In Bogu Zhai, the sound of ancient music is often heard at night.

Yuan Qiuhua's guqin, Master Weng's erhu, Xuanwu's Xiao, Xiao Lizi's Xun, and every three or five ancient music ensembles. Everyone is proficient in rhythm, happy silk strings, good bells and drums, happy with friends, and friends with art, and they are happy. It is purely like-minded, happy with you, belonging to the leisure time of settling down and living, raising a family and making a living, neither performing arts, nor entertaining, nor accepting apprentices, just to be happy.

The sound plucks the heartstrings, and the rhythm grows wings and can't be closed. Whether it's in a good mood, high mood, or high spirits, the audience doesn't have to guess who the performer is, why they are happy, and just feel happy. In the streets and alleys, some people stopped and stood and listened. Some of them invite friends and rush to enjoy it, calling it a musical feast. Some people even recorded it, put it on the Internet, shared it with all music friends, and gave Bogu Zhai various reputations, music palaces, spiritual food, and high music houses.

Dancing with hands, splashing ink, full of fun. Calligraphy and painting singing and,. The voice of the proposition, the work of the situation, was not intended to be played, but it could not withstand the editor's repeated requests, so I had to put on a vest and go into battle, morale was low, of course, it was boring.

Culture is basically played, and antiques are "toys" in adulthood. Most players aim to "play" and have fun. In the early '90s, in the collecting circles, many of the small auctions in the industry were customers, and many of them were players, and most of them were not people in the industry, but they just had a little more spare money than others, and they were a little more interested in antiques. They buy it today, they can sell it tomorrow, they buy it if they are happy, and they don't sell it if they are not happy, but if it is a good heart, they will not sell it if they give more money. This is the player, who does not force the system to collect, nor does he pay attention to the return of interests. For players, buying and selling is not expensive or expensive, only likes and dislikes. Pay attention to the word "peace of mind", and if you are uneasy, you will not have fun. The so-called "peace of mind" means that there is no regret in the heart, there is no loss, there is nothing that cannot be thought of, not burdened by fame, not served for profit, not used, not calculated, not defensive, behaving in a fair and upright manner, innocent, doing things cleanly, and being open and decent. In that era of information asymmetry, players were like fish in water, easy to buy, and happy to sell.

Just like an acquaintance, you can not only know his family affairs, but also his temperament and hobbies. No matter how familiar you are, you sit in the house, and as soon as he speaks, you know he's coming. Take it a step further, and as soon as he coughs, you know it's him. One step more familiar, he doesn't speak, you know it's him when you hear his footsteps.

They are not highly educated, so why do they also know how to distinguish antiques? Through many years of practice, these people have mastered some essentials in terms of sensory awareness, but most of them can only recognize them, but cannot explain them. At the same time, we can only judge the truth or falsity based on experience, without reason or evidence.

The different developments of cultural relics can be simply summarized as: Xia-pottery, Shang-copper, Zhou-lacquer, Han-jade, Tang-figurines (statues), Song-porcelain, Ming-wood, and Qing-painting.

There are three major forms of cultural relics exchange in China, one is the cultural relics company set up by the government and private individuals, which has the privilege of exporting. The second is an auction agency approved by the government. The third is the exchange between the private thrift market and collectors.

The auction of cultural relics is mainly based on modern and modern artifacts, works of modern and contemporary calligraphers and painters, supplemented by cultural relics returned from overseas before the Song Dynasty. China's ancient jade, Neolithic painted pottery, Tang Sancai, stone statues before the Tang Dynasty, bronzes before the Han Dynasty, ceramics from Ming and Qing dynasties, and ancient calligraphy and paintings before the Yuan Dynasty have always been the "darlings" of Western collectors. However, important Xia, Shang and Zhou bronzes, stone carvings, jade, pottery, figurines, and lacquerware are difficult to enter the auction house due to the restrictions of the Cultural Relics Law, and these cultural relics are basically in a state of private exchange among the people. The total amount of exchanges is based on cultural relics of the Ming and Qing dynasties, as well as paintings and calligraphy of modern celebrities, which are the most sought after by collectors, while others are relatively few, but fakes are proliferating and uncontrolled. Whether it is an auction or a private transaction, it is a final word, no fidelity, no exchange, no return, cultural relics have become a tool for profit, livelihood, and name. Interlaced like a mountain, I don't know how to pretend to understand, the "National Treasure Gang" just wants to appreciate quickly, even to show off and show off. After a few decades, it will only be a pile of garbage, and the investment will inevitably be lost. As a result, he spent unjustly money, made a big mistake, and was knocked out by a dull stick.

