一些影響力和知名度特別大的書畫家作品，雖然收益比較高，但投資成本也高。

Famous and non famous artists are important boundaries to measure artistic value and investment value. To some extent, art investment is to invest in the works of famous artists. Here, famous people are also divided into big famous people and small famous people. Some calligraphers and painters' works with great influence and popularity have high investment costs, although their income is relatively high.

對一個普通畫家來說，要提高知名度是一件很困難的事情，他需要畫廊、經(jīng)紀(jì)人、拍賣公司、媒體等諸多方面的努力才能有一些成效。如果畫家已有了一定的知名度，那么他的市場就會隨之升溫，收藏者也就更關(guān)注。

It is very difficult for an ordinary painter to improve his popularity. He needs the efforts of galleries, brokers, auction companies, media and many other aspects to achieve some results. If a painter has gained a certain popularity, his market will be heated up and collectors will pay more attention to him.

6、作者的社會地位

6. The author's social status

一些書畫協(xié)會或者圈子的領(lǐng)導(dǎo)，其作品常會成為人們收藏駐足的焦點(diǎn)，被高價追捧。其實(shí)，這種領(lǐng)導(dǎo)無非就是兩種，一種是憑著自己的藝術(shù)造詣和人格魅力征服了大家，還有一種是以行政干預(yù)或幕后運(yùn)作的方式坐到一定位置。后者水平一般都比較平常，但是結(jié)交廣泛，炒作能力也強(qiáng)，市場常會高于或者嚴(yán)重超出價值。

Some calligraphy and painting associations or leaders of the circle, their works often become the focus of people's collection and are sought after at high prices. In fact, there are no more than two kinds of leaders. One is to conquer everyone with his artistic attainments and personality charm, and the other is to sit in a certain position by means of administrative intervention or behind the scenes operation. The latter level is generally relatively ordinary, but they have a wide range of contacts and strong speculation ability. The market price is often higher than or seriously exceeds the value.

面對書畫官員，一些藏家慕其光環(huán)，不加鑒別地大肆收購，缺乏理性。尤其是對于長線持有的藏家而言，一旦這些領(lǐng)導(dǎo)不再是領(lǐng)導(dǎo)，他們的市場泡沫將會一夜破滅。

In the face of painting and calligraphy officials, some collectors admire their aura and buy them indiscriminately, lacking rationality. Especially for long-term collectors, once these leaders are no longer leaders, their market foam will burst overnight.

7、年齡結(jié)構(gòu)

7. Age structure

評論家在贊揚(yáng)一些年齡較大的藝術(shù)家時，常用到“人畫俱老”“人書俱老”的字眼。這是說書畫家隨著人生閱歷的增加，對書畫的理解，對筆墨精神的把握會更獨(dú)到。這一點(diǎn)在畫的寫意畫種中表現(xiàn)得尤為明顯。

When praising some older artists, critics often use the words "people are old when painting" and "people are old when writing". This is to say that with the increase of life experience, the calligrapher will have a more unique understanding of calligraphy and painting and grasp of the spirit of pen and ink. This is particularly evident in the freehand brushwork of Chinese painting.

有些作品需要藝術(shù)家更多的精力，所以在畫家年富力強(qiáng)的時候也是多出精品的時候。比如一些工筆畫、油畫、大構(gòu)圖的山水等。

Some works need more energy from the artist, so when the artist is in his prime of life, he can also produce more fine works. For example, some fine brushwork, oil paintings, landscapes with large composition, etc.

收藏一些中青年的作品，潛力較大。眼下，一些書畫名人的字畫已炒到了一定的價位，而且，很多人收藏了之后就不再輕易拿出來流通了。

Collect some young and middle-aged people's works with great potential. At present, the calligraphy and painting of some famous painters have reached a certain price, and many people no longer take it out for circulation after collecting it.

8、市場鋪墊和表現(xiàn)

8. Market foreshadowing and performance

藝術(shù)作品一旦進(jìn)入市場，就是一種商品，需要市場的運(yùn)作來助其順利轉(zhuǎn)換成效益。有的畫家一門心思放在創(chuàng)作上，不屑于俗事，作品沒人知曉，自然也就沒有市場。有些畫家常做一些展覽，委托畫廊進(jìn)行各種宣傳，拍賣會也頻頻亮相，隨著知名度的擴(kuò)大，市場也在擴(kuò)大。

Once a work of art enters the market, it is a commodity, which needs the operation of the market to help it transform smoothly into benefits. Some painters focus on creation and disdain the common things. No one knows their works, so there is no market. Some painters often do some exhibitions and entrust galleries to carry out various publicity. Auctions also appear frequently. With the expansion of popularity, the market is also expanding.

