With the economic development of the times, the upsurge of stock and real estate investment has faded, more and more people begin to invest in the collection of calligraphy and painting, but the field of calligraphy and painting collection is also mixed, how should we invest in the collection of calligraphy and painting? Here is a brief list of the five basic standards for the acquisition of calligraphy and painting. I hope that the majority of Tibetans will read them carefully and help you.

一、书法程度的上下

1、 The level of calligraphy

老一辈艺术家张仃曾呼吁"守住国画的底线",这个底线就是书法。书法表如今国画中，一是书法用笔，二是题跋书写的艺术美。国画考究书法用笔，"以书入画"是古代画家不断在理论和追求的。"骨法用笔"指的就是书法用笔。苏东坡、倪瓒、徐渭、黄宾虹等都是以书入画的高手。书法是一门需求常年累月练习的艺术，写书者要心平气和才行。如今好多画家不注重书法的练习，也不注重笔墨，招致画面没有笔墨的气韵，以连款都不敢落，提笔露怯，这样的作品或艺术家就不算是潜力股。同样的作品，题跋较长者比穷款者价值要高一些。

Zhang Ding, an older generation artist, once called for "keeping the bottom line of traditional Chinese painting", which is calligraphy. Calligraphy table in today's traditional Chinese painting, one is the calligraphy pen, the other is the artistic beauty of postscript writing. Traditional Chinese painting pays attention to the use of calligraphy brush, and "painting with calligraphy" is the constant pursuit of ancient painters in theory and practice“ "Bone brush" refers to calligraphy brush. Su Dongpo, Ni Zan, Xu Wei and Huang Binhong are all masters of painting with calligraphy. Calligraphy is an art that needs to be practiced for many years. The writer should be calm. Nowadays, many painters do not pay attention to the practice of calligraphy, nor do they pay attention to the brush and ink. As a result, the paintings do not have the charm of brush and ink, and even dare not drop money. Such works or artists are not potential stocks. For the same works, those with longer inscriptions and postscripts are more valuable than those with poor funds.

二、有没有学术支撑

2、 Is there any academic support

言之无文，行而不远。书画家的学术程度会影响他创作的深度和可持续度。理论指导理论，这也是古人要读万卷书的一个缘由。经过阅读、创作与交流，久而构成本人的一套理论体系，或是对艺术的共同视角，这对艺术家的生长有重要的意义。

No words, no deeds. The academic level of a calligrapher and painter will affect the depth and sustainability of his creation. Theory guides theory, which is one of the reasons why the ancients wanted to read ten thousand volumes of books. Through reading, creation and communication, I have formed a theoretical system or a common perspective of art for a long time, which is of great significance to the growth of artists.

三、作品自身的艺术程度

3、 The artistic level of the work itself

作品自身的艺术程度，才是权衡其价值的主要要素。这触及到书画的三境地：景物境地、笔墨境地和人文境地。一幅作品自身对山川自然"象其物宜"的描画，就是景物的境地。能够看到它的技法、风光之美、章法规划之妙。假如在景物的根底上，还有"笔精墨妙"的笔墨境地那就更好。我国的山水画以笔取气得其阳刚之美，以墨取晕得其阴柔之美。笔墨的精妙可气韵，气韵生动乃画之高境。书画作品的人文境地能够表现在题材、画旨、画趣、诗词题跋等方面。

The artistic level of the work itself is the main factor to weigh its value. This involves three situations of calligraphy and painting: scenery situation, brush and ink situation and humanistic situation. A work's own description of mountains and rivers is the situation of scenery. We can see its technique, beauty of scenery and wonderful planning. If on the basis of the scenery, there is a "pen fine ink wonderful" pen and ink situation, it is better. Our country's landscape painting obtains its masculine beauty by using the pen to take the Qi, and obtains its feminine beauty by using the ink to take the halo. The subtlety of the brush and ink can produce the aura, and the vivid aura is the highest level of the painting. The humanistic situation of calligraphy and painting works can be expressed in the theme, painting purport, painting interest, poetry postscript and so on.