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自三月以来,有关2014年春拍回暖的消息就不断传来。皿方罍、蓝地白龙盘、定窑大碗、张晓刚《大家庭三号》、成化斗彩鸡缸杯、芭芭拉·赫顿的翡翠项链,乃至法国克劳德·莫奈的《睡莲》、英国弗朗西斯·培根的《约翰·爱德华兹肖像三习作》、美国安迪·沃霍尔的《小电椅》,接二连三诞生的天价、西方艺术大师作品及背后的中国买家,刺激着市场有些麻木的神经。乐观情绪弥漫开来,“亿元时代回归”“明清瓷器受追捧”“当代艺术重新崛起”“国际艺术品市场的中国身影”纷纷跃上版面、网页和荧屏,飘过人们的眼前、耳畔,搅得艺术品市场水波涟涟。但事实果真如此吗?
Since March, news of the spring snapback in 2014 has been heard. Panfang Fang, Blue White Dragon Dish, Ding Kiln bowl, Zhang Xiaogang “Big Family III”, Chenghua Doucai cocklimate Cup, Barbara Hutton’s emerald necklace, and even France Claude Monet’s “Water Lilies,” “Portrait of John Edwards Portrait” by Frances Bacon, “Small Electric Chair” by Andy Warhol in the United States, astronomical prices after another, masterpieces of Western artists and the Chinese buyers behind them. Some numb nerves in the market. Optimism filled the air, “” “Ming and Qing Dynasty porcelain sought after” “” The rise of contemporary art “” The international art market in China figure "have leapt to the pages, pages and screen , Drifting across people’s eyes, ears, stirring art market rippling. But, is this the truth?