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艺术博览会是适应我国市场经济体制的建立和发展并具有强大生命力的新事物。我国的艺术博览会自1993年广州拉开帷幕后北京、上海等地也连续成功地举办了好几届。实践证明,艺博会对引导和培育我国艺术市场的健康发展;对繁荣、发展美术创作;加强中外文化交流以及推动我国艺术品市场向国际接轨方面,都起到积极作用。在新的千禧之年到来之际,龚云表先生的《对艺术博览会若干问题的探析》,将会诱发我们对二十世纪我国艺博会的许多思考。 王伯敏先生的《包装、搭台及其它》,以丰富的事例,揭露古今一些书画骗子、搭戏台、设骗局,诱人走向误区。由于目下市场制度不健全,中国书画作假、以赝当真,仍是当今中国书画市场一个突出的问题。规范经营、整顿市场,加强打假的力度,固然是净化市场的必要手段,而作者强调的提高识别书画真假的鉴定能力,对书画经营和收藏者来说,则是加强自我保护意识、减少赝品对自己危害的有力保证。
Art Fair is to adapt to the establishment and development of China’s market economy system and has a strong vitality of new things. After the curtain of Guangzhou in 1993, the art fairs in our country have been held for several consecutive years successfully in Beijing, Shanghai and other places. Practice has proved that Art Fair plays an active role in guiding and nurturing the healthy development of the art market in our country, in prospering and developing fine art, in strengthening cultural exchanges between China and foreign countries, and in promoting the international standardization of China’s art market. At the dawn of a new millennium, Mr. Gong Yun-biao’s “Exploration of Some Issues Concerning Art Fairs” will inspire many thoughts on China’s art fair in the twentieth century. Mr. Wang Boyin’s “packaging, set up the stage and other”, with a wealth of examples, to expose some ancient and modern calligrapher, take the stage, a fraud, alluring temptation to misunderstandings. Due to the current market system is not perfect, Chinese painting and calligraphy fraud to counterfeit, is still today’s Chinese painting and calligraphy market a prominent issue. While standardizing operations, rectifying markets and intensifying counterfeiting efforts are necessary measures to purify the market, the author’s emphasis on improving the appraisal ability of authenticity of paintings and calligraphies is to strengthen the awareness of self-protection and reduce counterfeiting A strong guarantee of their own harm.