艺术的价值 - 质量（Quality）

苏富比（Sotheby's）的专家是如何定义质量的？是他们凭直觉评估或是通过公式计算出来的？艺术品的类别不同，鉴定的方式自然也不同，有些要看工艺，而另一些则是要看技术创新，也有些要看是否经得起时间考验。

苏富比拍卖行的伊恩·凯莱赫（Ian Kelleher）认为，以上提到的三点极可能都是评估质量的关键。

他举例，法拉利在1929年生产的引擎，仅从外观上看就是一个壮观的演示，一辆漂亮的阿尔法罗密欧二三到九，这些车是在20年代中期制造的，在出厂后经历长达15年的赛事，你不会认为这是一辆跑车，你看到的是一辆大约180马力，并每小时可超过一百英里的汽车，这种质量是可以持续一生的，而且这些车也很少会被转手。

其他的专家也提出了他们的看法：

质量是艺术品的内在优点。

质量有时只是艺术家的技巧。

质量是作品中的技术创新。

你能仔细看看吗？它经得起推敲吗？

这是特别的艺术品，独一无二的艺术品，无法复制的艺术品。

质量可能是非常简单的东西，可能是一条线，可能只是人物背部的绘制方式，也可能是油画表面厚涂的纹理。

真正超越时代的作品，也许是因为那永不过时的美丽。

做风水就必须要用最好的质量，这一点是云大师从创办云龙子旺财馆以来，就坚守的原则之一。

苏富比纽约印象派和现代艺术部联席主管朱利安.道斯（Julian Dawes）说，收藏家和专家都见过很多名作，当他们看到不同的艺术品时，我的意思是很特别的艺术品，那就是艺术品的价值真正起飞的时候，但我认为对于我们，可能对于收藏家来说，质量是直觉的感受，也许是最主观的一项评估条件。

就算面对如此主观的评估条件，我想，把云大师的风水艺术摆在眼前，你也不会质疑风水艺术的质量，那金灿灿的视觉效果、那荧光闪闪的绚丽色彩，不管白天或黑夜，云大师的风水艺术都予人富贵高雅的喜庆感，这种让人一看就很「昂贵」的质量既视感，并不是一种假象，而是云大师用上好原料堆砌起来的，且真材实料的富贵高雅。

从东巴纸、真金白银、中国颜料大师仇庆年的产品、柬埔寨王室送的藤黄、罗兰百悦香槟到特制丝绸等等，哪一样不是品质保证？哪一样不是最高质量级别？你的心里已有明确的答案。

云大师说，做风水就必须要用最好的质量，这一点是云大师从创办云龙子旺财馆以来，就坚守的原则之一。

~~ Gibson

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Prosperity with Elegance, Lotus on Water.

艺术的价值 - 媒介（Medium）

苏富比（Sotheby's）印象派和现代艺术专家西蒙·斯托克（Simon Stock）说，当他们评价一件艺术品时，他们必须了解它的制作媒介。

苏富比也坦承，他们的专家在估价前都会先查看艺术品的媒介，虽然材料往往存在不成文的层次结构，比如以油画的画布到雕塑用的大理石为主导，但一些艺术家的想法却可能会更好的以其他方式展示出来，比如在纸上的粉彩作画。

专家们也认为，越来越多的艺术家使用创造性和创新的媒体来作画，而媒介是一个不断变化的因素，世界上不同的地方在不同的时间使用不同的媒介，你可以在画布上绘画，你可以在不同的金属上绘画，你可以石头上绘画，你几乎可以在任材料上绘画。

苏富比欧洲版画主管杰西卡·马克斯（Yessica Marks）举例，在版画制作中，常见的主要技术是平版印刷、丝网印刷、凹版印刷，每种印刷技术都会产生完全不同的效果，因此这实际上取决于艺术家想要实现的效果，例如马克·夏加尔（Marc Chagall）因为流畅的笔触而使用平版印刷（lithography）。

云大师的风水艺术在作画媒介的选择上，是即多元又颠覆传统艺术的。

某些艺术家的想法实际上在其他媒体上转化得更好，所以尚·米榭·巴斯奇亞（Jean-Michel Basquiat）在纸上和在画布上的作品都一样出色，你会在他的作品的价格中看到这一点。

苏富比纽约印象派和现代艺术部联席主管朱利安.道斯（Julian Dawes）说，草图与纸上作品有某种联系，你认为这是为油画构思，对于一些艺术家来说这是真的，但对于很多艺术家来说，事实并非如此，埃德加·德加（Edgar Degas）是一个完美的例子，尤其是在纸上使用粉彩和木炭作画时，这是德加的作品鹤立鸡群般存在的原因。

他说，德加在纸上用粉彩呈献出来的动态比用油彩表现得更好，因此这往往更有价值，而人们也意识到这就是德加的强项。

当我看到这一集的内容时，我觉得专家们举出的例子，如果都换上云大师的风水艺术，也完全没有违和感。

云大师的风水艺术在作画媒介的选择上，是即多元又颠覆传统艺术的，因为不管是在千年不朽的东巴纸上，或是法国高定设计师艾力克（Eric Raisina）特制的丝绸上作画，云大师层叠上的香槟泼彩、有机颜料、真金白银、丙烯颜料等等，仿如一场艺术大汇演，热热闹闹的把欢庆气息展现出来。

