台灣藝術品市場的發展與實務──以羲之堂營運為例

The Development and Business Operation of the Art Market in Taiwan--Using the Management of Xi Zhi Tang as an Example

陳筱君(Chen, Hsiao Chun)

指導教授 ： 黃光男

國立臺灣師範大學/藝術學院/美術學系在職進修碩士班/碩士(2007年)

摘要

台灣的藝術商業機制始於60年代，畫廊在整個藝術生態中扮演著橋樑的角色，一方面是藝術家與收藏家的中介者，另一方面是美術教育的先鋒，尤其是在台灣進入「美術館時代」 之前更是如此。

藝術的興衰與經濟的消長是一體的兩面，80年代台灣經濟起飛，商業畫廊如雨後春筍般相繼成立，至90年代更達到顛峰，尤其兩大國際拍賣公司蘇富比與佳士得的進駐，帶動了台灣藝術產業成倍數的成長，國際化的潮流沸沸揚揚，台灣的美術一時之間似乎能見度大增。這個階段不論拍賣公司或畫廊的業績一直很耀眼，堪稱藝術產業的「黃金時代」，台灣的藝術產業可說睥睨亞洲。

然而蘇富比及佳士得千禧年後選擇撤出台灣市場，有其全球策略運用與營運成本上的考量，尤其是在台灣經濟實力退卻之後，實已撐不起國際性的拍賣市場。短短不到十年的時間，驚濤拍岸見證了台灣的藝術市場歷經了發展成形期、鼎盛期、衰退重整期，至今業者等待藝術品市場回春的心情是殷切的。

台灣有優秀的藝術家，也有實力雄厚的收藏家，藝術產業本不該如此沉寂。檢視這一段歷程，不難看出台灣藝術品市場之所以衰退的真正原因，是台灣藝術生態環境經不起投機客的摧殘，從根底腐壞。盼望藉由書寫釐清包括藝術家、畫廊、拍賣公司、收藏家、媒體、博物（美術）館…等藝術生態中，發揮各自的角色功能，回歸於本然的運作軌道，建構一個有願景的、健康的環境。

台灣藝術市場受整個亞洲市場盤勢的影響，已無法自外於這波銳不可擋的潮流趨勢。藝術市場的榮枯，除了第一、第二市場的健全分工外，國內外新興的藝術品交易平台－藝術博覽會也是重要的一環。藝術產業經營者應提昇專業知能，才能爭取參與具有公信力的藝術交易平台，創造出更穩固的商機及形塑公司的形象。

本論文藉由回顧台灣藝術品市場的發展軌跡及檢討得失、探討大陸藝術品市場的現況，及羲之堂經營策略的轉型等等，與人分享，共同尋思各種的可能。事實上，藝術產業的經營雖有其職業上的倫理，卻無單一模式可供遵循，因各自的條件、理念迥異，業者需要以新的視角加以洞察，才有永續發展的前景。

此外，羲之堂最珍貴的有形無形的資產就是籌辦策展【張大千的世界】、【李可染藝術世紀大展】、【齊白石大展】、【傅抱石百年大展】四個中國近現代名家書畫大展，並出版學術性的圖錄專書，不但建立羲之堂在台灣書畫界的口碑，更達到推廣美育彰顯社會核心價值，值得將籌劃的經驗傳遞給後來者。

藝術產業占各國GDP的比重越來越大時，政府無不傾全力將此列為重要文化政策加以推展，中國大陸、韓國、新加坡、印度等，政策性扶植的用心往往令人驚嘆。台灣的藝術產業看不到有效的政策，全由民間自生自滅，一時無法擺脫弱勢文化的宿命，此時，業者更應借鑑他山之石團結一致，對內參與建言，給政府壓力，對外「跨出去」開創直接參與區域藝術市場的管道，讓台灣優秀的藝術家能在藝術舞台發光發熱。

