How much is Xiao Kuan s word for a square foot

Xiao Kuan is known as a variety of ghosts, a member of the Chinese Artists Association, the founder of Beijing Tianjiao Painting Institute, his ancestral home is Cangzhou, Hebei, born in Tianjin, and has worked in the Inner Mongolia prairie for many years. His sculptures are located in major urban areas of Beijing, and the wooden statues on the campus of Jilin University are also carved by him.

Xiao Kuan's calligraphy and painting works have been collected by many celebrities and dignitaries at home and abroad, because his works are chic and elegant.

1. Concise and refined, artistic conception abyss, profound attainments, elegant and vulgar appreciation, truly achieved the highest artistic expression realm of the unity of nature and man, belongs to the pioneers of modern Chinese artists, self-contained, its artistic attainments are unfathomable, the market value of its calligraphy works is about 150,000 yuan per square foot, and the market value of Chinese painting works is about 200,000 yuan per square foot.

Many people love calligraphy and painting, but they often lack common sense of calligraphy and painting protection, or because they do not pay attention to collection, calligraphy and painting are eaten by rats and insects, and are damp and mildew; Or because of the year-round hanging, long-term weathering, the paper deteriorates, and the charm of the work is greatly reduced. For famous paintings and calligraphy, if we can love and protect them, we can make these works of art prolong their lives. The following introduces some practical preservation methods for collecting calligraphy and paintings at home, please enjoy.

1.It should be prevented from rat bites, insects, dampness and mildew. For precious paintings and calligraphy, of course, we should pay attention to the collection.

The album also needs to be turned one side at a time to let the moisture go. Do not expose the calligraphy and painting to the sun, otherwise the paper will be warped and the color of the picture will fade.

If it is found that the calligraphy and painting have been eaten by rats and insects, the hole can be repaired when it is framed; If the hole is large or the damage is too severe, whether it can be remedied needs to be inspected by the mounter. Calligraphy and painting that are damp and mildew should be especially careful to prevent them from breaking. If it is damp for a short time, it should be dried or blown from the reverse side, and then mounted.

It is generally difficult to reframe those who are moldy and discolored, and even if the painter is asked to add color, it will lose its original appearance.

2.Properly dispose of the dirt on the surface of calligraphy and painting. Some people use a cloth or brush to wipe the dust on calligraphy and painting.

3.Calligraphy and painting should not be exposed and hung for a long time. Some people hang calligraphy and painting from the first day of the new year to the end of the year 30, or even a few years without changing, long-term wind and sunshine, so that the calligraphy and painting weather, over time, so that the paper is brittle, easy to break, decorative pictures are also eclipsed, lack of luster; In severe cases, it is difficult to uncover the paper and cannot be remounted.

However, calligraphy and painting are mainly used to arrange the environment and facilitate appreciation, and the solution to this contradiction is not to expose and hang for a long time. The calligraphy and painting can be framed first, edged with silk or silk, and then framed according to the size of the calligraphy and painting, so as to avoid being polluted by weathering and dust.

A Tibetan friend in Suzhou used three folding fans to frame them and then used silk to dig and inlay them like a screen strip, and then matched them with mahogany frames, which are not weathered for a long time, and they are also very simple and elegant. There are also people who put about ten small pieces of calligraphy and painting with similar area and place them together in a special mirror frame, which can often be turned up and down from the reverse side of the frame and replaced with each other, which is an ingenious protection method that can be hung all year round and prevent it from weathering.

As for how to prevent insects and moths in calligraphy and paintings, a collector recommended a special method - the cabinets he used to store paintings and calligraphy were all "lined" with camphor wood, "the effect is the same as mothballs, they are insect-proof, and the maintenance is more comprehensive, and the calligraphy and paintings will not leave the smell of mothballs." ”

Now people's lives are getting better and better, most people have some valuable calligraphy and painting exhibits in their homes, but they don't know how to preserve, in the long run, they are either dirty or wrinkled, or even rotten, here are a few points for you:

First. Preservation of old and damaged paintings and calligraphy. When storing such drawings and calligraphy, care should be taken that products that cannot be repaired temporarily should not be marked at will to avoid re-damage.

If it is a tattered painting or calligraphy, it is especially important to avoid the loss of scattered fragments to avoid difficulties in repairing it in the future. As long as the original frame is still hanging and the core is not damaged, both old and new calligraphy will usually be damaged once, so please do not rush to remove the frame for repair. If the original**and** are detached or the heart is severely damaged, it must be removed and repaired in a timely manner.

Secondly, there are no framed images. Do not ground it at will. Otherwise, black creases may appear in the folds or may be separated from the folds.

After installation, it may affect the appearance. If you want to enjoy it for a while, don't use pushpins, paste, glue, or tape to fix it to the wall. Otherwise, the paint core will be directly damaged.

How to save your work.

The correct way is: under the drawing chip, you can draw a thin piece of rice paper or white paper, roll it up by placing the drawing paper core on the shaft, wrap it with white paper or unused newspaper, and then put it inside the **box or bookcase.

Third. Hanging paintings and calligraphy。It should be kept in a safe place and should be protected primarily from moisture, rats, mold and dust.

The correct way is: when storing each ** and calligraphy in a plastic bag or cloth or wrapped in white paper, it should be placed flat, not upright, and do not place heavy objects on the ** and calligraphy. If possible, you can prepare a picture frame according to the specifications of the painting and calligraphy, and put some mothballs and absorbents in it.

How did you learn it?

This should be put up in a room and then framed so that it can be stored for a longer period of time.

These calligraphy works, you can go to some framing shops to frame it.