就像德加速描般的作品因独特的存在而比油画值钱，云大师的风水艺术也符合这个价值条件，甚至是有过而无不及。

不难理解为何媒介会成为艺术估价的焦点，因为通过媒介的创造性，艺术家会带来什么惊喜？而这一份惊喜又是否经得起时间考验？而且这考验又不仅是物理上，也包括形而上学的。

云大师的风水艺术因采用丰富的媒介而创造了多维度的艺术，不同角度、不同时间、不同地方、不同的人，都会看到不一样的画面，这也是风水艺术最迷人的地方。

~~ Gibson

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富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

艺术的价值 - 主题（Subject Matter）

苏富比（Sotheby's）当代艺术晚间拍卖纽约区主管迈克尔·麦考利（Michael Macaulay）说，当代艺术的伟大之处在于它的挑战能力，而收藏家又愿意「拥抱」艺术家发起的「挑战」，而每当我与生活中不喜欢当代艺术的人交谈时，他们真正在说的是，他们只是不喜欢有关当代艺术的主题。

当我听到这一番话时，我其实不太了解当代艺术的范畴，但迈克尔·麦考利指的挑战，我愿意理解为作品内容与时代的对话，可以是叙述、话语、嘲讽，甚至是抗议，而收藏家又乐意为这些「立场」买单。

相比起这个说法，苏富比中国艺术部副主席龙美仙举出的例子，更适合我们要谈的重点，他说，中国人喜欢桃子，因为桃子寓意着长寿，或者某种带有很多种子的水果，这寓意着多子多孙。

苏富比中国艺术品部国际主管仇国仕说，没有什么能胜过龙的设计，它是皇帝的象征，权力的象征，一看就是高大上的即视感。

云大师的风水艺术核心精神是欢庆主义

视频中其实提出了很多西方艺术的例子，我就不一一举例，但这些西方艺术几乎都有一个共同点，就是有很强烈的批判性，这就是我理解迈克尔·麦考利所指的「挑战」，相比起视频中提到的中华艺术例子，华人社会的艺术观似乎比较响往美好，甚至对美好生活的憧憬。

云大师在与上荷门生讨论《中国通史》时，就有提到一个民族的叙述（Narrative）方式，会影响整个民族的思维方式，比如在远古的洪水事件中，中国的叙述是非常励志的《大禹治水》，相对西方的叙述方向则多是认为这是上天的惩罚。

因此在处理问题上，西方习惯性先找「罪人」，而东方社会，尤其是中国则会著重于探讨解决方案，而这种对比，也在艺术中若隐若现的展现出来，西方人的批判与东方人响往美好，形成强烈的对比。

云大师的风水艺术主题不仅是响往美好，也为你人生中的一切美好而欢庆。

云大师的风水艺术的主题又是什么呢？很多人会马上回答「风水」。

说是风水也没错，只是我个人觉得以「欢庆」来作为风水艺术的主题更为贴切，为什么这么说？我先前已多次介绍，云大师的风水艺术核心精神是欢庆主义，因为人生中所有美好的事情都值得欢庆，所以风水艺术流露的气息都是令人期待的、令人振奋的、令人感到欢愉的。

因此，云大师的风水艺术主题不仅是响往美好，也为你人生中的一切美好而欢庆。

~~ Gibson

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富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

艺术的价值 - 时尚（Fashion）

当代艺术专家梅雷迪思·柯克（Meredith Kirk）举例，安迪·沃霍尔（Andy Warhol）于1963年创作的一幅伟大画作，就像香奈儿（Chanel）套装，它永远不会过时。

苏富比（Sotheby's）的专家说，有些作品超越了他们的时代；有些很快失宠，也有些作品则需要一代人的时间才能获得赞赏。每个人都试图押注接下来会是谁崭露头角，但你怎么知道呢？

不久前，运动类的动态型图片非常受欢迎，就像狗的图片、马的图片、狩猎的图片，但现在退热了，这类型图片不太受欢迎了，但是马术艺术家乔治·斯塔布斯（George Stubbs）的马画则另当别论，如今仍然抢手，因为斯塔布斯是伟大的艺术家。

时尚对苏富比的专家们来说很重要，所以他们非常仔细地跟进时尚，因为艺术市场有潮流和时尚的一席之地，也有经得起岁月考验及不朽的作品市场。

当我们一聊到时尚，很多人会先入为主的认为，时尚就是跟打扮有关，又或者是哗众取宠的代名词，但其实艺术的时尚，依据我些年在采访工作上接触到的认知，如果以潮流来诠释「时尚」这个词，会更容易让人家理解，但因为潮流并不是时尚的全部，所以这一集要分开两个部分来说。

云大师的风水艺术是引领著当今风水艺术的潮流，并不是自赞自夸，而是一个事实。

第一部分是时尚中的潮流，意思是风向比较多变的趋势，比如这个时代流行超现实主义，那属于这个画风的作品就会有比较好的价格，因为跟风的人多嘛，有市场自然有价值，所以这种时尚是我们比较容易理解的。

