中国大陆不乏艺术品交易,但没有艺术市场。 由于私营经济的发展,老板及白领手中的钱增多,一些有鉴赏习惯或附庸风雅的人开始收藏艺术品,但主要是传统书画。成都搞了一座艺术城,规模很大,其假古董和书画一起卖。由此也可以明白,书画买卖在中国如同文物收藏。书画市场对中国大陆而言是一个过去时的文物市场。 到处都有所谓“画廊”,但绝大多数仅是画店而已。既不推出艺术家,亦无特定购藏圈,经营的艺术品不过是旅游产品,以假当真,以次允好,只等游客上当。同一个画家的作品,今天卖三万,明天卖五千,只看顾客聪愚。在此基础上形成的艺术博览会,完全是一个艺术大杂烩,往往牌子大得吓人,实质不过是赶场。组织 There is no lack of artwork in Mainland China, but there is no art market. Owing to the development of the private economy, the amount of money in the hands of the boss and the white-collar workers has increased. Some people who appreciate or habitually grace their art collections, but mainly traditional calligraphy and painting. Chengdu engaged in a art city, a large scale, the fake antiques and paintings sold together. It can also be understood that the sale of calligraphy and painting in China is like a collection of cultural relics. The painting and calligraphy market is an ancient cultural relic market for mainland China. There are so-called “galleries” everywhere, but most are just paintings shops. Neither the artist nor the specific collection circle is introduced. The artworks operated are nothing but tourist products. The same painter’s work, selling thirty thousand today, selling five thousand tomorrow, only look at customers Cong Yu. The art fair formed on the basis of this is a totally hodge-podge of art. It is often scary and brand-new in nature. organization