在上世纪8、90年代，上海初次提出建设经济中心概念时，当时的主政者认为只要在上海集结各金融机构总部，一切将是水到渠成的事情。直到有人提出谁拥有证券交易市场，谁就是经济中心。

In the eight/In the 90 s,Shanghai first put forward building economic center concept,The worshiper thinks that as long as the rally all financial institutions in Shanghai headquarters,All will be follow things.Until someone puts forward who owns the securities market,Who is the economic center.

　　作为一个要素流通市场，我们今天已经能够很清楚的看到上海、深圳证券交易所对资本的影响。类似地，文交所作为一个文化资源要素的聚集、转化、交易平台，承接整个文化经济转型和发展，其作用并不仅限于艺术市场。然而，很多人在潜意识中还是把文交所理所当然地理解成了“艺”交所：在艺术品份额化上的失败尝试几乎成为文交所留给这个时代的唯一印象。

As a factor circulation market,Today we have been able to clearly see Shanghai/Shenzhen stock exchange to the influence of the capital.similarly,The text into as a cultural resources elements together/transformation/Trading platform,To undertake the whole cultural economy transformation and development,Its role is not limited to the art market.however,A lot of people in the subconscious or put into the text rightly understand became"art"Into the:In the art share change the failure of the attempt to almost become into the text to this time only impression.

　　文交所的第一次尝试以天津文交所为代表。自交易之日起，价格就一路绝尘而去，长久之间甚至都来不及回头一顾。但谁都没有想到天津文交所竟然能“疯狂”到罔顾惯例，突破了大部分艺术市场人士的所谓底线把白庚延的作品推到齐白石的价位。这一粗看上去确实可笑的结果，被市场人士作为否定文交所最直接、也是最有力的武器。我们需要回过头来梳理文交所的定价逻辑：相比于拍卖市场价高者得的竞价逻辑，文交所是通过份额化或者基金的方式，降低昂贵艺术品的出价门槛，使得进场的每个人都有能力和资格，凭借对作品的判断，将自己的心理价位表现出来。所有参与者心理价位的集合，最后形成一件艺术品的价格。所以这是一种“价格民主”和“商业民主”。炒高白庚延的天津文交所正是基于这样的定价逻辑，而给齐白石定出价格的，则是同样狂飙突进的拍卖市场。相对于文交所的价格民主，其价格完全是拍卖场上最后的几位收藏大鳄的手笔。定价机制不一样，所以最终形成的价格也没有可参照的价值。你说他高过齐白石，那把齐白石的作品拿到天津文交所，无非就是在现有拍卖价格的基础上再翻十倍，成为世界上最贵的艺术品之一。这就是天津文交所的定价逻辑。所以，当专家和媒体以拍卖市场来否定文交所的时候，事实上，他们手上拿的那把用以衡量的尺子就是可疑的。

The text into the first try to tianjin into the text for representative.Since the date of trading,The price is JueChenErQu all the way,Long even between all too late to turn.But who would have thought of tianjin, which can actually pay"crazy"To disregard for practice,Break through most of the art market personage of so-called the bottom line of the BaiGengYan works to push the price of qi baishi.The coarse looks really ridiculous results,Be market participants as negative text into the most direct/Which is the most powerful weapon.We need to turn back to carding text into the pricing logic:Compared to auction the market price of the highest bidding logic,The pay is through the share change or fund way,Reduce the expensive art offer threshold,Makes the approach of everyone have the ability and qualification,Thanks to the judgment of the works,Will their psychological price expression comes out.All participants psychological price set,Finally formed an artwork price.So it is a kind of"Price democracy"and"Commercial democracy".Fried high BaiGengYan tianjin into the text that was based on such pricing logic,To determine the price of qi baishi,It is the same hurricane dart auction market.Relative text in the price of the democracy,The price is completely salesroom last several big alligator collection of literary work.Pricing mechanism is not the same,So eventually form the price nor can reference value.You say he above qi baishi,The qi baishi works to the tianjin into the text,But the existing auction price is based on the double again ten times,To become the world's most expensive one of works of art.This is text that tianjin into the pricing logic.so,When experts and media to auction market to negative text into place,In fact,They hand that to measure ruler is suspicious.

　　份额化的尝试在天津文交所初战告负，并不意味着要否定份额化本身，更不是否定文交所的理由。当然，文交所现在在顶层设计、制度和业务创新、人员和市场的聚合方面仍然有相当长的路要走，但如果文交所失败了，损失最大的将是艺术市场。

Share attempt to change in tianjin into the text after the first battle,Does not mean to deny share change itself,More is not negative text into the reason.Of course,Text into the now in the top design/System and business innovation/Personnel and market polymerization still have a long way to go,But if the text into the failed,The biggest loss will be the art market.

　　我们今天寄希望于文交所，在于它在最初的制度设计时考虑到了文化产业将来作为经济支柱之一时所必须具备的产权化、资产化、金融化、证券化的要求，在制度设计上符合市场经济规则和金融的逻辑。所以艺术市场可以通过文交所这个平台与市场经济环境和金融规则相对接。由于传统业态的交易制度设计如画廊、拍卖、博览会等整体从国外平移，相应的市场基础和政策环境并未同步引进，所以实质上处于悬空状态。比如，市场经济的基础是产权经济，国外市场对产权有成熟的规定，所以拍卖、画廊等在设计交易制度的时候就没有必要再多此一举。而在国内的艺术领域，私人产权的界定还远远没有开始。另一个更加明显的例子就是艺术品保险。保险实际上是基于现代市场经济制度的一项金融服务安排。它在当前的艺术市场中迟迟难以成行，除了那些老生常谈的问题，难道不值得从市场逻辑的角度进行反思吗？