第二部分的时尚是艺术家或艺术作品是时尚的本源，就像香奈儿的经典套装，从1950年设计以来，一直是香奈儿的经典，永远不会过时，而这一点也正是云大师的风水艺术特质。

在一片黑白的书画中，你会因为缤纷多彩的风水艺术而眼前一亮，就像我先前提过的，云大师的风水艺术具有非常高的辩识度，那独树一帜的呈献方式，让人一看就会想起云大师，而且因为风水艺术的「耐人寻味」，所以经得起长时间的细品，又经常会从风水艺术中发现惊喜，所以也不会过时。

因此，我说，云大师的风水艺术是引领著当今风水艺术的潮流，并不是自赞自夸，而是一个事实。

~~ Gibson

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富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

The Value of Art - Size

In this episode, experts from Sotheby's are unanimous in their view: size matters, but not necessarily in the way one might think.
 
In some categories, smaller items may fetch a higher price. For example, in Chinese art auctions, some of the most expensive pieces can fit in your hand. Conversely, for post-war paintings, larger works might be more desirable.
 
Frances Christie of Sotheby's in London references British artist Alan Davie, who, after being introduced to painter Jackson Pollock by art dealer Peggy Guggenheim, reportedly learnt from Pollock the confidence to create large-scale works.
 
Decades later, collectors discovered a massive piece by Davie, which sold at Sotheby's for a record price, showcasing that size indeed plays a pivotal role.
 
Experts suggest that people yearn for individuality; they wouldn't randomly purchase five pieces just to fill their walls.
 

Master Yun's fengshui art spans a range of sizes. For instance, a colossal painting seen behind Master Yun would be ideal for a grand mansion's main hall.

Some experts assert that when an item is exceptionally large, it symbolises a “total force”. Such a piece represents the culmination of an artist's oeuvre, where they aim to create a masterpiece encapsulating intricate details.
 
Speaking of size, Master Yun's fengshui artworks offer an extensive array of choices. I've seen fengshui paintings as large as a wall and smaller fengshui calligraphies. While I've never inquired about the rationale behind the varied sizes, I suspect it aligns with the specific layouts of clients' homes.
 
Before mounting fengshui paintings, it's imperative to consider the direction and the room's layout. As every room differs, the desired size also varies. Hence, even within the same fengshui art series, one might encounter different sizes. As long as you find a piece fengshui art that suits you, locating the appropriate size to display at home becomes easy.
 
Master Yun's attention to detail, even on aspects as nuanced as size, is evident. Such meticulousness in details is indeed rare.
 
I believe, from modest homes to luxurious mansions, or from small rooms to expansive halls, one can surely find a fengshui artwork of the right size. This is beyond doubt.
 
~~ Gibson (Translated)
 
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富贵华丽，云龙子旺财馆。
Prosperity with Elegance, Lotus on Water.
 
 

The Value of Art - Historical Importance

Experts from Sotheby's comment that every piece of art, jewellery, and bottle of wine serves as a time capsule, preserving clues from the time they were created.
 
A painting by Picasso from the early 1940s evokes wartime Paris. The older the vintage of a Burgundy wine, the further back in history it allows us to "taste".
 
Connor Kriegel, the head of wine auctions sales in New York, says that wine isn't just an item; it's alive. What people seek when they open a bottle of wine is the experience of tasting the past, sometimes going back several hundred years.
 
Experts also point out that the historical significance of a piece originates from the very day it was created.
 
"You can scrutinise a work of art comprehensively and imagine the undeniable historical importance it holds."
 
While watching this video segment, I felt that the importance of history isn't merely about an artwork's ability to "preserve" it. Picasso's wartime pieces, for instance, capture the subtle traces of that era, embodying what experts term as a “time capsule”.
 
Similarly, a news photograph captures a fleeting historical moment, immortalising an event of significant historical importance.
 
However, I believe there's another dimension of historical importance that hasn’t been explicitly addressed: the idea that the artwork itself is a source of history creation.
 

Master Yun was the first artist to host an exhibition on the Great Wall of China, and this act in itself is a creation of history.

 

Take, for instance, Master Yun’s fengshui art. Many might be unaware that Master Yun, in preparation for a fengshui art exhibition, would deliberately create a brand-new series, or even a new style of painting. As a result, when exhibited, you can deeply sense a subtle resonance between the Fengshui art and the venue – like The Flying Dragon Up at Heaven and Greetings to Heaven and Enrichment of Earth series displayed on the Great Wall. It seems like a conversation between art and ancient monuments, speaking a shared language.
 
While this may not be termed as “historical importance” on its own, the real significance lies in pioneering efforts.
 
Master Yun is the first and, to date, the only artist to host an exhibition on the Great Wall of China. This act alone is a creation of history, and its significance is self-evident. Adding to this the fact that Master Yun specially crafted pieces for the exhibition venue enriches its historical importance, resonating with the idea proposed by experts – that artworks preserve the essence of their creation.
 