市場的表現(xiàn)還體現(xiàn)在其的穩(wěn)定性。如果市場長時間地處于一個穩(wěn)重有漲的狀態(tài)，就說明投資它是穩(wěn)妥的。

The market performance is also reflected in its price stability. If the market is in a steady and rising state for a long time, it means that it is prudent to invest in it.

9、畫家的財(cái)富自由度

9. Artists' Freedom of Wealth

古代舞文弄墨者多是士大夫文人，有大量的財(cái)富來保證其充裕的創(chuàng)作時間。黃公望的《富春山居圖》據(jù)說畫了4年，這位大癡道人懷著對山水自然的崇拜和對友人的敬重，筆耕不輟，不遺余力，才有流芳千古的佳作產(chǎn)生。

Most of the ancient writers and painters were literati and had a lot of wealth to ensure their ample creative time. It is said that Huang Gongwang's "Dwelling in Fuchun Mountain" has been painted for 4 years. With the worship of mountains and waters and the respect for friends, this great idiot Taoist has never stopped writing and spared no effort to produce a masterpiece that will last forever.

古代書畫作品多是“閑”出來的，在悠閑中，彈素琴閱金經(jīng)，陶身心養(yǎng)浩氣。古代文人是不會輕易賣畫的。清代畫家査士標(biāo)，只在家中無米時才賣畫換錢，且邊賣邊罵：“畫幅青山賣，看來是孽錢。”

Most ancient calligraphy and painting works come out of "leisure". In the leisure, you can play the plain zither and read the golden scriptures, and Tao can nourish his spirit and body. Ancient literati did not sell paintings easily. Zha Shibiao, a painter in the Qing Dynasty, sold his paintings for money only when there was no rice at home, and scolded him as he sold them: "It seems that selling paintings on green hills is bad money."

時今日，一些畫家為生計(jì)而奔波，就必須要去迎合市場，迎合一些通俗的審美觀。黃賓虹說揚(yáng)州畫派和海派末流開了“江湖之門”，沾染了江湖習(xí)氣而以賣畫為業(yè)。一些人在創(chuàng)作的時候，往往心里想的是這幅畫，能賣，或者這幅畫送給哪位達(dá)官顯貴能換多少實(shí)惠，這種心態(tài)必然會影響到創(chuàng)作，畫境也會展示出“俗媚”之態(tài)。當(dāng)然，這里不是說境遇差的人就一定不會出好作品。

Up to now, some painters have to cater to the market and some popular aesthetic values in order to make a living. Huang Binhong said that Yangzhou School of Painting and Shanghai School had opened the "gate of the Jianghu", and they had become addicted to the customs of the Jianghu and were engaged in selling paintings. When creating, some people often think about how much the painting can be sold, or how much the painting can be exchanged for when it is given to a dignitary. This mentality will inevitably affect the creation, and the painting will also show a "vulgar and beautiful" state. Of course, this is not to say that people in poor circumstances will not produce good works.

10、畫家的品德與人脈

10. Artist's Morality and Human Relations

德高望重的人，大家都樂意接觸，他們的書畫作品也照樣喜聞樂見。人品既高，畫品不得不高。待人接物有風(fēng)度，提攜后進(jìn)，自然人人敬重，就像齊白石、黃賓虹、啟功、沈鵬等書畫家。如此一來，有著高古情懷和澡雪精神的畫家作品自然會受到歡迎。

People of high moral standing are all willing to contact, and their calligraphy and painting works are also popular. The character is high, but the painting must be high. It is natural for everyone to respect people with good manners and promote backward development, just like Qi Baishi, Huang Binhong, Qigong, Shen Peng and other calligraphers. In this way, the works of painters with high ancient feelings and the spirit of bathing and snowing will naturally be welcomed.

人脈如同血脈。血脈是人賴以生存的基礎(chǔ)，人脈是事業(yè)成功的保障。畫家的交際越廣，人緣越好，支持的人也就越多，無論是在經(jīng)濟(jì)上還是在人力上。人脈、品德和佳作結(jié)合起來，市場自然是水到渠成。

People are like blood. Blood is the basis of human survival, and human contacts are the guarantee of career success. The wider the communication and popularity of painters, the more people they will support, whether in terms of economy or manpower. With the combination of contacts, morality and excellent works, the market will naturally come into being.

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