Thangka's collectors heat rises quietly

The just-started "potential stocks"

In recent years, with the rise of the people's collection fever, ethnic minority art collections such as Thangka, batik, Miao embroidery, silver ornaments and masks have emerged quietly. In general, compared to the mainstream categories of traditional art collections such as paintings and calligraphy, and contemporary art collections, the minority groups’ attention groups are still niche. Currently, they are still “potential shares” in the collection market. The market size and capacity are similar to those of the A few years ago the Chinese calligraphy and painting market.

According to collectors’ experts, ethnic art works are not the same as handicrafts, and only a few masterpieces and well-preserved works can be regarded as works of art. Although the number of fine works is small, the market price of most minority art works is not as high as that of traditional paintings and contemporary art. The entry price is mostly between thousands and ten thousand yuan, and the very excellent collection price is also in the range of 100,000 to several. Between 100,000 yuan, only rare treasures will reach more than one million yuan. In recent years, the prices of ethnic minorities such as Thangka, silverware and armor have begun to show an upward trend.

Collections Starting with the introduction of contemporary boutiques, the collection of ethnic art has begun to heat up. How can collectors get started? Xiao Xiaoguang, professor and graduate tutor of the Department of Cultural Heritage at the Central Academy of Fine Arts, briefed the reporter on several features that collectors must pay attention to.

Observing a work of ethnic minorities depends first on the age. In general, ethnic art works of similar size and craftsmanship have higher values ​​over time. However, for collectors lacking the ability to break generation, one can consider starting from the fine arts of contemporary ethnic minorities, the price is not too high, also has the value of collection.

Secondly, looking at the author, we usually think that the production of ethnic minority artworks is generally related to the accumulation of experience. This is not exactly the case. Batik, silverware, etc. are indeed technologists. With the increase of experience, the quality of production has become more refined. While other handicrafts such as Thangka and Miaoxiu have drawn a lot of eyesight and energy during the drawing process, the golden age of craftsmen Between the ages of 20 and 45. The subject of a Thangka may be drawn by apprentices, but most of the most laborable places such as eyes, nails, fingerprints, and decorations and instruments on the figures are drawn by the masters and require attention.

Then look at the material. If the quality of the material is not good, the colors, textures, etc. will easily fall. Therefore, it is also necessary to pay attention to whether the material is uniform, smooth, soft and hard, thin and thick, and there are no cracks or fading.

Finally, it is seen that most of the art of ethnic minorities have been part of traditional ethnic craftsmanship since ancient times. Ethnic villages, tribes, and religious factions are also major components of ethnic minority artists. If the authentic Tangka is drawn by the lama, the distribution channels are relatively single and generally arranged by the monastery. The collection of Tangka directly from the monastery is relatively high. The national arts such as batik and Miao embroidery must see whether they are ancestral craftsmanship. Generally, the core skills of this craft are handed down from generation to generation. The real boutique is placed next to ordinary crafts and stands out immediately.