Thus, years from now, when you tell someone that you possess a fengshui art piece that was displayed on the Great Wall of China, it would undeniably sound impressive because the artwork itself is the source of history creation.
 
~~ Gibson (Translated)
 
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富贵华丽，云龙子旺财馆。
Prosperity with Elegance, Lotus on Water.
 

The Value of Art - Provenance

Provenance is broadly translated as the origin of a work of art. However, I feel "the journey of the artwork" might be a more fitting interpretation of the term.
 
Experts at Sotheby's mention that if a piece of rare porcelain belonged to Emperor Qianlong, or a flawless diamond once adorned the neck of a duchess, or a Rothko piece was admired by Rockefeller, these artworks, or others with an intriguing history, are filled with an allure that transcends their intrinsic value.
 
Frank Everett, a jewellery expert at Sotheby's, points out the compelling stories behind these items. Who wore it? When did she wear it? How did she wear it? How many times was it worn? We spend our lives searching for such fascinating tales.
 
Provenance is not just about the creator's story, but also what the artwork has experienced. Sometimes, a piece of art that has been collected by a celebrity or notable figure can be even more captivating than its original creator. For instance, the rare porcelain from Emperor Qianlong, made even more mysterious with the endorsement of a national ruler.
 
A fascinating example in the video is that Rothko painted an island owned by Rockefeller and had the painting prominently displayed in Rockefeller's office. While its estimated price was around 40 million dollars, it ultimately fetched a staggering 72 million dollars.
 

Master Yun was the first artist to host an exhibition on the Great Wall of China.

 
I often tell my friends that Master Yun is a responsible artist. Not just because he allowed me to host Art Beyond Museums, but because Master Yun has always been generous in investing to enhance the provenance of his artworks.
 
How so? Master Yun exhibited fengshui art to the Great Wall exhibition and, through Art Beyond Museums, showcased it in important, legendary, representative, and exclusive locations worldwide. As a result, Master Yun's fengshui paintings were showcased at the oldest film studio in England, the Ealing Studios, and in Penang, it was displayed on the tallest building, Guangda. Additionally, it was shot at the foothills of the Himalayas in Laos.
 
These are all splendid instances of provenance, fantastic experiences.
 
Of course, the Provenance criteria mentioned by the experts above all apply to Master Yun's fengshui art.
 
For example, in terms of celebrity collectors, the King of Cambodia is one of the collectors of Master Yun's fenghui art.
 

Art Beyond Museums was filmed in many countries, including in Laos.

 

Regarding the journey of the artwork, as I mentioned before, it has been to the Great Wall of China, the ancient landmarks in Europe, and has been exhibited in over 100 locations, a number that continues to grow.
 
When it comes to the stories behind the artwork, the materials used by Master Yun for his paintings have many legendary tales. The creative process is also fascinating, such as the splashing of champagne.
 
Truly, sometimes I feel that the journey of Master Yun's fengshui art is much more exciting than my own life. How could such magnificent fengshui art not be captivating?
 
~~ Gibson (Translated)
 
到你旺了 Your turn to prosper: http://bit.ly/lotusjadeite
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或，直接PM我们。
Or, PM us directly.
 
富贵华丽，云龙子旺财馆。
Prosperity with Elegance, Lotus on Water.

艺术的价值 - 尺寸（Size）

苏富比（Sotheby's）的专家在这一集都一致认为：尺寸绝对很重要。但不是你想的那样。

在某些类别中，小型物品可能更值钱，举例在中国的艺术品拍卖中，最昂贵的作品尺寸却是可以放在你的手掌里，但像战后画作这样的类别中，较大尺寸的作品可能就越受欢迎。

伦敦苏富比拍卖行的弗朗西斯·克里斯蒂（Frances Christie ）引用英国艺术家艾伦·戴维（Alan Davie）的例子，他被艺术品经销商佩吉·古根海姆（Peggy Guggenheim）介绍给画家杰克逊·波洛克（Jackson Pollock）后，据说戴维从波洛克那里学会了自信的完成巨大画作

几十年后，收藏家发现戴维的一件规模巨大的作品，在苏富比拍卖行以创纪录的价格售出时，这显示尺寸确实很重要。

专家说，人们确实想要个性化的东西，他们不会随便买五件东西来填满他们的墙壁。

云大师创作的风水艺术有各种尺寸的作品，比如云大师身后的这一幅巨幅大画，真适合放在豪宅大厅。

也有专家说，当某样东西异常大时，这意味着它是总动力（total force），是该特定艺术家所有作品的终结，他想要制作出一件杰作，以便可以包含各种真正复杂的细节。

提到尺寸，云大师的风水艺术有相当全面的选择，我见过一面墙大小的风水画，也见过比较小张的风水书法，这其中的因由，我没有问过云大师，但我相信与客户家里的格局有关。

风水艺术挂上墙之前都要先看看方位，每间屋子的格局都不同，自然须要的尺寸也不同，所以就算是同一系列的风水艺术，你都会发现尺寸有大有小，只要看上能旺自己的风水艺术，就不难找到合适的尺寸挂在家中。

