Before the birth of banks, pawnbroking was the main source of financing for the private sector. In contrast to banks, pawnshops do not need to conduct credit checks, do not require third-party guarantees, and can pawn as long as they are valuable.

In ancient times, there was a saying of "sitting on Jia to do business". The stall market, where street vendors gather, is one of the upstream sources of antique dealers' purchases, and it has a "warehousing" taste. Most of the customers are insiders, and they come to the store mostly to "skewer" (that is, to buy things from other stores and put them in my store at a higher price before selling). This kind of buyer is naturally very picky about the price and quality of things, so they generally can't sell them at a large price. Brokers, there are also many elites, many of them are senior old "players", the reason why they are wronged here is that most of the funds are not thick, the sales are not wide, and there are not a few "good families", and it is by no means that they lack eyesight and intelligence.

Market vendors, mostly "merchants". Many years ago, I went to the countryside to "shovel the land", and I could "find some old goods to go to the city for two change". Nowadays, it is generally a "fixed stall" and a "fixed time", and the "feng shui treasure land" of the zero-rent (daily rent) antique market takes the unsalable things in your own store or other people's stores and tries your luck. They are like migratory birds that travel through antique fairs. They are half-connoisseurs, with an unusually keen sense of smell and eyesight, and are the first level of the antique business, they pick out good goods from households that have no common sense of collecting, and then sell them to antique dealers who open shops. Sometimes when encountering real antiques, the stall owner himself does not know the goods, and is "leaked" by the store. They earn all their hard-earned money, except for the pick-up fee and travel expenses, there are only a few left in a year, and it would be good if they didn't lose money.

The store has a high vision, does not look at people, only looks at the goods, the goods are not on the right road, the whole body is a famous brand, and it is also directly sent to customers. If the goods are good, they will be in tatters, and the famous family will also be treated as a guest. In normal times, regardless of receiving and selling, the eyesight speaks. But there will also be some "unscrupulous", this person is bold and dares to do anything. The ancient tomb has no ability to dig, and it specializes in digging nearby village tombs, and it has no ability and no interest. What treasures can there be in civilian tombs, it is nothing more than copper coins, jade plugs, shrouds, and antique dealers who hate this kind of people the most, but these people are very stubborn and dead-skinned. How dare the antique dealer accept it, not only is the value not high, but the evil spirit is also extremely heavy, so he can only send away some money, don't want things, take the money and drink, uncle, don't come again!

Another type of trouble is the so-called excavated artifacts, especially bronzes. Bronze, that is, copper-tin alloy, was widely used before the Spring and Autumn Period, also known as the Xia, Shang, Western Zhou and Spring and Autumn Periods for the Bronze Age. According to state regulations, bronzes before the Qing Dynasty were not allowed to be bought and sold, and individuals could collect them, but they could not trade them. Antique dealers don't dare to buy it at all, and whoever buys it will break the law, and if they don't do it, they will have to go to prison for ten or eight years. Of course, some bosses will also accept it, hand it over, and it is also very important to have a good relationship with the above, everyone understands this.

Since 1998, there have been fewer and fewer genuine goods on the market, and more and more fakes. I don't know where the real thing went? There are some people who sell "ancestral things" left, and they are basically fakes. Antique dealers go to Hong Kong, Macao, Taiwan, or overseas markets to "Taobao", "holding goods" and waiting for the market to pick up. I firmly believe that "the fragrance of wine is not afraid of deep alleys", and the master's fine products, after the tempering of time, will eventually shine. Even if it was dusty at that time, there would be a day when it would shine.

In the antique industry, whether it is Ming and Qing dynasty porcelain, or Tang and Song dynasty porcelain, whether it is modern calligraphy and painting, or ancient calligraphy and painting, whether it is Ming and Qing dynasty jade, or ancient jade, whether it is the four treasures of the paper, or bamboo and wood tooth corners, whether it is antique miscellaneous, or jewelry Shougang, there are experts in the industry who specialize in research and identification. Everyone's professional knowledge and experience are lessons bought at their own expense and bought in the market. If you have knowledge and vision, you will have economic benefits, and these essentials of identifying authenticity will not be passed on to businessmen, and there are innate conditions and character requirements for accepting apprentices. Learning antiques requires the patience to endure loneliness, calm down, endure hardships, and have the patience of "three years of miscellaneous work, ten years of entering the industry", and even "choose a career, for a lifetime". To be willing to be ordinary, but contented and happy, no matter whether the market is good or bad, always have a clear conscience, worthy of the ancestors of heaven and earth, and do not have to burn incense and worship Buddha. Be in awe of antiques, and when looking at a bowl, hold it in both hands and bend downward, as if you are bowing to your ancestors. In the antique shop, you can't just 'take' and 'hold' a thing, and you can't just 'hand' and 'pass' everything to hand, just like crossing a river and walking on a bridge, carefully 'passing' from my hand to your hand.

