Contemporary collections may start from the local
Zhao Liping: Teacher Xie, your collection is so rich. Have you continued to buy things in recent years?
Xie Zhifeng: I have been buying things all the time, but in recent years, the collections are mostly ceramics and miscellaneous items. Among them, jade is the most bought, mainly jade, but the ancient jade can not be bought casually, the channel must be clear.
After the death of the two teachers, they lost their eyes and I have made several moves. But fortunately, my credibility in this line is good. Many things I can look at can not be paid first. I will go home and find someone to study together. I feel that I have to pay for the right way.
Especially in my collection of Buddha statues, the means of fraud is too high, and many can't see through. And because I collect the series, if the one that I just lacked in the series, such as the Northern Wei Buddha image I didn't have, appeared on the market, it was easy to get hot, and I accidentally looked away. The last time a Northern Wei Buddha image I took home and studied it carefully, I found traces of machine carving. This time I was the biggest "tuition fee" I had ever paid.
Therefore, collectors who have not paid tuition fees are not real collectors. It is okay to pay tuition fees and to share with friends. But I am sure that I will not let the counterfeit products flow into the market again, and that what I donate to the country is also true.
Zhao Liping: It’s very difficult to play with the water. It’s not easy to play the top level. What suggestions can the two teachers share with us in so many years of experience?
Xie Zhifeng: Jade carvings, stone carvings, the teacher taught me all the way - look at its shape, look at the texture, look at the craft. If these three levels are over, things should be fine. Therefore, my collection of jade began with the study of the tools of jade carving in each era. I studied the shape of jade articles in various dynasties, and the difference in jade quality in various places. It is very important to look at the craftsmanship in detail. The characteristic of jade is that it is from the process. Differentiated.
The highest level of calligraphy and painting collection is the hand scroll collection. The hand-rolled works of famous masters of the past are not many, and the hand scrolls have always been masterpieces of famous masters of all ages, and the most difficult to collect. In addition, there are several other series of paintings and calligraphy in my collection: albums, hanging scrolls, fan faces, couplets, regional masters and female painters. I also have several large series of ceramic collections, from the Tang and Song Dynasties to the late kiln.
So the series collection I emphasize 6 words: handsome, big, full, true, fine, new. "Shuai" means that there must be a heavyweight collection in the series to play the role of commander; "big" means that there must be works of great masters in the collection; "all" is like the series of Duan that I gave to Zhaoqing, from the Tang Dynasty. The works of famous contemporary artists are all in one piece; there is no need to say "real, fine", and there is a "new" word, which means that the collection must pay attention to the appearance, and it is not interesting to collect some tattered things.
Yan Genming: I think that now involved in the collection, you can start with the works of local famous artists. The risk of such collection is not too high. When your vision is improved, you can start to work on the famous artists. However, the final collection of the collection must be the "big name" thing, "big name" represents the highest level of Chinese art. Now some people buy Qi Baishi and Zhang Daqian's works as soon as they start, and it is easy to be fooled into the whole family.
Xie Zhifeng: The collection must be able to withstand poverty. If you buy one, sell one, it is like a monkey picking corn, picking one off, and looking back to see anything can't be kept. But it is also necessary to abandon the rough and accumulate and accumulate. And the collection can't just listen to the story, and behind these stories is often fake. Collections must choose works that are well-ordered, and such works are reliable.
Treasure hunt
National level cultural relics
Pinned in a private room
Zhao Liping: You are also an old expert in the cultural and cultural circles of Guangdong. How did you enter the circle of Wenbo?
Yan Genming: I started to contact cultural relics in 1973. At that time, I just broke through the old four, and there were not many cultural relics. The first contact began with wooden watermarks, pictures, and paper-cutting. At that time, I was still working in Xinhua Bookstore. During the annual trade fair, I had to transfer some people from Xinhua Bookstore to sell art, but mainly those who were “hair selectionâ€, printed paintings of the Forbidden City, etc. There is no.
It was not until 1975 that some art appeared in the community. At that time, Guangzhou was China's foreign window, and some artists in the north brought their works to Guangzhou to sell. I remember very clearly that in 1978, Liu Bingsen and Qi Baishi's daughter Qi Liangzhu went to Guangzhou to sell paintings. Liu Bingsen’s painting was two yuan at the time. Su Gengchun of the Guangdong Provincial Museum took the people of Ji Yazhai and the cultural relics shop to see the painting and bought one or twenty. At that time, our monthly salary was 40 yuan, and the paintings of two dollars were not affordable for the average person.
Later, I went to work in the ancient bookstore. At that time, the ancient bookstore also had a foreign guest room. Because the cultural relics were not sold in accordance with the regulations, foreign exchange coupons must be made for export. At that time, it was a cultural relic that was exported overseas and sold for one hundred thousand yuan a year.
At that time, Ren Bonian and Shi Lu’s paintings were the most expensive. I sold a large painting of Shilu, 10,000 yuan. At that time, I felt that I had sold a good price. Now I think it’s actually a foreigner’s big bargain. It is Shilu's painting. It was shot in Hong Kong around 1990 and sold more than 1 million Hong Kong dollars. If the painting is now back in the rivers and lakes, at least it can be tens of millions of yuan. I still remember the boss of Hong Kong Hutchison Electric Group. I also bought three Shilu paintings from my hand, which is also 10,000 yuan.
Zhao Liping: I heard that several pieces of national treasures in the Guangdong Provincial Museum were collected by you. What channel did the collection of calligraphy and paintings mainly through?
Qi Genming: The main channel for collecting paintings before is to go to the folks to find, please ask the local cultural relics store, ancient bookstore to help recommend. I have been running the market for so many years, and I have bought the most things in the ancient bookstore.
I remember that in 1980, several of us went to Xi'an to find the work of Zuo Ren. At that time, a pair of couplets in the right was one or two hundred dollars. We bought a lot, and at the local painter's house, we found a large-scale boutique and bought it for 300 yuan. Later, we ran to Kaifeng again. This was the biggest harvest of my life. The two paintings and paintings collected at that time were now hidden in the Guangdong Provincial Museum. They were all designated as national first-class cultural relics. One of them was Bian Wenjin. "Snow Plum Double Crane Map". When I saw this painting in a person's house at the time, the first feeling was that the painting was very good, old enough, and gave 400 yuan to take the painting from their wall. In the afternoon, someone took us to another person's home. As a result, I bought Dai Jin's "Hehe Erxian" and spent 200 yuan.
However, Ji Yazhai also has regulations that practitioners cannot buy art on their own, so I have never had a collection until I retired and started to buy something.
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