A-A+

苏富比亚州区主席仇国仕:中国艺术市场即将被价值重估

2018年03月30日 收藏与鉴赏 暂无评论 阅读 231 views 次
Share

蘇富比亚洲区主席仇国仕:中国艺术市场即将被价值重估!

2018年3月中旬,蘇富比宣布委任仇国仕为亚洲区主席。艺狐君第一时间便专访了仇先生,仇先生将把其顶尖的专业知识、深厚的客户人脉,以及精辟的市场洞见注入新岗位,推动蘇富比在亚洲的策略。仇国仕作为如此之多顶级拍品的重要推手,屡创世界拍卖纪录。艺狐君特约仇先生结合现在的市场状态,介绍了蘇富比中国艺术品部2018年做出了哪些新布局和调整,同时,香港苏富比2018年春季拍卖会将于明日(3月30日)在香港会议展览中心举槌,敬请关注。

受访者✎仇国仕
记者✎ 吴遥

艺狐君:您好,仇先生,香港蘇富比2017年中国艺术品拍卖年度总成交额近20亿港元,连续八年引领亚洲拍卖市场,作为中国艺术品部的领军人物请您谈谈感受?

仇国仕:纵观整个市场在近几年展现出了强劲的势头,这样的趋势也延续到了拍卖市场,这将吸引一些中国艺术珍品的出现。珍品稀缺度,以及跨领域收藏藏家的增长,将拍品的价格推向了前所未有的高度。这个现象不仅仅出现在中国艺术珍品领域,也出现在了中国和西方的绘画作品中。同时,中低端市场持续稳定,各个地区的藏家数量也稳步增长。我和我的团队很荣幸能够引领这个地区的市场,我会把这归功于我们对中国艺术的热情和对它的深刻理解,对于细节的极致追求,以及为藏家专门定制的服务,帮助他们来照看他们的珍贵藏品。

艺狐君:您是如何征集到这两件顶级的拍品的?能和我们特别分享下征集的故事吗?相信许多的藏家们都对此十分感兴趣。

仇国仕:康熙珐琅彩碗以及宣德年间的御制佛经,都是举世无双的重器,我熟知这些藏品与他们的拥有他们的藏家多年,御制佛经是1917年在京都被发现,这个碗可以追寻到中国艺术珍品藏家Bluett与其后代著录的书中,他们是中国当时最著名的艺术珍品商人,两件艺术珍品都经历丰富,这只珐琅彩碗有记录的最近期是被东京艺术博物馆和日本的私人收藏家收藏。而近十年间,这套御制佛经被瑞士的一家人收藏。这两个珍品征集的过程中,确保珍品安全的与藏家协商探讨都是旷日持久的,和同类型的其他珍品的征集过程中都有相似的历程。
艺狐君:之前采访程寿康先生时,他曾提到您有亲自操刀一些重要器物的拍摄,能否给我们重点介绍下在香港蘇富比2018春拍中您亲自拍摄的重器?以及您拍摄时的创作灵感通常来源于哪里?

仇国仕:我对影像拍摄和摄影创作都很感兴趣。这主要源自于我四年前推出的中国艺术奇珍主题拍卖,同时我也把控了为这些珍品拍摄所的影像大部分艺术美学氛围与方向。这些实例提供了大量没有时间、空间或价格的限制的素材,从7000万年前到现在,从北极地区到古罗马,从中国唐代到墨西哥的奥尔梅克文明。大多数我选择的珍宝包括,比如古老的雕塑碎片,抽象的自然物体,古老的绘画和古代的仪式用品,这些素材都给我留下了大量的想象空间。这些珍宝自身或者彼此间的联系提供了开放式的叙述角度,制作电影短片能够为藏家提供一些我对这些珍品的解读。我使用了一台60年代老式的Beaulieu相机拍摄黑白电影。虽然实际拍摄时是非常随意的,但我最喜欢的是在我返回洛杉矶以后回看录像片段,慢慢拼贴成整个故事。希望这些影像短片能为观众提供一些关于这些艺术珍品的想象空间。

此视频致谢蘇富比官方

艺狐君:结合现在的市场状态,请您介绍下蘇富比中国艺术品部2018年做出了哪些新布局和调整?原因是什么?