Today we hope into the text,Is it in the original system was designed for the cultural industry as one of the pillars in the future when the economy must have the property change/asset-like/JinRongHua/Securitization requirements,In the system design according to the market economy rule and financial logic.So the art market can through the text into the platform and the market economy environment and financial rules relative joint.Because the traditional format trading system design such as gallery/auction/Expo etc whole translation from abroad,The corresponding market basis and policy environment did not synchronous introduction,So in essence in a state of impending.For example,Market economy is the basis of property economy,Foreign market for property rights have mature provisions,So the auction/Art galleries in the design of the trading system when there is no need to carry coals to Newcastle.And in the domestic field of art,The definition of private property right is far from start.Another more obvious example is artwork insurance.Insurance is actually based on the modern market economic system a financial service arrangement.It in the current art market is difficult to go slowly,In addition to the well-worn problem,Is not worth from the point of view of market logic reflect?

　　更为重要的是，上期的《重估艺术市场的核心问题（之一）》在分析拍卖市场和画廊的定价机制时候提到，艺术市场首先是一个信用市场。“文交所总设计师”彭中天对文化经济有一段经典表述：“文化之核在产权、产权之核在定价、定价之核在交易、交易之核在信用。”艺术市场作为文化经济的一部分，其内核当然也是信用。这个词并不仅仅是我们一般所认为的“诚信”，说到底，“信用”必须依托一整套的经济制度设计来保障，而不是靠道德的软性约束。比如，拍卖行的交易信用需要通过对拍卖制度的设计，保证交易从始至终都是公开、透明、真实的。越公开、透明、真实，其交易信用就越高。而现有的拍卖只在竞价层面保证公开，透明，真实尚难保障，所以仍然是一个有限信用。拍卖行需要围绕一个第四方平台增加交易信用，而画廊也需要在市场中重建学术信用。在现有的市场业态中，任何一方单独重建信用都困难重重，唯有各业态围绕文交所这样一个公开集中的要素流通平台共建信用，似乎才是唯一有希望的道路。

More important is,Prior period of[Revaluation the core issue of art market(of)]On the analysis of the auction market pricing mechanism and gallery when mentioned,The art market first is a credit market."The text into the chief designer"Peng transit to cultural economy have a classic expression:"Culture nuclear in property rights/Property of the nuclear in pricing/Pricing in the nuclear deal/The nuclear deal in credit."The art market as part of the cultural economy,The kernel of course but also credit.This word is not just we usually think"integrity",In the final analysis,"credit"Must rely on a set of economic system designed to guarantee,Not by moral soft constraint.For example,The auction house trade credit need through the auction system design,Ensure transaction from beginning to end are open/transparent/real.More public/transparent/real,The trade credit is higher.While the existing auction only in bidding level guarantee public,transparent,It is difficult to guarantee the real,So is still a limited credit.The auction house need around a fourth party platform increase trade credit,And the gallery also need in the market the reconstruction of academic credit.In the current market in formats,Any single party reconstruction credit all difficulties,Only the format around the text into such a public concentration of elements flow platform build credit,Seem to is the only hope road.

　　我们今天谈艺术市场，需要把它放在整个国民经济和市场经济制度中去谈。研究中国艺术市场的发展轨迹不难发现，艺术市场诞生在改革开放后，市场经济代替计划经济的大背景下，本身就是市场经济的产物。那么艺术作为一种商品，其交易应该回归商品经济和市场经济的一般规律，而不应该一味地强调艺术的特殊性，从而放大人为的因素而缩小市场规则的配置作用。

Today we talk about the art market,Need to put it in the whole national economy and market economy system to talk about.Study of Chinese art market development path is not difficult to find,The art market was born in after the reform and opening,Market economy instead of plan economic background,Is itself the product of market economy.So art as a kind of commodity,The transaction should return to the commodity economy and market economy's general rules,And should not blindly emphasis on the particularity of the art,So as to enlarge the human factor and narrow market rules configuration function.

　　我们首先需要在这一点上达成共识，即未来的艺术市场和其他行业一样，是基于一个标准化的产业链条来布局，其交易遵循现代的市场经济制度和金融规则。当然，学术市场和消费市场在操作上会有差异，但是我们不应将艺术市场特殊化、神秘化，强调其审美以及道德上的优越性。事实上，我们看到任何一个产业的发展，最后都离不开金融的帮助。艺术圈需要剥离这种毫无缘由的神秘性、艺术特殊论和高高在上的文艺感。现在已经不是艺术圈要不要市场化、金融化，要不要对接市场经济规则的问题，而是如果不按照市场经济的规则建立一套完整的产业布局，以将流入资金导入各个节点的话，自由资本的流入将如找不到河道的洪水在横冲直撞后冲毁一切。而这正是眼下正在发生的事情。

The first thing we need to reach an agreement on this point,That is the art of future market and other industries,Is based on a standardized industry chain to layout,The deal follows the modern market economic system and financial rules.Of course,Academic market and the consumer market will have a difference in operation,But we should not will art market specialization/mystification,Emphasize its aesthetic and moral superiority.In fact,We see any industry development,The last is inseparable from the financial help.Art circles need to peel the mystery of no reason/Art special theory and is in the sense of literature and art.Now is not art circles to don't marketization/JinRongHua,Don't butt rules of market economy problem,But if not in accordance with market economy rules set up a complete set of industry layout,To flow into the capital into each node words,Free capital inflows will if can't find river flood in the rampage after all washed out.And this is what is happening at the moment.