關鍵字

畫廊 ； 中華民國畫廊協會 ； 拍賣公司 ； 藝術社會學 ； 美術館時代

並列摘要

The commercial mechanism of art in Taiwan started in the 1960’s. The galleries have played the role of a bridge in the art chain. On the one hand, they play the role of the agents between artists and art collectors; on the other hand, they play the role of forerunners of fine art education. This was particularly true before Taiwan entered the era of fine art museums.
The rise and fall of the art market is mostly determined by the economy. As the economy in Taiwan took off in the 1980’s, the commercial galleries grew rapidly. The number of galleries reached its peak in the 1990’s, resulting in obtaining the favor of the two major international auction companies, Sotheby’s and Christie’s. After the two companies started their auction services in Taiwan, the growth of the art industry in the island has multiplied. Because of the tide of internationalization, it seems that the fine arts of Taiwan has clearly increased it visibility. During this stage, the business performances of both auction companies and galleries have been marvelous. That was the “golden era” of the art industry in Taiwan, and the performances far exceeded other Asian countries.
However, Sotheby’s and Christie’s decided to withdraw their branches from Taiwan after 2000. They might have their economic reasons, as they took the use of global strategies and the cost of management into considerations. It was more obvious that Taiwan could no longer manage international auction markets after its economic power declined. The art market of the island has been through the periods of developing, flourishing, declining and rebuilding in less than 10 years. The industry nowadays is eagerly looking forward to the revival of the art market.
There are excellent artists and wealthy art collectors in Taiwan. The art industry should not be so quiet. If you take a look at the art market in Taiwan, you will find that the real cause of the decline of the market was that the art environment could not bear the destruction the speculators brought, which corrupted the market from the bottom of roots. The author would like to clarify the relationships among artists, galleries, auction companies, art collectors, media, museums, and fine art museums in the art chain through this paper. Hopefully, each role can develop its function and go back to be on the right track, so a prospective and health art environment can be constructed.
The art market in Taiwan, greatly influenced by the entire Asian markets, could not isolate itself from the unstoppable trend. The healthy division of labor of the first and second market, as well as the international art fairs determines the rise and fall of the art market. The art industry runners should strengthen their professional capability, so they may have chances to participate in credible art trade centers and create more stable business opportunities and improve the images of the companies.
In this paper, through looking back the development of art market in Taiwan and examining the gains and losses of the market, the author would like to observe the current art market in China, share the transformation of management strategies of the Xi Zhi Tang Gallery, as well as provide possible alternatives. In fact, there are business morals in the management of the art industry. But there is no single pattern that can be followed, for every company has its own circumstances and different concepts. If the industry runners have fresh insights into the problems, the art market will have a bright future.
The most valuable assets the Xi Zhi Tang Gallery has had are the experiences of organizing four major ink exhibitions by great modern Chinese artists including “Zhang Daqian’s World,” “Li Keran’s Art Exhibition,” “Qi Baishi’s Exhibition” and “Fu Baoshi’s One Century Exhibition.” Along with the exhibitions, the Xi Zhi Tang Gallery also published educational and professional catalogs and books of fine arts. The company not only establishes its brand name in the calligraphy and painting circle of Taiwan, but also promotes fine art education and demonstrates the core of social values. The experiences are worth passing on to successors in the future.
While the art industry is given more emphasis in the GDP of many countries, great efforts have been made in supporting the industry with important cultural policies. The countries such as China, Korea, Singapore and India have presented and implemented impressive policies to assist their art industries. However, no successful policies come into sight in the art industry in Taiwan. It seems that the industry grows and dies without any outside interference and it is hard to escape the fate of cultural minority. At this moment, the industry runners should unite together and learn from the successful experiences of other countries. Domestically, they should present constructive suggestions and put pressure on the government. Internationally, they should step out and launch channels to directly participate in regional art market so that outstanding Taiwanese artists may have opportunities to shine on the art stage.

並列關鍵字

gallery ； Art Galleries Association R.O.C. ； auction market ； the sociology of art ； the era of fine art museums

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