我知道云大师向来对人对事都非常贴心，在尺寸这个小细节上，你都能看到云大师的用心，而难得的就是在细节上的用心。

我想，从小康之家到超级豪宅，或从小房到大厅，都能找到尺寸合适的风水艺术，这一点是毋庸置疑的。

~~ Gibson

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富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

艺术的价值 - 历史重要性（Historical Importance）

苏富比（Sotheby's）的专家说，每一件艺术品、一件珠宝和一瓶葡萄酒都像一个时间胶囊，保存着它们被创造时的线索。

毕加索在20世纪40年代初创作的一幅画作，让人联想到战时巴黎，而勃艮第（Burgundy）葡萄酒的年份越早，则给了我们「品尝」越久远历史的机会。

纽约葡萄酒拍卖销售主管康纳·克里格尔 (Connor Kriegel) 说，葡萄酒不仅仅是一件物品，葡萄酒是有生命的。当人们打开葡萄酒时想要体会的感觉，就是得以品尝那过去，甚至是数百多年前的味道。

专家也说，一部作品的历史重要性，源于它被创造那一天。

「你可以全面地审视艺术品，想象它们肯定具有历史重要性。」

我在看这一集的视频时，觉得历史的重要性不仅仅是一件艺术品对历史的「保存」，就像毕加索在战争时代的作品，留下了战时的蛛丝马迹，这是专家们所指的时间胶囊。

又或者像新闻照片把瞬间的历史时刻，永远停格在照片中， 记录了历史性重要的一刻。

不过，我觉得还有一种历史的重要性，并没有被具体的提起，即有关艺术品本身就是创造历史的本源。

云大师是第一位在中国长城主办画展的艺术家，这件事本身就是创造历史。

比如云大师的风水艺术，或许有很多人不知道，云大师会因为要主办一场风水艺术展，而特意创作了一个全新的系列，甚至是新的画风，所以在展出时，你会深切感觉到这些风水艺术与展出的地点在隐隐的呼应中，就像上一次到中国长城展出的《飞龙在天》及《贺天富地图》系列，仿佛是艺术与古迹的对话，说的还是共同语言。

当然这还不足于说成历史重要性，而真正的历史重要性在于创举。

云大师是第一位，也是目前唯一一位在中国长城主办画展的艺术家，这件事本身就是创造历史，其重要性不言而喻，再加上我上面提到云大师特意为展地而创作的作品，也为历史重要性添加了丰富的历史色彩，同时也是专家们一开始就说的，艺术品保存着它们被创造时的线索。

因此若干年后，你告诉人家，你拥有一幅上过中国长城的风水艺术，这怎么听都是一件了不起的事，因为这艺术品本身就是创造历史的本源。

~~ Gibson

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富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

艺术的价值 - 出处（Provenance）

Provenance被笼统的翻译为是一件艺术品的出处，但我觉得「艺术品的经历」能更贴切的诠释这个字。

苏富比（Sotheby's）的专家说，如果一件属于乾隆皇帝的稀有瓷器，或者一颗完美无瑕的钻石被戴在公爵夫人的脖子上，或者一幅罗斯科（Rothko）的作品获得洛克菲勒（Rockefeller）所喜爱，这些艺术品或其他拥有迷人历史的艺术品，都充满了超出其内在价值的无法估量的魅力。

苏富比的珠宝专家弗兰克（Frank Everett）表示，谁穿的？她什么时候穿的？怎么穿的？穿了多少次？我们终其一生都想寻获这样精彩的故事。

出处（Provenance）其实不只是创造者的故事，也包括这一件艺术品经历了什么，而且一件被名人收藏过的艺术品，有时甚至比原创者更吸引人，就比如上面提到的例子，一件属于乾隆皇帝的稀有瓷器，因为有了国君的加持，增加了其故事的神秘感。

视频中提出了一个很有意思的例子，因为罗斯科（Rothko）画了洛克菲勒（Rockefeller）拥有的一座岛屿，并挂在了洛克菲勒办公室显着的位置，当时预计售价是4000万美元左右，最终却卖出了7200万美元的高价。

云大师是第一位上中国长城主办画展的画家。

我常常跟朋友说，云大师是一名很负责任的艺术家，不是因为云大师让我拍摄《廊外有画》，而是云大师一直都很舍得投资，为其艺术品增加Provenance。

怎么说呢？云大师把风水艺术带到中国长城展览，通过《廊外有画》把风水艺术带到世界各地重要的、传奇的、最具代表性、会员制的地方展出及拍摄，所以云大师的风水画去了世界最古老的制片厂英国的伊灵制片厂，而在槟城也登上了最高的建筑物光大，还有老挝去了喜马拉雅山脚拍摄。

这些都是精彩的Provenance，精彩的游历。

当然，以上专家提到的Provenance条件，云大师的风水艺术也都符合。

比如名人收藏，柬埔寨的国王就是云大师的风水艺术收藏者之一。

《廊外有画》在很多国家进行拍摄，这是老挝的拍摄情况。

比如艺术品的经历，我前头都说了，长城去了、欧洲的古迹去了，目前已去过100个地方展出，而且这个数目还在增加。

比如艺术品的故事，云大师作画的原料就有很多传奇故事，而且创作过程也非常精彩，比如香槟泼彩。

真的，有时我觉得云大师的风水艺术的经历，甚至比我的人生精彩太多，这样精彩的风水艺术，又怎么不吸引人？

~~ Gibson

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富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

The Value of Art - Rarity

Sotheby's experts have stated that good things are now rare, which is why nothing can create a greater sensation in an auction than when a once-in-a-millennium piece is listed.
 
