揭秘！名人字画回收为何比古瓷难？内行戳破行业真相

　　Unveil! Why is it harder to recycle celebrity calligraphy and paintings than ancient porcelain? Insiders uncover the truth of the industry

　　在古玩回收市场，一直有个奇怪的现象：古瓷器哪怕品相一般，也能找到买家、达成，而名人字画哪怕是疑似真迹，也常常无人问津。作为深耕字画收藏多年的内行，我见过太多人拿着名人字画（甚是一眼假的低仿品）寻求回收，却屡屡碰壁。今天就从行业底层逻辑，唠透名人字画回收比古瓷难的核心原因，拆解这背后的行业乱象与关键痛点。

　　In the antique recycling market, there has always been a strange phenomenon: even if the appearance of ancient porcelain is average, buyers can still be found and transactions can be reached, while celebrity calligraphy and paintings, even if they are suspected to be genuine, often go unnoticed. As an expert in collecting calligraphy and paintings for many years, I have seen too many people seeking to recycle celebrity calligraphy and paintings (even fake low imitation ones at a glance), but repeatedly encountering obstacles. Today, starting from the underlying logic of the industry, we will talk about the core reasons why it is more difficult to recycle celebrity calligraphy and paintings than ancient porcelain, and break down the industry chaos and key pain points behind this.

　　核心的差距，在于鉴定门槛与懂行人群的体量。古瓷器代代传承、代代烧制，存世量相对庞大，流通范围广，慢慢形成了庞大的认知群体——在古玩爱好者中，有一半人能认得古瓷、辨别基础真伪。哪怕是零基础的新手，只要热爱钻研、长期摸索，哪怕是文盲也能慢慢摸清古瓷的鉴定门道，古瓷的入门门槛相对较低，这就为回收流通奠定了基础。

　　The core gap lies in the threshold for identification and the size of the knowledgeable population. Ancient porcelain has been passed down and fired from generation to generation, with a relatively large amount of existence and a wide circulation range, gradually forming a huge cognitive group - among antique enthusiasts, half of them can recognize ancient porcelain and distinguish basic authenticity. Even beginners with zero foundation, as long as they love to study and explore for a long time, even illiterate people can gradually understand the identification of ancient porcelain. The entry threshold for ancient porcelain is relatively low, which lays the foundation for recycling and circulation.

　　但名人字画的鉴定，远比古瓷复杂得多。字画鉴定不仅需要知识，更需要“感觉”，这种感觉是长期浸润行业、反复接触真迹才能练就的，多少要有点文化积淀，哪怕再热爱、再钻研，没有天赋和积累也很难入门。据我观察，古玩界真正懂字画鉴定的人，连百分之五都不到，在我们十堰市，古玩商里真正懂字画鉴定的，目前就我一个人。

　　But the identification of celebrity calligraphy and painting is much more complex than ancient porcelain. Calligraphy and painting appraisal not only requires professional knowledge, but also "feelings". This feeling can only be cultivated through long-term immersion in the industry and repeated exposure to authentic works. It requires some cultural accumulation, and even if one loves and researches, it is difficult to get started without talent and accumulation. From my observation, there are less than 5% of people in the antique world who truly understand calligraphy and painting appraisal. In our city of Shiyan, I am currently the only one among antique dealers who truly understand calligraphy and painting appraisal.

　　懂行人群稀缺，直接导致名人字画回收陷入“恶性循环”。懂字画的人要么忙着捡漏、开画廊，要么转型做自媒体当网红，本身数量就少；而且这些内行买字画，除非有大漏可捡，否则绝不会轻易出手。而不懂的人，哪怕有人告知字画是真迹，也因为缺乏鉴别能力不敢相信，甚会被假画误导，彻底沦为“永远不懂”的群体，终没人敢接手回收。

　　The scarcity of knowledgeable individuals directly leads to a vicious cycle of celebrity calligraphy and painting recycling. People who understand calligraphy and painting are either busy picking up leaks, opening galleries, or transforming into self media and becoming internet celebrities, and their numbers are already small; And these experts who buy calligraphy and painting will never easily sell unless there is a big loophole to pick up. And those who don't understand, even if someone tells them that the calligraphy and painting are authentic, cannot believe it due to a lack of discernment ability, and may even be misled by fake paintings, completely becoming a group of "never understand", and ultimately no one dares to take over the recycling.

