1、 The level of calligraphy

老一輩藝術(shù)家張仃曾呼吁"守住畫(huà)的底線(xiàn)",這個(gè)底線(xiàn)就是書(shū)法。書(shū)法表如今國(guó)畫(huà)中，一是書(shū)法用筆，二是題跋書(shū)寫(xiě)的藝術(shù)美。畫(huà)考究書(shū)法用筆，"以書(shū)入畫(huà)"是古代畫(huà)家不斷在理論和追求的。"骨法用筆"指的就是書(shū)法用筆。蘇東坡、倪瓚、徐渭、黃賓虹等都是以書(shū)入畫(huà)的高手。書(shū)法是一門(mén)需求常年累月練習(xí)的藝術(shù)，寫(xiě)書(shū)者要心平氣和才行。如今好多畫(huà)家不注重書(shū)法的練習(xí)，也不注重筆墨，招致畫(huà)面沒(méi)有筆墨的氣韻，以連款都不敢落，提筆露怯，這樣的作品或藝術(shù)家就不算是潛力股。同樣的作品，題跋較長(zhǎng)者比窮款者價(jià)值要高一些。

Zhang Ding, an artist of the older generation, once called for "keeping the bottom line of Chinese painting", which is calligraphy. Calligraphy table in Chinese painting today, one is the calligraphy pen, the other is the artistic beauty of inscription and postscript writing. Traditional Chinese painting is exquisite in calligraphy, "calligraphy into painting" is the constant theory and pursuit of ancient painters. "Bone technique pen" refers to the calligraphy pen. Su Dongpo, Ni Zan, Xu Wei and Huang Binhong are all masters of painting with books. Calligraphy is an art that requires years of practice. The writer should be calm. Nowadays, many painters do not pay attention to calligraphy practice or pen and ink, which leads to the lack of charm of pen and ink in the picture, so that they dare not even drop the money and show their timidity in raising the pen. Such works or artists are not considered potential stocks. For the same works, those with longer inscriptions and postscripts are more valuable than those with poor money.

二、有沒(méi)有學(xué)術(shù)支撐

2、 Is there academic support

言之無(wú)文，行而不遠(yuǎn)。書(shū)畫(huà)家的學(xué)術(shù)程度會(huì)影響他創(chuàng)作的深度和可持續(xù)度。理論指導(dǎo)理論，這也是古人要讀萬(wàn)卷書(shū)的一個(gè)緣由。經(jīng)過(guò)閱讀、創(chuàng)作與交流，久而構(gòu)成本人的一套理論體系，或是對(duì)藝術(shù)的共同視角，這對(duì)藝術(shù)家的生長(zhǎng)有重要的意義。這種學(xué)問(wèn)還包括文學(xué)、史學(xué)、音樂(lè)、舞蹈、中醫(yī)、太極等等，從傳統(tǒng)文化中吸取營(yíng)養(yǎng)，豐厚和深化創(chuàng)作內(nèi)涵，作品才有風(fēng)格。

Words without words are not far away. The academic level of a calligrapher and painter will affect the depth and sustainability of his creation. Theory guides theory, which is also a reason why the ancients wanted to read thousands of books. Through reading, creation and communication, I have formed a set of theoretical system for a long time, or a common perspective on art, which is of great significance to the growth of artists. This knowledge also includes literature, history, music, dance, traditional Chinese medicine, Tai Chi, etc. only by absorbing nutrition from traditional culture and enriching and deepening creative connotation can the works have style.