All cultural and museum personnel and archaeologists in the state-owned system are strictly prohibited from contacting and buying and selling folk antiques and cultural relics. This policy restricts their market practice, so that the personnel in the system lack the ability to distinguish between real and fake antiques, not only are they not allowed to buy and sell, but also cut off from the antique industry communication and contact, they are raised by the state in the pyramid, have no eyesight, and do not dare to buy antiques.

Some antiques unearthed and scattered by the people will not be appreciated by antique dealers in the system. To put it bluntly, some antiques are not from legitimate sources, and they think that their appraisal level is far from good, so there is no need to ask them for identification, and there is no need to make trouble for themselves. For the same piece of utensils, the price of a second-hand item and the price of three or four hands will be several times different. Cultural and museum personnel and antique dealers do not have the conditions for communication and communication, let alone buy and sell transactions.

Antique dealers do not communicate and trade with people who do not know how to appreciate antiques. The main reason is that this group does not know how to appreciate, has no common language and communication foundation, not only does not understand the historical value and collection value, but also does not know how to maintain antiques, and some even damage cultural relics. When the four olds were broken, this group smashed the temple, worked harder, burned calligraphy and paintings, worked harder, criticized Confucius and Meng, and had more scenery. The real expert antique dealer, in fact, is reluctant to sell antiques to people who do not understand and do not love antiques, because the real antique dealers, the heart likes to love antiques, the transaction is not entirely for money, unlike the auction when the price is high, the transfer mainly depends on the character of the other party, if sold to a layman, it will be regarded as the treasure of the ancestors, and the conscience is guilty. Ancient calligraphy and painting, especially afraid of oxygen and light, will cause "photoaging", and it is forbidden to take pictures. Modern calligraphy and painting are no exception, they cannot be exposed to sunlight for a long time, under the light, it is forbidden to smoke and fire, insects bite rats, and they are particularly afraid of ultraviolet rays and moisture. Antique dealers either do not trade in these people, or sell high imitations, believing that laymen are only qualified to enjoy some fakes. I know that I am mediocre, I am willing to be ordinary, my life is ordinary, and at the same time I am safe. I can't see the direction of the tide clearly, so I have to follow the trend and take risks, and I want to pick up the leaks with 100 yuan and 10,000 yuan of goods? Wishful thinking, incorrigible! Whimsical, deceive this guy! Guan Gong played with a flower knife in front of him, bought the essence that was not sold, hung a grinding plate around his neck, and planted a fight on the street.

The antique industry is all-encompassing, a person can't understand everything, arrogant and aggressive, of course, it is difficult to fight alone, and the only one who suffers is himself. Cultural relics have academic research value, but not necessarily all have economic value, and market demand, not the more ancient, the older, the higher the price, nor are they the objects from the court, are priceless. Jade is jade, stone is stone, and the stone of ten thousand years is still a stone, and it is impossible to become jade. The emperor's toilet paper is also toilet paper, and it is impossible to turn it into gold paper. To work with smart people who understand the rules, the most important thing is to meet the right Master, and the right circle of friends, many collectors who want to become collectors are sacrificed on the edge of the auction house. The appraiser should have the opportunity to see the authentic product, and conduct careful investigation and identification to grasp the characteristics of the authenticity. If you want to see the real thing, in addition to the real thing in the collection, you can learn about the real thing through the hands of connoisseurs or merchants. To engage in collection, the most important thing is not only money, but also a huge information network, many friends, wide popularity, and you can know any good things, so sometimes, information is equal to money.

Yuan Qiuhua often visited various antique shops, calligraphy and painting shops, and purchased antiques under the leadership of insiders, and sometimes walked the streets and alleys under the leadership of insiders, searching for precious antiques that were previously scattered in the homes of large families, such as the Kang Youwei family, the Zhu Ruzhen family, the Shang Yanliu family, and even visited modern and contemporary calligraphy and painting masters to book works.

She is self-aware, knowing that the famous paintings and calligraphy of the Song and Yuan dynasties are not in the Forbidden City, museums at all levels, art galleries, that is, overseas, the masterpieces of the Ming and Qing dynasties, even if they appear in the market, they are either fakes or sky-high, far from being affordable by a salaryman. It is customary to go to modern painting and calligraphy exhibitions, buy calligraphy and painting works in local galleries, do not look at official titles, titles, and fame, regardless of the name, genre, and market, only talk about the connotation of the work, the artistic level, and hoard goods mainly by small masters, relying on their own eyesight to "Taobao" or "pick out". Rong Geng, Shang Chengzuo's calligraphy and paintings, not allowed to leave the country, is rare, unpopular, collection is the price of tofu. Gao Jianfu, Gao Qifeng and Chen Shuren of the Lingnan School, as well as their disciples, Zhao Shaoang and Yang Shanshen in Hong Kong, Li Xiongcai and Pan Xingjian in Guangzhou, as well as Yang Zhiguang, Chen Jinzhang, Wu Jialing, Liang Shixiong, Lin Yong, Wang Yujue and other painters. At that time, the art market had not yet heated up, and the Lingnan School of painting had been unknown in the art market, and the vast majority of the works of the Lingnan School painters hovered between 1,000 yuan and tens of thousands of yuan, which was also known as the "value depression".