Unless there is internal communication, or mutual help, the appraisal will not tell the truth, let alone valuation. The seller said, "How much does the expert price of the treasure appreciative meeting", and the merchant will answer, "The expert uses his mouth, we use the money, please help me close the door when you go out". It means that the market does not recognize. "Please ask me how much this collection is worth", and the merchant will reply, "I'm sorry, I know and can't tell you". Meaning, if you say too much and you don't sell at the price you want, you will feel fooled. If it is said that it is cheap, if it is sold at a good price, it will feel like a lie to you. So sell high and sell low by yourself. In order not to spend money to find a merchant to identify, the collector pretends to sell antiques to see the attitude of the merchant towards the collection, if he does not buy it, he thinks that it may be a fake, and if he asks the price to buy, he thinks it is genuine. In fact, as soon as the merchant looks at the collection, he understands the other party's intention and purpose, so he still can't hear the truth.

There are basically two kinds of antiques in China: cultural relics research institutes, museums, in-service civil servants, antique dealers who open shops, and auction appraisers. Cultural relics research, as the name suggests, is to stay in the school hall to wholeheartedly interpret antique information, analyze and study cultural value, social significance of people, those are true scholars, step by step, noble for ideals, subtle for dedication, and regard money as dung, worthy of respect. The state clearly stipulates that during their employment, they are not allowed to engage in antique collection and must not be suspected of antique trading, which is also synonymous with poverty. As we all know, cultural relics and historic sites are not "general disciplines of universities", they are remote, unpopular, and difficult. Look at the dead people and dead things in the yin hole, the timid do not enter, touch the underworld, the bright vessels, the sacrificial vessels, the weak do not enter, protect the bricks, tiles, porcelain and pottery, buildings, tombstones and pillars, and do not come to the fear of things. Archaeology, a discipline like archaeology, has been a mythological miracle since undergraduate. Only a very small number of people are willing to spend a huge time cost to study, and after graduation, they have changed careers and stayed in the cultural and museum industry, which is really like, in order to study knowledge and enjoy the fun of gaining knowledge and culture.

Yuan Qiuhua is an idle person, constantly buying antique identification books from Hong Kong to recharge. Every Monday, Wednesday and Friday evening, I also went to the provincial museum to participate in a porcelain appraisal training class, which was taught by several old gentlemen from the provincial and municipal museums, as well as several experts hired from other places.

Porcelain was developed from pottery and appeared in the Eastern Han Dynasty, and there were only two kinds of porcelain, celadon and black porcelain. There is one of the most important differences between fired pottery (700 to 1000), primitive porcelain (1000 to 1200), and porcelain (1200 to 1200), and that is temperature.

During the period of the Three Kingdoms and the Two Jin Dynasties and the Northern and Southern Dynasties, white porcelain appeared. If the iron content in the glaze is less than 1%, it is white porcelain, between 1% and 3%, it is celadon, and if it is more than 4%, it is black porcelain. In ancient times, there was no way to control the proportion and temperature of raw materials to just right, so the glaze color was unstable and had a strong randomness.

In the Tang Dynasty, the southern representative was the Yue kiln from Zhejiang, and the northern representative was the Xing kiln from Hebei, so there was also a saying that "the south is more than the north is Xing". In the Song Dynasty, "Ru, Guan, Ge, Jun" all belonged to the celadon family, and "Ding" was to burn white porcelain. Jun kiln on this basis, add a little copper, but I didn't expect it, it burned out a gradient of purple red, people commented that Jun kiln is "into the kiln one color, out of the kiln ten thousand colors".