三、影響力和知名度

3、 Influence and visibility

名家與非名家，是權(quán)衡藝術(shù)價(jià)值和投資價(jià)值的重要界線(xiàn)。在某種水平上，藝術(shù)品投資就是投資名家的作品。這里名家也分大名家和小名家。一些影響力和知名度特別大的書(shū)畫(huà)家作品，固然收益比擬高，但投資本錢(qián)也高。對(duì)一個(gè)普通畫(huà)家來(lái)說(shuō)，要進(jìn)步知名度是一件很艱難的事情，他需求畫(huà)廊、經(jīng)紀(jì)人、拍賣(mài)公司、媒體等諸多方面的努力才干有一些效果。假如畫(huà)家已有了一定的知名度，那么他的市場(chǎng)就會(huì)隨之升溫，珍藏者也就更關(guān)注。

Celebrities and non celebrities are important boundaries to weigh the artistic value and investment value. To some extent, art investment is to invest in the works of famous artists. Famous people here are also divided into big and small famous people. Although the income of some calligraphers and painters with great influence and popularity is relatively high, the investment cost is also high. It is very difficult for an ordinary painter to improve his popularity. He needs the efforts of galleries, brokers, auction companies, media and other aspects to have some results. If a painter has a certain popularity, his market will heat up and collectors will pay more attention.

四、作品自身的藝術(shù)程度

4、 The artistic level of the work itself

作品自身的藝術(shù)程度，才是權(quán)衡其價(jià)值的主要要素。這觸及到書(shū)畫(huà)的三境地：景物境地、筆墨境地和人文境地。一幅作品自身對(duì)山川自然"象其物宜"的描畫(huà)，就是景物的境地。能夠看到它的技法、風(fēng)光之美、章法規(guī)劃之妙。假如在景物的根底上，還有"筆精墨妙"的筆墨境地那就更好。的山水畫(huà)以筆取氣得其陽(yáng)剛之美，以墨取暈得其陰柔之美。筆墨的精妙可氣韻，氣韻生動(dòng)乃畫(huà)之高境。書(shū)畫(huà)作品的人文境地能夠表現(xiàn)在題材、畫(huà)旨、畫(huà)趣、詩(shī)詞題跋等方面。

The artistic level of the work itself is the main factor to weigh its value. This touches on the three situations of calligraphy and painting: scenery, pen and ink and humanities. A work's own description of the nature of mountains and rivers is the situation of the scenery. We can see its techniques, the beauty of scenery and the beauty of composition and planning. It would be better if there were a pen and ink situation of "fine pen and wonderful ink" on the basis of the scenery. Chinese landscape painting obtains its masculine beauty by drawing Qi with pen and its feminine beauty by drawing dizziness with ink. The subtlety of pen and ink can produce charm. The vivid charm is the high realm of painting. The humanistic situation of calligraphy and painting works can be reflected in subject matter, painting purpose, painting interest, poetry and postscript and so on.

五、市場(chǎng)鋪墊和表現(xiàn)

5、 Market foreshadowing and performance

藝術(shù)作品一旦進(jìn)入市場(chǎng)，就是一種商品，需求市場(chǎng)的運(yùn)作來(lái)助其順利轉(zhuǎn)換效果益。有的畫(huà)家一門(mén)心機(jī)放在創(chuàng)作上，不屑于俗事，作品沒(méi)人知曉，自然也就沒(méi)有市場(chǎng)。有些畫(huà)家常做一些展覽，拜托畫(huà)廊停止各種宣傳，拍賣(mài)會(huì)也頻頻亮相，隨著知名度的擴(kuò)展，市場(chǎng)也在擴(kuò)展。市場(chǎng)的表現(xiàn)還表現(xiàn)在其價(jià)錢(qián)的穩(wěn)定性。假如市場(chǎng)長(zhǎng)時(shí)間地處于一個(gè)穩(wěn)健有漲的狀態(tài)，就闡明投資它是穩(wěn)妥的。

Once a work of art enters the market, it is a commodity, and the operation of the market is needed to help it transform smoothly. Some painters put their mind on creation and disdain worldly affairs. No one knows their works, so naturally there is no market. Some artists often do some exhibitions and ask the gallery to stop all kinds of publicity. Auctions also appear frequently. With the expansion of popularity, the market is also expanding. The performance of the market is also reflected in its price stability. If the market is in a steady and rising state for a long time, it is safe to invest in it.