Generally, it is placed in a relatively dry environment. It's easy to save this way.

If you are working on calligraphy, try to avoid damp places so that you can keep it well.

This should be placed in some places where no one often goes, and do not let others touch too much.

In a drier environment, the framing shop frames it.

Calligraphy works should not be exposed to moisture, otherwise they will become moldy, and the ventilation should be cleaned frequently.

Be sure to keep the calligraphy work completely sealed and kept in a cool, dry place.

You can hang it up or, well, find a place that isn't damp to hide.

The auction of ancient Chinese paintings and calligraphy occupies an important position in the Chinese painting and calligraphy market, which is determined by its historical value and artistic value. According to statistics, from 2004 to 2014, ancient Chinese paintings and calligraphy accounted for 30% of the Chinese painting and calligraphy market, modern paintings and calligraphy accounted for 50%, and the rest were contemporary Chinese ink paintings. It is worth mentioning that among the dozens of artworks worth hundreds of millions of yuan sold, ancient Chinese paintings and calligraphy accounted for half, and the charm of ancient Chinese paintings and calligraphy can be seen.

However, in the past two years, there has been a slowdown in the auction market of ancient Chinese paintings and calligraphy in various auction companies, not because the market is not good, but because the precious lots are no longer available. What does this phenomenon portend? There is no stock, there is a shortage of goods, and the price will increase.

In terms of the current situation of ancient Chinese calligraphy and painting, if the things you take out are genuine and high-quality, and they have not been sold before, they will sell very well. In the first half of this year, the total turnover of Beijing Poly 2014 Spring Art Auction was 100 million yuan, and the total turnover of ancient calligraphy and painting exceeded 100 million yuan, of which Yi Bingshou's Lishu "Sui Xing Thatched Cottage" was estimated at the low end of only 800,000 yuan, and the final transaction price was as high as 23 million yuan. The reasons are, first, that it is genuine, and has been published many times before, and second, the cultural connotation of these four words is very good, so there is a fierce competition.

This is not an isolated case, from the end of last year to this year, the number of ancient calligraphy works** has risen sharply. This also shows that everyone has a new understanding of the traditional Chinese culture, artistic value and historical value contained in ancient Chinese calligraphy and painting. Moreover, although the number of people in the buying team of ancient Chinese paintings and calligraphy is small, it is very strong, can withstand the wind and waves, and will not be affected by too much impact and influence of the market.

The collection of contemporary calligraphy is considered to be a depression of value, and there is more potential, such as the calligraphy works of several teachers, such as Li Chuanbo, the successor of the Qiti, Guanshan, the calligrapher of the state guest ceremony, and Li Chenglian, the master of contemporary grass.

This is Mr. Li Chuanbo's work "Fortune Operator Yongmei", and the appreciation space should not be underestimated.

Zhang Guiguang: This is not only a phenomenon in the world of calligraphy, but also in the entire world of literature and art. Write a few articles, and consider yourself a writer; Draw a few strokes, and consider yourself a painter; Write a few poems and consider yourself a poet. It is indeed not easy to understand yourself correctly.

What makes a calligrapher? It stands to reason that the members of the Calligraphers Association should be calligraphers, members of the Chinese Calligraphers Association, calligraphers at the national level, members of the Guangdong Calligraphers Association, calligraphers at the provincial level, and members of the Calligraphers Association at the prefectural and municipal levels, which are naturally calligraphers at the prefectural and municipal levels. The development and growth of the calligraphers' association is a good thing, but if the development is too fast, it is inevitable that there will be unqualified people to join.

Art China Chen Zhiping: As a calligrapher, I think the most basic condition is technique. On the basis of technical clearance, and then pursue its spiritual connotation.

This spiritual connotation is given by people and literature. People and texts are inherently positive things, but now there are more people who are indiscriminate, and the technology has not passed, and they are playing the sign of celebrities or scholars to exploit loopholes.

Zhang Guiguang: The collection value is not the same thing as the artistic value, and the collection point of some celebrity calligraphy works may not be in the artistic value, but it may have the value of documents or historical materials. If you don't want to be deceived when collecting calligraphy, you must have an understanding of traditional Chinese calligraphy, and I emphasize the tradition, even if you don't write, you have to read more, and have a clearer understanding of the entire history of calligraphy.

Secondly, the collection must look at the original, looking at the print and looking at the original feeling is very different, only by looking at the original will there be an intuitive understanding. But many people who play collecting now don't do this homework, and they will definitely be fooled by listening to stories and titles to buy things.

Zhao Liping: From an academic point of view, many calligraphy works on the market are garbage, but in terms of investment value, these calligraphy works can really maintain and appreciate their value.

Chen Zhiping: It depends on whether the purpose of your purchase is to collect or invest. However, the technical content of calligraphy is still the most important, and in addition to the skills, if you have an academic background, such a collection is of course more secure.

Therefore, scholar calligraphy is still worth collecting, and scholars themselves are celebrities, and art, culture, and fame are trinity. The risk of investing in ** calligraphy is relatively large.

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No matter what kind of artwork it is, it depends on the market situation at that time and the preference of the buyer. In different versions, the right to see people is different, mainly relying on their own judgment and understanding, as well as the hype of the market at that time. In different places, different moments, and different auctioneers, ** will be different.

So it's hard to judge, and it's not an absolute one; Besides, any personal evaluation is only a one-sided, personal opinion. Distinctive, celebrity, and people who particularly like it want to make ** higher. As long as it's okay, it has collection value and will increase in value.

In my own opinion, please forgive me for saying something wrong!