Ru kiln is precious, a large part of the reason is because it is only for the court in the Northern Song Dynasty for the official kiln, before and after only about 20 years of firing, it uses precious agate as the glaze, the color is as wonderful as "the rain after the sky is clear and the clouds are broken", the Southern Song Dynasty has a document that said that Ru kiln was very rare at that time. Since the Song, Yuan, Ming and Qing dynasties, Ru porcelain has been deeply hidden in the imperial palace, regarded as a treasure, so the folk also have the saying that "even if there is a family property, it is not as good as a piece of Ru porcelain".

Blue and white landscape painting began in the middle and late Yuan Dynasty, when the underglaze blue and white technology was very mature, its main ornaments are pine, bamboo, plum and fish algae, flowers, cloud dragons, flying phoenixes, animals, birds and birds, etc., but there are also a small number of opera characters story maps. In the history of blue and white painting in the Ming Dynasty, "official style" occupies the dominant position. The "official model" is a wooden mold made by the court and a pattern drawn, which is handed over to the porcelain craftsman to make. Wanli folk kiln blue and white decorative patterns, landscape painting pursues artistic conception, deliberately reflects people's inner activities and emotional needs, the picture should not only be "good-looking", but also have "taste". During the Yuan, Ming and Qing dynasties, some exquisite blue and white porcelain paintings were obviously the product of the close combination of literati painters and porcelain kiln craftsmen.

Porcelain paintings use iron as a colorant, which is cyan when burned, and different colors will be formed with different iron content, red with copper as a colorant, and blue and white porcelain with cobalt as a colorant. In addition to the blue blue and white, there is also a red color, which is called glaze red. There is also a red and blue match, called blue and white glaze red.

Guangcai production began in the Kangxi period of the Qing Dynasty. At that time, Guangzhou craftsmen borrowed the "gold tire burning enamel" technique introduced from the West, and used imported materials to create "copper tire burning enamel", and later applied this method to the white porcelain tire to become the famous enamel color. At the beginning of the 19th century, Guangcai began to imitate the Chinese satin brocade pattern for porcelain decoration, and then used gold water to weave the ground, developed into "weaving gold land" and was widely used in various porcelain, forming the characteristics of modern Guangcai "weaving gold color porcelain".

Kangxi enamel color, mainly small objects, such as cups, bowls, plates, saucers, pots, etc., rarely have the existence of bottles, also known as "foreign color". Enamel color is a pure court glaze, the production process is to let Jingdezhen first burn the utensils, but not "decorate" first, send to the Qing palace office, let the court technicians paint and then fire.

Yongzheng pastel is characterized by elegant, clean, small and fresh, with soft and elegant tones, fine and neat proportions, and the porcelain body is often painted with some flowers and birds. On the basis of the original five colors, a new glaze color that combines Chinese and Western colors was invented - pastel, which has both Chinese pigments and Chinese techniques, as well as Western pigments and Western techniques, and is a mixed race.

Qianlong cloisonné enamel. Also known as "cloisonné".

Geng Baochang, a porcelain expert at the Palace Museum in Beijing, gives a lecture.

The official name of enamel colored porcelain should be "porcelain fetal painting enamel", a kind of porcelain decoration technique. It is a kind of decoration technique introduced from abroad, according to the documents and archives of the Qing Palace, it is a new porcelain variety created by the craftsman of the enamel of the office under the instruction of Emperor Kangxi, and the craftsman of the enamel of the office successfully transplanted the technique of painting enamel on the porcelain fetus. Enamel color flourished in Yongzheng and Qianlong, and it was a craft treasure monopolized by the court. The required white porcelain tire was specially made by the Jingdezhen Imperial Kiln Factory, and after being transported to Beijing, it was painted and fired in the Qing Palace. The required schema was drafted by the Ruyi Pavilion of the Manufacturing Office, approved by the emperor, and painted on the porcelain by the court painter. From the creation to the decline of enamel porcelain, it was confined to the court for the use of the royal family, and it was a royal item that "the common people got a glimpse".

Zhu Boqian was an expert in the official kilns of the Southern Song Dynasty, the Ge kilns of the Yuan Dynasty, and the Longquan kilns of the Song and Yuan dynasties.

During the period of the Republic of China, the five famous kilns of the Song Dynasty with high artistic value were the mainstream varieties of collection, rather than the Qing Dynasty porcelain with a strong gaudy atmosphere. Song porcelain is simple and plain, matte, not bright, but very beautiful, no bit of lace, no bit of fire, plain and calm, but it is difficult to imitate in later generations. First of all, it is ethereal, silent, quiet and deep. The second is that it is heavy, comfortable and elegant, natural and unrestrained. The power of overflowing beauty is not the power of physical strength, but the power of inner and rhyme. Looking at it, it will not be irritable, it will not be disturbed, it will make people angry, it will make people's hearts calm, calm down and slowly experience, and then, if you think about it, you will realize it, and you will gain something, and your body and mind will be healthy, and this is a beautiful thing.