仇国仕:一方面,我们必须继续向市场提供它所需要的官窑瓷器,艺术品,居用宋瓷、古代铜器和玉器等各个领域的拍品以吸引收藏家和投资者依然是我们业务的核心。另一方面,我需要继续发展藏家对于那些暂时还没有评定甄别标准的艺术珍品领域的兴趣,这些玄妙充满奥义又抽象的珍品物件时,审视他们就像审视那些自然形成的木与岩一样。这些领域一直是宋明时期的艺术家,学者和帝王所广泛喜爱,然而这些领域却从20世纪开始就一直被忽视。我们能为客户提供新的,令人兴奋的审美体验,对市场来说同样重要。

艺狐君:最后一个问题,由于前几年世家旧藏和精品的过渡挖掘,可能致使近些年都很难遇到同级别重器,持有珍稀藏品的藏家更加惜售,您是如何看待市场上“资源枯竭”这个问题的?

仇国仕:资源短缺的确是事实,但市场上有很多领域值得我们做重新评估。有些器物需要更多的研习,每个人都在竞逐愈1亿港元粉彩花瓶,但同期的一些石英花瓶却被广大艺术珍品爱好者和藏家忽视。要知道在250年前,制作石英器物耗费的成本是制作瓷器的50倍之多。中国艺术整个市场领域的价值重估,正是这个市场下一步要做的。

艺狐君:Hi Nicolas, Sotheby’s Hong Kong 2017 Chinese Works of Art achieved an Annual Total close to 2 billion Hong Kong Dollars, leading the Asian Auction Market for the 8thconsecutive year. As the principle figure of the industry, can you share your thoughts on the matter?

NC:There is definitely a strong momentum in the market at this moment and this is draining to auction some great masterworks of Chinese art. The increasing scarcity of great material, as well as the rise of cross-category trophy collectors, has been driving prices at the top end of the market like never before. This is a phenomenon that is true not only in the field of Chinese works of art but also in paintings whether Chinese or western. Meanwhile, the lower and middle markets continue to be stable and catering to a steadily growing collector base in the region. My team and I have been privileged to be leading the market in the region and I would ascribe this to our passion for Chinese art, our deep understanding of it and our obsessive attention to detail and tailored service when it comes to looking after our clients’ property. From the catalogue description, to the paper used for printing, to the exhibition display, we pride ourselves with paying attention to the slightest details, which are customized depending on the property.

艺狐君:How did you manage to secure the Falangcai Bowl and the Sutra Set for this sale? Can you share the story of the process of acquisition?

NC:The falangcai bowl and the Xuande sutras are both exceptionally fine and important objects and I have known these pieces and their owners for many years. The Sutra was first discovered in Kyoto in 1917, while the bowl can be traced back to 1930 in the books of the Bluett and sons, the most prominent Chinese art dealer of the day. Both pieces have led rich lives thereafter and the bowl was most recently in the Idemitsu Museum of Art in Tokyo and in a private collection, while the sutras have spent the last decade in a Swiss home. In both cases, the negotiation to secure the pieces were protracted and difficult as is often the case at this rarefied level.

此视频致谢蘇富比官方

艺狐君:During our previous interviews with Kevin, he mentioned that you personally oversaw and even shot the video footage and marketing collateral of highlight lots, can you talk about some of the lots which you’ve personally shot for the season and your source of inspiration?

NC:I have always been interested in photography and film. It is mainly in the context of the Curiosity sales that I launched four years ago that I also take over most of the artistic direction. These are sales that offer a wide range of material with no boundaries of time, space or price. There are objects from 70 million years ago to the present day, from the extreme arctic to ancient Rome, Tang dynasty China and Olmec Mexico. Most of the pieces that I select for the sale leave a lot of room to the imagination – ancient fragmentary sculpture, abstract objects from nature, old master drawings, ancient ritual objects.

These objects themselves or by virtue of their association with others offer an open-ended narrative and making a short movie is a way of offering clues as to how they could be read. I use an old 1960s Beaulieu camera and I shoot on black and white film. The actual filming is rather random but what I enjoy the most is looking at the footage when it returns processed from Los Angeles and slowly piecing a story together during the editing. Hopefully these little films offer the viewer a window on the imaginary life of these objects.

艺狐君:In view of the current status of the market, can you please share the strategies and directions of the CWOA department addressing these market changes?

NC:One the one hand, we have to continue to offer the market what it wants –imperial porcelain and works of art, secular furniture, Song ceramics, ancient bronzes and jades -, all areas that remain core to our business and which attract collectors and investors alike. On the other, I am absolutely intent on continuing to develop the interest of collectors in other areas that are less easily benchmarked and therefore attract less market attention – scholarly objects and abstract objects from nature like viewing rocks and roots. These are areas that were highly favoured by artists, scholars and emperors in the Song and Ming dynasties and have been totally neglected by the market throughout the second part of the 20th and until recently. It is as important to provide new and exciting aesthetic experiences for our clients, as it is to bring masterpieces to the market.