　　更棘手的是，鉴定缺乏统一标准，真迹也难获认可。古瓷器即便不被拍卖行、承认，民间庞大的懂行群体也能达成共识，好歹有流通的空间；而名人字画不管是真迹还是假画，都容易被拍卖行、一竿子打死，统统不认。这就导致很多名人真迹沦为“疑似假货”，哪怕是真的，也没人敢接手回收，反而让假画钻了空子。

　　What's even more tricky is that there is a lack of unified standards for identification, and authentic works are also difficult to be recognized. Even if ancient porcelain is not recognized by auction houses or experts, the vast community of knowledgeable people can still reach a consensus, at least there is room for trading and circulation; Celebrity calligraphy and paintings, whether genuine or fake, are easily rejected by auction houses and experts. This has led to many celebrity genuine works becoming "suspected counterfeit", and even if they are real, no one dares to take over the recycling, instead allowing fake paintings to take advantage of loopholes.

　　假画泛滥进一步挤压了真迹的回收空间。很多商家利用普通人的贪便宜心、捡漏心和虚荣心，专门售卖低仿名人字画，这些假画低廉，反而比真迹好卖。而老百姓即便手里有大师真迹，也因为拍卖行不收、不认、民间内行不愿承认，难以找到靠谱的回收渠道，久而久之，真迹字画的回收市场越来越窄。

　　The proliferation of fake paintings further squeezes the recycling space for authentic works. Many businesses take advantage of ordinary people's greed for cheap prices, picky hearts, and vanity to specialize in selling low imitation celebrity calligraphy and paintings. These fake paintings are cheap and actually sell better than genuine ones. Even if ordinary people have genuine masterpieces in their hands, it is difficult to find reliable recycling channels because auction houses do not accept them, experts do not recognize them, and private experts are unwilling to recognize them. Over time, the recycling market for authentic calligraphy and painting has become increasingly narrow.

　　字画内行之间的不团结，更是雪上加霜。和古瓷内行相比，字画商群体本身就极其小众，还普遍存在“文人相轻”的心态，互相不承认、互相拆台、各自为政，都抱着私心闷声发财。这种保守封闭的氛围，让真迹字画哪怕得到少数人认可，也难以在行业内流通，回收自然难上加难。而古瓷内行相对开放包容，即便有分歧，也因为懂行人群多，不影响整体流通。

　　The lack of unity among experts in calligraphy and painting exacerbates the situation. Compared to experts in ancient porcelain, the group of calligraphy and painting merchants themselves is extremely niche, and there is a common mentality of "mutual disdain among literati". They do not recognize each other, undermine each other, and act independently, all pursuing their own interests and quietly seeking wealth. This conservative and closed atmosphere makes it difficult for authentic calligraphy and painting, even if recognized by a few people, to circulate within the industry, making recycling even more challenging. However, experts in ancient porcelain are relatively open and inclusive, and even if there are differences, it does not affect the overall circulation due to the large number of knowledgeable people.

　　这也是我深耕字画收藏却暂时没赚到钱，而古瓷器收藏能达成大额的核心原因。古瓷有庞大的懂行群体和基础，哪怕有争议也能流通；而名人字画回收，既要跨越鉴定门槛，还要应对行业乱象和内行内耗，真迹难获认可、假画泛滥成灾，终导致回收难度远超古瓷。

　　This is also the core reason why I have been deeply involved in calligraphy and painting collection but have not yet made any money, while ancient porcelain collection can achieve large transactions. Ancient porcelain has a large group of knowledgeable professionals and a trading foundation, even if there is controversy, it can still circulate; The recycling of celebrity calligraphy and paintings not only requires crossing the threshold of appraisal, but also dealing with industry chaos and internal friction. Authentic works are difficult to recognize, and fake paintings are rampant, ultimately leading to a much greater difficulty in recycling than ancient porcelain.

　　总结来说，名人字画回收比古瓷难，是鉴定门槛高、懂行人群少、行业不团结、真迹难认可、假画泛滥多重因素叠加的结果。对想出手名人字画的人来说，找对靠谱的内行、摸清行业规则关重要；而对整个行业而言，唯有打破封闭、减少内耗、搭建规范的鉴定与流通渠道，才能让名人真迹走出“回收难”的困境。

　　In summary, it is more difficult to recycle celebrity calligraphy and paintings than ancient porcelain, due to the combination of multiple factors such as high identification thresholds, fewer knowledgeable individuals, industry disunity, difficulty in recognizing genuine works, and rampant counterfeit paintings. For those who want to sell celebrity calligraphy and painting, it is crucial to find a reliable expert and understand the industry rules; For the entire industry, only by breaking the closure, reducing internal friction, and establishing standardized channels for identification and circulation can celebrity genuine works overcome the dilemma of "difficult recycling".