Simple and elegant, elegant and handsome, the beauty is poetic. Personally, I think that minimalism is not easy. To do addition first, and then do subtraction, first do multiplication, and then do division, to be able to recognize, master the complex skills, minimalism is just to omit as much as possible to omit what can be omitted, leaving the true, simple, pure color, enough to be worthy of the red branches and birds, and even larger than the capacity of the gold inlaid jade, because it embodies the independent arrogance, the open and easy bosom, the expression of emptiness, emptiness, silence, quiet Zen, the mind to be at ease, all in the wordless, beyond all the beauty of the order, all in the porcelain. It seems that being a human being, the simpler, the more difficult, and the more advanced, but after experiencing and arriving, you will see a different world and achieve a different life.

We have memorized the five famous kiln porcelain identification formulas: Ge Ru Guan Jun tire color gray, official tire dense glaze sagging; Ru kiln thin tire and wrapped feet, Jun tire heavy and thick over Ru Guan; thin tire light kiln, bamboo brush mangkou tears.

Ru kiln, kiln site in Qingliang Temple, Baofeng County, Henan Province, how to distinguish Ru kiln, mainly look at the shape and listen to the sound, the formula is as follows: thin glaze thin color azure, glaze in the open piece buckle wood sound. The mouth is like a drum, and the gray tire is siliconized sesame nails.

Jun kiln, located in Yuzhou City, Henan Province, contains copper in the high-temperature glaze, Jun kiln often has red: the red spot blue glaze has a transition, and the earthworm walks the mud pattern. The crab carapace is fine, and the kaolin is hundreds of millions of years old.

The difference between the Tang and Song glazes in the Ding kiln is as follows: the Tang Dynasty is gray and the Song is yellow, and the teardrops are gray in the Song Dynasty. The Southern Song Dynasty was blunt and the Northern Tang Dynasty was light, and the black was colorless and dark spots were hidden.

For example, if you want to identify an unearthed artifact, the easiest way is to pour cold water on it, and then smell whether there is a cemetery smell, the longer it is buried, the stronger the earthy smell.

Invite the predecessors of the Shenyang Forbidden City and folk antique appraisal to take the stage to pass on the art.

This is a blue and white bowl, the outside is painted with entwined flowers, and the bowl is painted with Sanskrit for group flowers, and the inscription "Xuande Year of the Ming Dynasty". However, the bowl in front of me is a high imitation of Jingdezhen Xiaoyao, and it is a first-class imitation of the work, and the buyer and seller clearly mark the price. From the Heritage Shop. There is a great demand for antique porcelain in the market, with the reduction of inventory and the increase in the difficulty of collection, the cultural relics store will take out some inventory of porcelain, go to Jingdezhen to invite people to imitate, limit the production of dozens of pieces, all-round high imitation, and the products are often sold according to the price of new imitation.

High melamine is also divided into three, six, nine and so on. Imitation kiln owners are basically built at home to imitate, hire excellent kiln heads, pyrotechnics, painters, and the products are made of traditional firewood kilns - firewood kilns can certainly ensure that imitations "to taste", but because of its high cost, occupy too much space, and the firing procedures are complex, so that many small workshops are "prohibitive", and a kiln will consume 4 trucks of pine firewood, and the time is 22 hours. Generally speaking, such a top workshop only produces a dozen or even a few fine pieces a year, and all the failed works are destroyed. When these works enter the market, they often enter large-scale auctions and well-known galleries (both domestic and foreign), passing off as genuine works, and the price of a single piece often ranges from hundreds of thousands of yuan to millions of yuan, which greatly disrupts the market order.

High melamine does not need large-scale production, nor should it be made public, some skills are passed down from the previous generation, or even only to the son, not the daughter. Some of the workshop owners were technicians of some state-owned porcelain factories in Jingdezhen, and after the factory closed down, they went to the people, set up their own workshops or were hired by others, and introduced new technologies into high-imitation technology, reaching an unprecedented level. State-owned porcelain factories are also producing high-quality imitations, with the right to export, and high-quality imitations with exquisite workmanship are sold overseas, while medium and low-grade imitations are more flowing into the people. Once such imitations are mixed up in auctions, even the best ones tend to lose sight.