Chinese art experts add that you cannot truly evaluate the value of art, but you know that the rarity of the piece itself is exciting.
 
Other experts also mentioned that scarcity can enhance the background story of an item, but incorporating rarity into value is a complex equation.
 
"Just because it's rare doesn't mean it's great. If it's great, then it's not necessarily rare."
 
"Scarcity only becomes a factor when there is demand."
 
The interpretation of rarity indeed varies from person to person, but what I see in Lotus on Water is indeed an essential part of appreciation.
 

The jade being sold at Lotus on Water is of top-notch quality.

For example, the gamboge used by Master Yun in fengshui paintings and calligraphy is hard to find in high quality even in Cambodia, its country of origin. What makes Master Yun's gamboge truly rare is that it was given to him by the Cambodian royal family, usually reserved for dyeing monks' robes. Such a rarity cannot be bought with money.
 
Another example is during the SARS epidemic, when Master Yun sold his property to purchase jadeite rough stones that were being sold off at the time. Now, the jadeites sold in Lotus on Water are of top quality, something many industry players cannot match, including the record for possessing Singapore's largest jadeite rough stone. All of this adds to the rarity value.
 
Thus, I agree with the experts' statement that "great artwork doesn't necessarily have to be rare”, but I believe that great artwork must contain an element of rarity, like Master Yun's fengshui art. Although there are many choices, each piece is unique because the splashing colour technique cannot be imitated, and the materials used also have a certain rarity.
 

Master Yun's fengshui art, each piece being one-of-a-kind, due to the unrepeatable splashing colour and the specific rarity of materials used, some of which have even been exhibited at the Great Wall of China.

 
Do you still think that having many pieces makes it not rare? The answer is clearly no, as all the above statements are testifying to the rarity of the work, looking beyond mere quantity. 
 
~~ Gibson (Translated)
 
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富贵华丽，云龙子旺财馆。
Prosperity with Elegance, Lotus on Water.

The Value of Art - Condition

In the second episode, Sotheby's experts presented three main views on the subject of preservation.
 
Firstly, there is a mistaken assumption that any "aged" artwork should show signs of time. In reality, the most valuable and sought-after items appear "new."
 
Secondly, rather than saying that poor condition negatively impacts the value of a piece of art, it would be more appropriate to say that if the art is in its original state, it possesses extraordinary value. For example, when looking at an Impressionist painting, most of the time there might be something wrong with it, and because of that, there's almost nothing wrong with it; it merely has a condition issue.
 
Thirdly, traditionally, a painting getting dirty was an exciting thing, signifying it had been taken off display, but an overly cleaned painting may have its value reduced. However, this depends on the painting; a Rembrandt in poor condition is still a Rembrandt.
 

Anything sold by Lotus on Water must have the fengshui effect and meet three requirements: beauty, durability, and rarity.

 
Discussing this subject, Master Yun asked me, since the value of the artist seems to be the core reason for the value, why is its condition important? What does this have to do with products from Lotus on Water?
 
I replied that all products sold by Lotus on Water are top tier, with Master Yun being the central value for all the reasons.
 
However, Master Yun stated that anything sold by Lotus on Water, besides having the fengshui effect, must meet three requirements: beauty, durability, and rarity.
 
This means that the products of Lotus on Water are durable, including physical durability as well as metaphysical (spiritual, intellectual, conceptual, supernatural) durability, while also being as beautiful as art, and rare.
 

Fengshui art that invites contemplation will reveal different content at different times, places, moods, and to different people.

 
Readers who have seen my previous articles should know that Master Yun's fengshui art is created using top-quality materials. For example, the Dongba paper used for painting is said to last for a thousand years, and gold and silver need not worry as they can undoubtedly stand the test of time.
 
When I was recording the first season of Art Beyond Museums, the phrase I spoke most often was "stands the test of time." At that time, I was focused on physical durability and did not yet understand metaphysical durability. As previously mentioned, the intriguing aspect is that at different times, places, moods, and to different people, different content will be revealed, and the deeper our exploration of fengshui art, the richer the content we will see.
 
~~ Gibson (Translated)
 
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富贵华丽，云龙子旺财馆。
Prosperity with Elegance, Lotus on Water.

The Value of Art - Authenticity

Sotheby's auction house previously produced a series of 10 short videos to inform the public about the ten principal standards they use to appraise the value of art. These ten discussions cover a wide range of topics, encompassing most of the major art categories, so I have drawn on their points to explore the value of fengshui art from a more professional perspective.
 