Yuen visits the antique street on Hollywood Road in Hong Kong twice a month, participates in many small antique auctions, and often reaps surprises. The biggest benefit is to get Pan Yuliang's paintings. Pan Yuliang became an orphan when he was a child, and was sold by his uncle into the Wuhu Qinglou to learn kabuki. At the age of seventeen, he met Pan Zanhua, married him, moved to Shanghai, studied painting under Hong Ye, and was admitted to the Shanghai Academy of Graphic Arts founded by Liu Haisu, where he studied under Zhu Qizhan and Wang Jiyuan. After graduating in 1921, he obtained the qualification of Anhui Province to study in France with public scholarship, and was a transfer student in the oil painting class of the National College of Fine Arts in Paris, and Xu Beihong was a classmate. In 1925, he graduated first in Rome and was awarded a scholarship to Italy, where he entered the National College of Fine Arts in Rome to study painting and sculpture. In 1926, her work won a gold medal at the International Art Exhibition in Rome, breaking the record in the history of the academy that no Chinese had won an award.

After returning to China, Pan Yuliang became a professor at universities in Shanghai and Nanjing. In 1936, she held her fifth solo art exhibition, and "The Hero of Man" won the highest honor, but when the exhibition was closed, someone pasted a note on "The Hero of Man", which read: "The prostitute's ode to the client". She was born as a geisha, and the school only recognized the grades when admitting students, and the country only recognized talents when employing people. This background is not a secret, the humiliation of the exhibition, the deliberate trouble, whether out of jealousy, ignorance, or discrimination against women, is despised by the world, and the true demeanor of a man is learned and respectful, and only a shameless man would insult a woman.

Pan Yuliang, who had finished a day's teaching, returned home, and Pan Zanhua's eldest lady came. The eldest lady said to her arrogantly, "The country has national laws, the family has family rules, the wife and concubine, the lord and the concubine, the lord and the humble, the common sense of the ages, don't think that if you become a professor, you can be on an equal footing with me." Zanzanhua said helplessly, "Hey, you go to the countryside and follow the customs!" Pan Zanhua is idle at home, Pan Yuliang earns money to support the family, the eldest lady is an arranged marriage, a small-footed woman in the countryside, illiterate and ignorant of foreign languages, and stayed in her hometown before. Pan Zanhua is a student studying in Japan and a classmate of Chen Duxiu. After Pan Yuliang thought about it, he couldn't help but sympathize with Pan Zanhua, "It's that he is in a dilemma!" So she softened, in order not to embarrass her husband, she had to give in to reality, knelt down to the eldest lady, kowtowed and poured tea.

The following year, the 42-year-old was on a cruise to Paris again. This journey was 40 years, until she died in Paris at the age of 82, and did not set foot on the homeland of China again. Living in France and living in poverty, she has always insisted on not changing her nationality, not selling her works, and not talking about love. In the 80s of the last century, hundreds of her paintings boarded a cruise ship back to China and were collected in the Hefei Museum. After her death, her diaspora works were repeatedly sold overseas for sky-high prices.

I am convinced that the acquisition of any antique is always the choice of people, not the choice of things, and the fate between people and things, as if the previous life has been destined.

Since 2003, the soaring prices of antiques and the all-round development of the overseas Taobao market have given antique dealers the opportunity to develop rapidly and become bigger, and at the same time, it is also the era of savage growth of the auction industry and gallery industry. At that time, many good things came out, and Chinese people searched for treasures all over the world, setting off a tide of cultural relics returning. Some collectors who "can't stand it", who used to specialize in reselling old objects when they resold antiques, cashed out at a discount, or there was an accident in the connoisseur's home, and they couldn't afford to sell, so they sold at a reduced price, and the purpose of new entrants was basically investment and financial management. With the improvement of the cultural level of collectors and the improvement of social level, the value of artworks has taken on comprehensive characteristics, from the past relatively simple likes and appreciation, began to transform into wealth management, taking into account the functions of value-added preservation, asset pledge, financial tools, corporate publicity and so on. In fact, it is a market reshuffle and a quality upgrade. When "Death", "Divorce", or "Debt" occur, family changes will also cause the artwork to change hands. The turnover of funds and goods in the industry is fast, and the price of many high-quality products at that time is far from reaching its proper position, and it is precisely the opportunity for big connoisseurs to collect genuine products and hoard them. Once the real goodies get into the collector's safe, there's no telling when they'll be on the market again.