The layman simply does not know what is going on in the industry. Wang Lao has been engaged in porcelain collection for more than 20 years, and has been to Jingdezhen, Henan and other places of antique products, and has actually investigated the method of porcelain imitation, he believes that only by seeing how to make imitations can he identify fakes in principle.

These old people are all old people who have been in the antique world for decades, most of them are about the same age as Yuan Qiuhua's father, and some can even be her grandfather. Wang Lao's beard and hair are all white, wearing a simple green cloth gown, his hair and beard are like silver threads, one by one white and translucent, and clean and spotless, the whole person looks fairy, transcendent.

After class, the old people will also talk about old things. Yue Bin's collection of stone carvings, bronzes, and porcelain is very good, and many museums now can't compare with it. But in the end, Yue Bin was sentenced to death, died in prison, and his property was confiscated. Lu Qinzhai ran away, and he became a rich man for several generations. At that time, Chen Zhongfu's collections were also confiscated and taken away. Their usual things, now, take out one piece and sell it for tens of thousands of yuan, and there are hundreds of thousands or millions of good ones. Chen Zhongfu died of poverty and only lived to be 66 years old.

I see through this, but it doesn't really make much sense. Cultural relics, but also pay attention to character, why Qin Hui's calligraphy is good, but people do not collect? is because people are too evil, people do not want to collect.

When a piece of porcelain is sold for 100 million, we don't know if the art is crazy or the buyer is crazy.

A good life is not about money. Knowledge can be learned, but wisdom cannot be learned, only experienced. Art cannot be eaten, but it is the sunshine, air and water of life. If being a person is boring and boring, this is very beautiful. Once people are "bored", they will become rough, numb, superficial, and no longer cute. All day long, with sad faces, worried, sighing, and hateful faces, as if no one in this world owes you. If such a person lives, he will only add to the blockage of others.

These white-haired old men, with the demeanor of the fairy wind and bones, are simply too platinum stars descending to earth, and the more Yuan Qiuhua listens, the more he feels that the old men are cute. Life is leisurely and lazy, many things go with it, neither being an official nor making money, neither envy the official, nor envy the rich, since they are not red-eyed, they don't care, this is the older generation of literati. They are calm, upright, gentle, elegant, and a group of real scholars, full of economy, elegant and easy-going, and exude the breath of old literati. They are veterans, determined to inherit culture, solid-eyed, pure, genuinely like cultural relics, especially united, heroes cherish each other, and are a pure academic circle. The protection of cultural relics does not mean that everyone thinks that this matter is particularly important, it seems to be like a few people's spontaneous and voluntary things, obviously should not be regarded only as the so-called cultural persistence, or a simple emotional problem, like the older generation of "clear stream" tragic breakthrough, "face" is difficult to continue to the end, is it a flash in the pan, or "back to the light"?

Antique dealers never do anything that is not profitable. Short-sighted, lazy people can't afford to be driven by short-term interests in any precious materials and collections, even if these interests are only petty profits. That is not the posture that a successor should have, and it is still necessary to maintain sufficient prudence and restraint. Anyway, Yuan Qiuhua thinks it's really worth it, and thinks that the first thing is the common people, and for a common people, the times are not something you can control, so it doesn't matter to you how the times are, how you are. Just like a real reader, no matter which dynasty or generation, although the life is different, but in the face of national righteousness and cultural inheritance, the choice is always the same.

Culture is basically played, and antiques are toys in adulthood." Most players aim to "play" and have fun. In the early 90s of the last century, in the collecting circle, there were small auctions in the antique shop, and many of the customers were players, they were of various identities, most of them were not engaged in this industry, they just had a little more spare money and a little more interest in antiques than others. They can buy today and sell tomorrow, if they are happy, they will buy it, and if they are not happy, they will not sell, but if it is a favorite, 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. Pay attention to the word "peace of mind", and if you are uneasy, you will not have fun. In that information asymmetry, players are 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 in modern and modern times, supplemented by cultural relics from overseas before the Song Dynasty. However, important 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 the largest in the cultural relics of the Ming and Qing dynasties and modern calligraphy and painting, while the others are relatively small, but the proliferation of fakes and the lack of systematization.