The first episode immediately addressed the concern most important to art collectors: authenticity. After all, the greatest fear for collectors is purchasing a forgery.
 
The Chairman of Sotheby's Asia and Worldwide Head of Chinese Art, Nicolas Chow, stated that authenticity is the soul of an item, but anything of value is “worthy” of being forged.
 
Nicolas Chow's words reflect a supply and demand issue. Valuable artworks will naturally be imitated, but how do we verify the authenticity? This process involves many professional bodies and is not the angle I wish to explore, but the video does mention that consulting the complete catalogue of the artist is enough to confirm its authenticity, which indeed is one method.
 
We now shift our focus back to authenticity. When I discussed this subject with Master Yun, he asked me, why should we concern ourselves with the authenticity of a piece of art?
 

Why should we concern ourselves with the authenticity of a piece of art?

 
My response at the time, I believe, was the same as many others: to ensure that one hasn't bought a fake.
 
Master Yun then asked me why I was worried about buying a fake. I answered: because a fake is worthless.
 
I knew that Master Yun would not ask me a universally known question for no reason; he was guiding me to think more deeply. Why do collectors care about authenticity? Why do sellers have to answer questions about authenticity? Is it as simple as I stated?
 
The answer is evidently not. We care about authenticity because of the value of the artist themselves. For example, if you discover a piece of art by Picasso, you will care if it is genuine. If it is genuine, you are wealthy; if it is an unknown piece, you would not even consider whether it is authentic, because no one cares.
 

Master Yun's fengshui art is highly recognisable.

 
Furthermore, I believe that the original personality of art is also a crucial element of authenticity. Take calligraphy, for example, renowned calligraphers are known both at home and abroad; their unique way of writing allows experts to easily identify their work. However, Master Yun's fengshui calligraphy is highly recognisable, so even if you are not an expert, as long as you've bought or collected it, you can identify whether or not it's his handiwork after a couple of glances.
 
Because Master Yun's fengshui art has elements that others cannot replicate, even Master Yun himself cannot create two identical pieces; how could others possibly imitate it? Even if copied, they would only mimic the superficial, without capturing Master Yun's profound inner essence. The sequence of layers, the arrangement of textures, the placement of gold and silver, the stamping, the champagne splashing, even the use of colours, cannot be duplicated by merely copying.
 
To me, this artistic individuality is also an essential part of authenticity, and even one of its significant values. Do you agree?
 
~~ Gibson (Translated)
 
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富贵华丽，云龙子旺财馆。
Prosperity with Elegance, Lotus on Water.

艺术的价值 - 稀罕的（Rarity）

苏富比（Sotheby's）的专家说，现在好东西太稀缺了，这就是为何没有什么比一件千载难逢的作品上市时，更能在拍卖场上引起轰动火花的原因了。

中国艺术专家补充，你无法真正评估艺术品的价值，但你知道这件（稀罕的）作品本身就令人兴奋。

其他专家也说到，稀缺性可以滋养物品的神话，但将稀缺性纳入价值是一个复杂的方程式。

「仅仅因为它很罕见并不意味着它很棒。如果它很棒，那么它不一定是罕见的。」

「只有存在需求时，稀缺性才会成为一个因素。」

对于稀罕的（Rarity ）诠释确实见仁见智，但我在云龙子旺财馆看见的稀罕性，确实是增值的重要一环。

如今在云龙子旺财馆出售的翡翠都是顶好质地的。

比如说，云大师风水画及风水书法采用的藤黄，在原产国柬埔寨要找高品质的本来就有难度，更何况云大师的藤黄是柬埔寨王室送的，一般是用来给高僧染袈裟的，现在王室馈赠给云大师，这就是非常稀罕的了，有钱都买不到。

再举例云大师在非典型肺炎（SARS）疫情期间，他卖屋子套现来收购当时被抛售的翡翠原石，所以如今在云龙子旺财馆出售的翡翠都是顶好质地的，许多业者都望尘莫及，而且还创纪录的拥用全新加坡最大的翡翠原石，这都是稀罕的价值。

因此，专家讲的那句「很棒的艺术品，不一定是罕见的」，我是认同的，但我觉得，很棒的艺术品中一定有其稀罕的元素，就像云大师的风水艺术，虽然选择众多，但每一幅都是独一无二的存在，因为泼彩是无法临摹的，采用的原料也有一定的稀罕性。

云大师的风水艺术，每一幅都是独一无二的存在，因为泼彩是无法临摹的，采用的原料也有一定的稀罕性，有的还到过中国万里长城展出。

你还觉得作品多就不稀罕了吗？答案明显不是的，因为以上的种种说法都在应证作品的稀罕性，不仅仅只看数量。

~~ Gibson

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富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

艺术的价值 - 保存状况（Condition）

苏富比（Sotheby's）的专家们在第二集针对保存状况提出了三个主要的看法。

其一：有一种错误的假设，认为任何「有岁数」的艺术品都应该显示出岁月的痕迹，事实上，最有价值的抢手物品看起来是「新的」。

其二：与其说某件艺术品的状况不佳会对其价值产生负面影响，不如说一旦艺术品处于原始状态，它就会具有非凡的价值。比如当你在看一幅印象派画作时，大多数时候它是有问题的，也因为如此它几乎没有问题，它只是有状态问题。

