好的字画怎样能保藏到
How can good calligraphy and paintings be preserved
现在的书画市场十分火爆，那么关于喜欢书画艺术的人来说，在进入书画保藏出资范畴时需求注意哪些问题呢?萧珑表明，保藏爱好者要摆正心态，切不可抱有捡漏赚钱心态，并要多学习保藏常识，在出资时稳重出手。在此基础上，还有五个诀窍供保藏爱好者探讨研究：
Now the painting and calligraphy market is very popular, so for those who like the art of painting and calligraphy, what problems should they pay attention to when they enter the scope of investment in painting and calligraphy preservation? Xiao Long shows that the preservation enthusiasts should first put their minds in order, never have the mindset of picking up and making money, and learn to preserve common sense more, and make a steady start when investing. On this basis, there are five tips for preservation enthusiasts to explore:
1.不断提高自身对书画艺术的认知水平，真正了解画家自身的风格特点。“现在许多人都盲目追求大师的著作，比如齐白石先生的著作追的人多，但赝品更多。因为齐白石的画归于大写意，好像容易仿照，因而假画也多。虽然人们普遍认为他的画好描摹，其实他的画难造假，他的画所反映的意境，画自身的魂灵和泄漏出来的气味都是造假者所不能到达的，关于保藏者来说假如真能了解到大师著作的魂灵和实质就不会被赝品所欺骗，当然这需求保藏者具备多年的书画研习功底。”萧珑说，不同画家也有不同风格。以萧朗先生为例，保藏者假如想要保藏就需求知道画家的风格、习惯，比如他为擅长的是小写意花鸟，对水对色的运用堪称一绝，以及书法用笔、作画绝不重复等等明显的特征。因而保藏名家的著作，需求保藏者自身也要很，要有必定的理论研究功底。
1. Continuously improve their own level of understanding of painting and calligraphy art, truly understand the artist's own style characteristics. "Nowadays, many people blindly pursue the works of masters, such as those of Mr. Qi Baishi, but there are more fakes. Because Qi Baishi's paintings belong to freehand brushwork, it seems easy to imitate, so there are many false paintings. Although it is generally believed that his paintings are well described, in fact, his paintings are the most difficult to fake. The artistic conception reflected in his paintings, the soul of the painting itself and the smell leaked out are all beyond the reach of the fake. For the preservers, if they really understand the soul and essence of the masterpiece, they will not be deceived by the fake, of course, this is necessary. The preserver is expected to have many years of experience in painting and calligraphy. Xiao Long said that different painters also have different styles. Take Mr. Xiao Lang as an example, if the preserver wants to preserve, he needs to know the style and habits of the painter. For example, he is best at small freehand brushwork, flowers and birds, the use of water and color is excellent, and the use of pens in calligraphy and painting is never repeated, and so on. Therefore, in order to preserve the works of famous writers, it is necessary for the preservers themselves to be very professional and have a certain theoretical foundation.
2.注意师承联系是协助藏家筛选书画著作的另一条途径。萧珑表明，在保藏过程中，应该把近现代着名画家依照师承联系列出一个脉络。现在应该重视文革前美院以及各地方美院毕业的画家。当年老艺术家只带数量很少的学生，这些学生中的佼佼者可以说得到了教师的真传，他们的著作在艺术上有所创新，应该说具备了必定保藏和出资潜力。比如像萧朗、孙其峰等老先生的弟子，人数不是许多，他们都得到了教师的真传，其著作也具备保藏潜力。
2. Attention to the relationship between teachers and inheritors is another way to assist Tibetans in screening works of calligraphy and painting. Xiao Long shows that in the process of preservation, famous modern painters should be listed in accordance with the links between teachers and successors. Now we should attach importance to the painters who graduated from the Central Academy of Fine Arts and local academies before the Cultural Revolution. Old artists brought only a small number of students. The best of these students can be said to have got the true biography of the teacher. Their works are innovative in art and have the potential of preservation and investment. For example, the number of disciples such as Xiao Lang and Sun Qifeng is not very large. They all get the true biography of teachers, and their works have the potential of preservation.
3.挑选冷门，也就是被“轻视”的名家。现在的社会已经步入信息时代，画家著作市场价值的高低跟宣扬也有着密不可分的联系，关于那些善于宣扬，传播力度强的画家，其著作增值较快，市场价也相对处于高位。而那些艺术功力深厚却不擅宣扬，传播力度弱的画家，大都归于被“轻视”的一类，十分适合做长线出资，升值潜力很大。当然出资的一起还需对这些画家的人品、人格、涵养等进行考证，人品人格低下，涵养匮乏的应稳重挑选。
3. Choose the unfavourable ones, that is, the famous ones who are "despised". Now the society has entered the information age, and the market value of painters'works is closely related to publicity. As for those painters who are good at publicizing and disseminating, their works increase rapidly and the market price is relatively high. And those artists who have deep artistic skills but are not good at propaganda and whose dissemination is weak mostly belong to the category of "despised". They are very suitable for long-term investment and have great potential for appreciation. Of course, the investor also needs to research the character, personality and self-cultivation of these painters. Those with low personality and lack of self-cultivation should be selected steadily.
第四，要找对。因为个人常识所限，在保藏时往往需求帮着长眼，但选也不能盲目。“以我自己为例，作为萧朗的后人，对他的画风十分了解，但真实的说也不是他一切的画我都能判定。比如父亲在上世纪八十年代前的画我就看不好，因为在此之前我年纪尚小，还未开端进行书画艺术研究，那段时期的著作看的也少，对当时父亲的画风特点不甚了解。遇到父亲早年的画，我会请王振德、贾宝珉等曾早年跟从我父亲学画的兄长协助一起判定。因而在市场上假如遇到说是上世纪八十年代曾经的萧朗著作完全是由萧珑判定的，那恐怕不能保真。”萧珑表明，选对也是一门学识。
Fourth, we need to find the right experts. Because of the limitation of personal common sense, experts are often needed to help with long-term preservation, but experts can not be selected blindly. "Take myself as an example, as Xiao Lang's descendants, I know his painting style very well, but not all his paintings can be judged. For example, I couldn't read my father's paintings before the 1980s, because before that, I was still young and had not begun to study the art of painting and calligraphy, and the works of that period were seldom read, and I didn't know much about the characteristics of his painting style at that time. When I encounter my father's early paintings, I will ask Wang Zhende, Jia Baomei and other elder brothers who learned painting from my father to help me decide. Therefore, in the market, if it is said that Xiao Lang's works once written in the 1980s were completely determined by Xiao Long, it may not be true. Xiao Long shows that choosing the right experts is also a knowledge.
4.出资书画著作时不要只看作者“头衔”。许多人只认头衔，其实头衔只是一个职务，并不能完全反响作者自身的艺术水平，出资书画还是要回归著作自身。
4. Don't just look at the author's title when investing in calligraphy and painting works. Many people only recognize titles, in fact, titles are only a job, which can not completely reflect the artistic level of the author himself. To invest in painting and calligraphy is to return to the work itself.
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