Some antiques unearthed and scattered by the people will not be appreciated by experts in the system. To put it bluntly, some antiques and cultural relics are not legal, 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. Therefore, it does not have the conditions for 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. A real expert antique dealer is actually reluctant to sell antiques to people who don't understand or love antiques, and real antique dealers like to love antiques in their hearts, not entirely for money, and if they sell to them, they will be regarded as ruining their ancestors. Antique dealers either don't trade with these people, or they are only qualified to play with some fakes.

The antique industry is all-encompassing, a person cannot understand everything, arrogant and aggressive, and the only one who suffers is himself. Appraisers should have the opportunity to see the original antique, and carefully investigate and identify them, so as to grasp the characteristics of the authentic products. 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. Cultural relics have research value, but they do not necessarily have economic value. To engage in collection, the most important thing is not only money, but also a huge information network, and if you have more friends, you can know any good things, so sometimes, information is equal to money.

Yuan Qiuhua often visited various antique shops under the leadership of friends in the collecting circle, bought antiques, and sometimes even walked the streets and alleys under the leadership of insiders to find the precious antiques that were previously scattered in the homes of large households in the hutongs.

She is self-aware, knowing that the famous paintings and calligraphy of the Song and Yuan dynasties are not in the Forbidden City, that is, overseas, and the works of the Ming and Qing dynasties, even if they appear in the market occasionally, are either fakes or sky-high prices, which are far from being affordable by a working class. I often go to the calligraphy and painting shop to buy, modern, modern, local calligraphy and painting works, and mainly the works of small famous artists, with their own eyes to "Taobao" or "pick up leaks". 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 of Lingnan Painting, as well as their disciples, Zhao Shaoang and Yang Shanshen in Hong Kong, Li Xiongcai, Guan Shanyue, Pan Xingjian in Guangzhou, and 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 antique shops on Hollywood Road in Hong Kong twice a month, and participates in many small antique auctions, often reaping surprises. The biggest benefit is to get Pan Yuliang's paintings. Pan Yuliang was born as a geisha, and when she was exhibiting in Shanghai, someone deliberately made trouble and humiliated her. Her background is no secret, and perhaps that's why no one buys her work. The eldest lady of Pan Zanhua came, and Pan Yuliang, who had finished a day's teaching, returned home, and the eldest lady said to her, even if you are a professor now, you are still small at home, this is the family rule. In the end, in order not to embarrass her husband, Pan Yuliang had to give in to reality and kneel down to the eldest lady and kowtow to pour tea. The following year, 42-year-old Pan Yuliang took a cruise to Paris again, and this journey lasted for 40 years, until she died in Paris at the age of 82, and did not set foot on the homeland of China again. In the 80s, her paintings boarded cruise ships back to China, and after her death, these 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. The turnover of funds and goods in the industry was fast, and the price of many high-quality products at that time was far from reaching its proper position. 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 the domestic "Collection" magazine and "Art" magazine, but also asked relatives and friends to mail "World Art Market Weekly" and "Art and Fortune" magazines overseas. According to incomplete statistics, in the past 20 years, nearly 10 million pieces of cultural relics have been unearthed in China from Hong Kong, China, most of which were sold by tomb robbers and smugglers, and a few were committed by thieves and thieves in cultural and museum units. Some of these objects 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 transferred to the storage rooms of antique collectors through the antique market.

Most of these cultural relics are sold at extremely low prices, and some are even sold at a low valuation in piles, but after changing hands, whether they are resold by foreign antique dealers or auction houses, they can generally obtain dozens or even hundreds or thousands of times the profit. What's more, for auction houses, these lots can not only return to the true value of Chinese cultural relics, can make more money, but also cause fewer disputes, because most of the smuggled unearthed cultural relics have no archives to check by the Chinese government, and it is difficult to provide evidence to recover. Of course, in the end, most of the cultural relics will be bought back by the Chinese, and the objects will be returned to their original owners!

Ming and Qing dynasty porcelain is everywhere in Europe, and there are a lot of people who ask to send it to auction, if they all accept it, I am afraid it can be auctioned for decades. 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!

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.

The international commercial operation carried out around China's 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 cultural relics that are old and have a really high cultural content, and when the time is ripe, a new price benchmark will be erected to instigate this part of the cultural relicsThe return movement of "exporting to domestic sales" has continuously used the Chinese's own "things" to earn the Chinese's own money.