How can the collection of calligraphy and painting better balance the fun and reward

With the advent of the Chinese economy and the era of cultural consumption, the ranks of Chinese collectors have grown. For collectors of calligraphy and painting, how should they collect books and paintings in order to better balance the fun of collection with the economic return?

Like calligraphy and painting before going to the collection

If you only hope to realize the purpose of investing in profits by collecting books and paintings, then I suggest that you should eliminate this idea as soon as possible so as not to suffer huge economic losses. Because no matter what type of investment is being pursued, if investors want to increase the probability of winning, they must learn more and think more about research and more analysis. This is an implicit investment cost that is easily overlooked. If you like calligraphy and painting, letting you spend a lot of time to appreciate and study paintings and calligraphy should be a kind of enjoyment; if you are not interested, it will be a costly and ineffective process. Therefore, for collectors, not only should pay attention to the economic returns of the collection, but also should pay attention to the fun of the collection in order to truly achieve a happy collection, and from time to time to obtain an unexpected gain.

Collection can bring both economic benefits and spiritual enjoyment. In a sense, this is an important feature of the fact that collection investment is different from securities investment and real estate investment. It is also an important reason why people are keen to collect. Just as Ma Weidou, the curator of the Museum of Classical Art at the Viewpoint, said: “The collection itself is the process of accumulation of wealth.” For collectors, focusing on the casual rewards of the collection itself is much higher than it will be at many times. The focus is on the expected return of the investment itself.

Focus on the characteristics of choice boutique

Bai Lei, curator of the Xiamen City Art Museum, once said a classic saying: "Ten advantages are inferior to one." For collectors, this sentence is very important. Because the key to the collection of calligraphy and painting, the first is to choose a good book artist. If a painting does not have characteristics, lack of personality, and unclear style, it is difficult to reflect the typical artistic style of the painter and painter, and it is difficult to draw extensive attention in the art world and the collectors' field.

Of course, on the issue of “election”, collectors should pay special attention to two points: First, the relationship between merits and characteristics, and second, the relationship between fame and strength. Although we admit that “the ten advantages are not as good as one feature.” This does not mean that a piece of calligraphy and painting with only characteristics and no merit is a good work. In fact, the advantages are the basis of the characteristics. There is no merit, only the characteristics of the painting and calligraphy is like "passive water, no end of the original", the same lack of collection value! In the art market, those “poor mountains, evil waters, flowers, ugly trees, dilapidated houses, and stupid people” that are created for the sake of attracting attention are particularly worthy of vigilance! Because such works often make people look bright, they have no trace of the market after a year and a half. Because there are only characteristics and lack of good paintings, it is also difficult to stand the test of the market!

In addition, the relationship between the artist's reputation and strength is also an important issue that needs attention. The problem is that fame is actually a dynamic and subtle variable for the painter who has not yet reached the ultimate conclusion. When the collector chooses a painter and his paintings, he must first make a clear judgment as to whether or not the painter is worthy or false. On this basis, choose a masterpiece.

See more and ask more homework

For each artist's artistic growth, it can be roughly divided into the study period, maturity period, peak period, and recession period. Each period has its own characteristics. Judging from the actual situation of the art market, there are many kinds of pseudofamous paintings and paintings, which are varied: those who have made falsehoods are pretending to be self-incriminating; those who have made falsehoods are made of old ones and faced with flowers; In fact, ** is made by the teacher by writing, and the son is made by the father in writing; more falsified people use modern high-tech simulation printing. Correspondingly, the appraisal of calligraphy and painting has still not been recognized by the academic community and the collection industry. Most of them rely on the experience and eyesight of experts.

As the painter Tang Yun said: “Diagnosing truth is not a mystery thing. The most fundamental one, relying on 'familiarity', is like everyone’s familiar friend, even if he is talking in the next room. When you listen to the voice, you can recognize that 'who is the same person' and the authentication is the same.” Therefore, collectors must look more and ask more and do their homework to minimize the risk of “drilling”. Of course, because the issues involved in the identification of calligraphy and painting are rather complex and cannot be developed here, they can only be used up till now.

Fixed-quota weak market buying

For most collectors, because of the limited amount of money available. Therefore, it is necessary to establish a practical fund use plan and follow the following three basic principles:

Funding principle

Many financial experts agree that in terms of financial management, the "three-three system" principle should be followed, that is, one-third of disposable income should be used for daily expenses; one-third of disposable income should be used (more risky) Various investments; one-third of disposable income is used for (risk less) financial plans. For the collection of calligraphy and painting, it is obvious that the principle of "three-three systems" should also be followed, and one-third or one-third of disposable income should be used for collection of calligraphy and painting. In this case, even if the collectors make mistakes, they will not be seriously injured.

First small and big principle

For the collection of calligraphy and painting, whether experienced veteran collectors or fledglings who have just entered the Tibetan world, may be due to quality risk, product risk, price risk and custodial risk, or moral hazard, preference transfer risk, delivery Capability risks and legal policy risks, and suffer economic losses. Therefore, as far as collectors are concerned, at the beginning, they have to try out a small amount of funds to gradually try to sum up experiences, learn lessons, and then increase the amount of investment funds. This is obviously an important way to pay less for “tuition fees” and get started as soon as possible.

Reverse thinking principle

In fact, compared with the time when the art market was relatively sluggish in previous years, it may not be the “best time” for collecting paintings. However, the opportunity is fleeting. As far as collectors’ use of funds is concerned, they must follow principles and be flexible. Because it is difficult for us to accurately determine the short-term trend of the art market, in order to decentralize the price risk over a period of time, it is necessary to adopt the usual fixed-rate fund collection of paintings and calligraphy, and the principle of increasing investment during the downturn of the market. On this issue, we should remember the famous statement of the world’s richest man, Warren Buffett: “Be greedy when Others fear, and fear when others are greedy.”

Hold the mid-term holdings

If you want to balance your collections and investments, then how long should the best period of collection of calligraphy and painting be? It is indeed a crucial issue. For the collection of calligraphy and painting, collectors often have a misunderstanding that the longer the time, the highest return. But the fact is not so simple. Judging from experience, we can regard one year or less as short-term, 1-5 years as short-term, 5-10 years as medium-term, 10-50 as medium-long-term, and 50-plus years as long-term. .

In fact, the period of collection of calligraphy and painting is appropriate in the medium term. The specific cycle varies according to the specific circumstances, and it can be flexibly grasped based on 10 years. For example, the investment made by Japan’s Andorson’s paintings in Higashiyama Prefecture’s paintings began in 1990. With every 10 years as a cycle, their collection of Hiroshi Toyama’s works was progressively promoted to the collection market. Their total investment was 2.26 billion yen, and total revenue reached 4.47 billion yen. Of course, 10 years is only a basic point, and the specific investment cycle should obviously be based on specific conditions.

In general, the price changes of paintings and calligraphy have both peaks and troughs. If the artwork market is hot and the price of paintings and calligraphy is relatively high, even if other aspects are not considered, they will not commit major errors. If the art market is depressed, and prices for paintings and calligraphy are relatively low, even if this painting is indeed a masterpiece, it is very likely that due to various constraints, it will be cheap and easy to change. Therefore, for a collection of paintings and calligraphy with the purpose of balancing collections and investment, it is vital to grasp the trend and hold it in the medium term, and determine the timing of shipments according to the time and place of the situation.