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近年来,中国艺术金融产品创新的步伐不断加快并且日渐引人瞩目,但与此同时,艺术品金融化乱象也层出不穷,以致于中国艺术品金融市场已经成为一个名副其实的“金融险区”。以国务院《关于清理整顿各类交易场所切实防范金融风险的决定》(国发[2011]38号)的发布为标志,由中国证监会牵头的各类交易场所清理整顿工作范围内开展。但时至今日,问题尚未完全解决。例如,2014年12月发生的索账3年未果的几十名郑州文交所投资者“占领”河南省金融办事件;又如,截止发稿前,天津文交所的艺术品份额化交易业务依然在进行并还能够办理新开户手续。在这样的大背景下,对近年来中国艺术品金融化历程进行一番回顾和分析,无疑既具有一定的理论价值,也具有明显的现实意义。
In recent years, the pace of innovation of Chinese art financial products has been accelerating and attracting more and more attention. However, at the same time, art financial meltdown is also emerging in an endless stream, so that the Chinese art financial market has become a real “financial risk zone ”. With the release of the State Council’s “Decision on Liquidating and Rectifying All Types of Trading Places and Practically Preventing Financial Risks” (Guo Fa [2011] No. 38) as a sign, the various types of trading sites led by the CSRC shall be conducted within the scope of the rectification work. But up to now, the problem has not yet been fully solved. For example, dozens of investors from the Zhengzhou Stock Exchange, which failed to meet the demand for three years in December 2014, occupied the Henan Finance Office. In another example, before the press release, the works of the Tianjin Stock Exchange Trading business is still in progress and can also handle new account opening procedures. Under such background, recalling and analyzing the course of Chinese art financialization in recent years will undoubtedly have both theoretical value and obvious practical significance.