Yuan Qiuhua not only subscribed to newspapers and periodicals such as "Collection", "Cultural Relics", "Calligraphy", "Painting Garden" and "Artwork" published in China, but also borrowed internal publications and materials from the museum, and also asked overseas relatives and friends to mail periodicals such as "World Art Market Weekly" and "Art and Fortune", as well as auction albums of major auction houses.

In the past few years, the generalist has sorted out and published a series of articles, compared the market dynamics, and obtained a set of data, which can be found relatively clearly: according to incomplete statistics, in the past 20 years, there have been nearly 10 million pieces of cultural relics unearthed in China from Hong Kong, Macao and Taiwan, most of which are sold by tomb robbers and smugglers, and a few are committed by thieves and thieves in cultural and museum units. Some of these items go to museums in Europe and the United States, some are publicly auctioned by auction houses after obtaining "legal" status under various names, and some are sold to collectors' storerooms through the antique market.

Most of these cultural relics are sold at extremely low prices, and some of them are half bought and half given away, or even sold at a low price in piles, but after being sold by foreign businessmen, whether they are sold by foreign antique dealers or resold by auction houses, they can generally obtain dozens of times, or even hundreds, or thousands of times the profits. What's more, for auction houses, these lots can not only return to the true value of Chinese cultural relics, but also make more money, and cause fewer disputes, because most of the smuggled artifacts are not archived by the Chinese government, and it is difficult to provide evidence to recover. Of course, in the end, most of the cultural relics, such as the three generations of bronzes, ancient jade of the Han Dynasty, Tang pottery, Song porcelain, Buddha statues, open furnaces, and Qing jade, will be bought back by Chinese collectors for huge sums of money, and the objects will be returned to their original owners!

The porcelain of the Ming and Qing dynasties sought after by buyers is everywhere in Europe, and there are many people who ask to send it to auction. In the Ming Dynasty, porcelain from Jiangxi, Fujian, Guangdong and other places was sold overseas. Jingdezhen blue and white porcelain and Longquan kiln celadon were bestsellers in the middle and early Ming Dynasty. After the late Ming Dynasty, the export of porcelain was mainly Jingdezhen kiln, Zhangzhou kiln and other products, blue and white porcelain was the bulk of porcelain, and colorful porcelain and Dehua kiln white glazed porcelain were also more common. The shape of the vessel is mainly plate, bowl, lid box, bottle and porcelain. There are also exquisite antique porcelain exported by the country in exchange for foreign exchange in exchange for foreign exchange to reform and opening up.

In recent years, the number of Chinese antiquities sent for auction is also beyond imagination. It can be said that in the past few years, auction houses have not been able to reach out to many of these lots as they are now. The quality is the same, in the past, I could find a Shang Dynasty bronze as a lot, my colleagues were excited, now I can't sell it, the general utensils have obvious defects, and the auction house will not let them be auctioned, because everyone knows that Chinese like perfect things!

Cultural relics that do not have a "legal" status are bought and sold in a private manner. The so-called non-public auction method is that the middleman matches the buyer and seller customers he is familiar with, negotiates the price of some of the corresponding antiques, and then sells the deal privately after reaching an agreement. The advantage of this is that both the buyer and the seller can save some of the transaction taxes, and the price is generally modest.

Cultural relics dump pots, traps, bets, collectors, speculators, and bookmakers are busy, critics, curators, and experts advocate, follow up, and carry sedan chairs, and the market is booming.

It can be seen from this that an international commercial operation around Chinese cultural relics has an extremely meticulous strategic layout, and the method is very similar to the usual trick of "selling high and buying low" used by the "market makers" in the stock market -- on the one hand, it continues to raise the price of porcelain from the official kilns of the Ming and Qing dynasties, and ships them in batches in a planned and step-by-step manner; on the other hand, it takes advantage of China's control policy on unearthed cultural relics to purchase and reserve a large number of ancient and old cultural relics at low prices. When the time is ripe, new price benchmarks will be erected to instigate the return movement of "exporting to domestic sales" of this part of cultural relics, and constantly using the Chinese's own "things" to earn the Chinese's own money.