艺狐君:Finally, what are your views on the “depletion of resources” on the market due to the “over excavation” and “exhaustion” of high valued pieces from illustrious collections and dealers in the past few years?

NC:There is a certain scarcity of material but the truth is that there are many areas that are worth reassessing in the market. Objects that for decades were taken for granted are worth studying more closely. Everyone chases the same famille-rose vase to HK$100 million, while no one is actually looking at the contemporaneous quartz vase, when 250 years ago the quartz may have cost 50 times more than the porcelain to produce. There are entire fields in Chinese art that merit reassessing and this is where the market will be going next.

香港蘇富比2018春季拍卖会
重点拍品赏析

人间异珍:奇.趣
重点拍品

多宝格集珍搜奇,从七千万年前的白垩纪到现在,涵盖不同文化与宗教,见证各地文明如何盛极一时,却难逃泯灭之虞。由白令海峡出发体验奥克维克文明,途至古埃及新王国,折返墨西哥经历奥尔梅克文化,终抵达鎌仓时代的日本。期间所览,尤以二珍最为注目,一为中国唐代菩萨立像,一为文艺复兴犀角龙雕,两者相距虽有八个世纪、四千余里,却均为其时代文化典范。石灰石雕观世音菩萨像,曲身而立,端庄柔美,尽显盛唐造像雅致,诚艺术市场罕见逸品。至于十六世纪末犀角雕飞龙,制于布拉格,应为皇室或名藏典蓄而造,独特无双,仅西班牙马德里普拉多博物馆藏水晶飞龙瓶,形与此近,为其神秘身世留下一丝线索。

唐 石灰石雕莲花座菩萨立像
尺寸:63.5 cm
估价:8,000,000 - 12,000,000港元佛慧昭明-宣德御製大般若经

明宣德 御制《大般若波罗蜜多经》十卷 磁青纸本泥金
每页高40.5公分
预料成交价逾9,000万港元
佛经为记载佛语和佛陀教法的经典,由印度传入中原并被释译。抄经弘法,如同铸造佛像,被视为功表诚心,感德无量。由此,御制佛经用料讲究,匠艺卓越。宣德年间,宣宗诏命圣僧慧进对写金字,主持抄写四大部经,其中当有御制《大般若波罗蜜多经》,现幸存十卷,羊脑笺本泥金,字体澄净秀逸如浮云,品相尤佳,除台北故宫博物院藏宣德御制《大宝积经》与《大涅盘经》外,近例无寻,诚明朝重宝,艺坛仅见。

清康熙 粉红地珐琅彩开光花卉盌 细节图

来源:
K.K. Chow,上海,1930/31年
Bluett & Sons,伦敦,1931年
Martin Erdmann 收藏,购于1931年
伦敦佳士得1937年11月17日,编号73(其一)
Bluett & Sons,伦敦
亨利奈特(1971年卒)收藏,荷兰海牙,购于1938年
香港蘇富比1986年5月20日,编号123
东京出光美术馆收藏

东京出光美术馆收藏

展览:
《Oosterse Schatten: 4000 Jaar Aziatische Kunst》,荷兰国家博物馆,阿姆斯特丹,1954年,编号368,图版23
《馆藏品による皇帝を魅了したうつわ一中国景德镇窑の名宝》,出光美术馆,东京,2003年
出版:
Daisy Lion-Goldschmidt,《Les Poteries et Porcelaines Chinoises》,巴黎,1978年(1957年),图版XXV D
《香港蘇富比二十週年》,香港,1993年,图版215

清康熙 粉红地珐琅彩开光花卉盌

中国艺术珍品
重点拍品

Lot 3605 北宋 钧窑紫斑盌
尺寸:直径9 cm
估价:12,000,000~16,000,000 港元
来源:Alfred Schoenlicht 收藏,荷兰奈凯尔克(标签)
伦敦苏富比2006年11月8日,编号55
展览: 《China Without Dragons: Rare Pieces from Oriental Ceramic Society Members》,东方陶瓷学会,伦敦,2016年,编号72
宋代钧瓷,历来倍受推崇。由窑变带来的色彩“千变万化”更为历代收藏者所追求的极致。此件天蓝添艳紫,浓烈馥鬱,斑驳陆离,青红张弛,赏心悦目,色泽流光溢彩,纹理参差披拂,诚逸群出众。钧瓷有此品级者,皆得抽象画作之隽永神韵。

Share

Comments

comments

标签:

给我留言