其三：传统上，一幅画被弄脏是一件令人兴奋的事情，这意味着它已经下架了，而一张被过度清理的画，其价值就会受到限制。然而，这取决于画作，一幅状况不佳的伦勃朗仍然是伦勃朗的作品。

云龙子旺财馆卖的任何东西，除了必须有风水效果，还必须符合三个要求：美丽的、恒久的，稀罕的。

针对这个课题的讨论，云大师问我，既然艺术家的价值似乎是价值的核心原因，为什么保存状况还重要呢？这种情况与云龙子旺财馆的产品有什么关系？

我回答，云龙子旺财馆所出售的产品都是最高等级的，当然云大师是所有原因的核心价值。

不过，云大师说，云龙子旺财馆卖的任何东西，除了必须有风水效果，还必须符合三个要求：美丽的、恒久的，稀罕的。

这意味著云龙子旺财馆的产品是经久耐用的，即包括物理意义上的持久性，以及形而上学（精神、思想、概念、超自然力量）意义上的持久性，同时也像艺术一样美丽，而且是罕见的。

耐人寻味的风水艺术，在不同的时间、不同的地方、不同的心情、不同的人，都会看到不一样的内容。 

有看过我先前文章的读者，应该知道云大师的风水艺术都是采用上好的原料创作，比如作画的东巴纸就有千年不腐之说，真金白银更是不用担心，绝对经得起时间考验。

我在录制《廊外有画》第一季的时候，讲得最多的就是「经得起时间考验」这句话，那时的我专注在了物理意义上的持久性，还意会不到形而上学（Metaphysics）意义上的持久性，就如先前提到的耐人寻味，在不同的时间、不同的地方、不同的心情、不同的人，都会看到不一样的内容，而且随著我们对风水艺术的探索越深，我们看见的内容就越丰富。 

~~ Gibson

到你旺了 Your turn to prosper: http://bit.ly/lotusjadeite

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或，直接PM我们。

Or, PM us directly.

富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.

艺术的价值 - 真实性（Authenticity）

苏富比（Sotheby's）拍卖行早前制作了10集的短视频，以告诉大众他们是以哪十大标准来鉴定艺术的价值，而这10集的讨论内容非常广，涉及层面涵盖大部份重要的艺术类别，所以我借助他们提出的论点，以从更专业的角度去探讨风水艺术的价值。

第一集开播马上针对艺术收藏者最关心的问题，即真实性，因为收藏者最怕买到赝品。

苏富比亚洲区主席兼中国艺术品部国际主管仇国仕表示，真实性是物品的灵魂，但任何有价值的东西都「值得」被赝品。

仇国仕这番话反映出供需问题，有价值的艺术品自然会被仿制，但要如何确认真假？这过程涉及很多专业单位，并不是我要探讨的角度，但视频内提到查阅艺术家的全部目录就足以确认其真实性，这确实是方法之一。

我们现在把焦点移回到真实性，当我与云大师讨论这个课题时，云大师问我，为何我们要关心一件艺术品的真伪呢？

为何我们要关心一件艺术品的真伪呢？

我当时的回答相信跟很多人一样，就是要确认自己有没有买到假货。

云大师再问我，为什么担心买到假货？我回答，因为是假货就不值钱了。

我知道云大师不会平白无故追问我人人皆知的问题，云大师在引导我往更深层去思考，为什么收藏家关心真伪？为什么卖家需要回答真伪问题？真的如我所说的这么简单吗？

答案显然不是，我们会在乎真伪的前提是因为艺术家本身的价值，比如你发现一件毕加索的艺术品，你会在意这件艺术品是否是真品，如果是真品你就发达了，但如果是不知名的作品，你根本不会考虑是否是真品，因为没有人在乎。

云大师的风水艺术辨识度非常高。

此外，我觉得艺术原创个性也是很重要的真实性元素，我就拿书法来举例，享誉海内外书法家比比皆是，他们独特的书写方式会让行家轻易的认出是谁的作品，但云大师的风水书法辨识度非常高，所以就算不是行家，只要买过、收藏过的人多看两眼都能辨识出是不是出自云大师的手笔。

因为云大师的风水艺术具有别人无法仿制的因素，就连云大师自己也没有办法画两幅一模一样的作品，其他人又如何仿得来？就算仿了也只是仿到了外在，而无法仿到云大师高深的内涵，那层叠的顺序、那纹路的铺陈、黄金白银的布置、盖印的地方、香槟泼彩，甚至是用色，都不是依样画葫芦就能一样的。

这种艺术个性对我来说，也是真实性重要的一环，甚至是重要的价值之一，你认同吗？

~~ Gibson

到你旺了 Your turn to prosper: http://bit.ly/lotusjadeite

+65 8876 3970 (WhatsApp)

+65 8137 8024 (Cola)

或，直接PM我们。

Or, PM us directly.

富贵华丽，云龙子旺财馆。

Prosperity with Elegance, Lotus on Water.