【作者】 刘翔宇；

【导师】 江奔东；

【作者基本信息】 山东大学 ， 专门史， 2012， 博士

【摘要】 本论文由导言、正文和结束语构成。正文共六章可分为四个部分。导言中主要涉及本选题的研究背景、意义、国内外研究现状、主要概念的界定、论文的基本框架和主要研究方法等。结束语对本文的研究进行了概括性总结,并提出论文存在的问题和未来研究和努力的方向。正文的四个部分内容大致归纳如下：第一部分为第一章,是论文的理论基础。本章第一节首先梳理了交易机制中不完全信息和不对称信息理论的源起和发展脉络,然后介绍了相关概念和原理的内涵,并对不完全和不对称信息理论在委托代理关系中的应用以及可能引发的逆向选择和道德风险问题进行分析。第二节追溯了交易费用的理论发展历史,介绍了交易的维度、影响交易费用的人的因素和交易因素、交易费用的度量和研究意义。第三节简要阐述了艺术品交易机制的构成要素和要素间的相互关系。论文的第二部分为第二章。其中第一节沿着皇家艺术赞助、私人艺术赞助和公共艺术赞助三条线索,梳理了中国艺术品交易机制的历史演进轨迹。中国封建社会的皇家艺术赞助自秦汉开始,到唐宋时期,赞助的力度和艺术家的地位达到鼎盛,然后到明清逐渐衰落。皇家艺术赞助下,艺术家过着衣食无忧的生活,创造了宫廷艺术,追求唯美,但也往往因避免政治迫害而粉饰太平并表现出脱离实际生活等局限。皇室也动用经济手段从民间购求书画,但这种购求,是建立在君臣礼制关系下的一种赏赐关系。中国传统社会艺术赞助的另一条主线是以贵族、官僚、地主和商人为主体的私人艺术赞助,私人艺术赞助到明清时期的徽州商人和扬州盐商时期达到顶峰。与皇家赞助相类似,私人艺术赞助实质上也是一种劳务性的艺术交易与艺术赞助；相比之下,艺术家有着更多的人身自由和较小的精神迫害的压力,虽然有着寄人篱下的阴影而有时不得不讨好主家,但赞助人一般不会对艺术创作横加干涉,艺术家的创作还是相对自由的。通过公共赞助的民间艺术家,由于他们需要直接通过出售自己的作品来获得经济来源,往往也不得不迎合世俗审美趣味,缺少艺术创新,但他们面向市场,接触社会生活,因而可以从民间生活中获取艺术给养。本章的第二节对我国艺术品市场的现状和发展趋势进行了整体分析。首先,对于我国艺术品市场的规模和市场结构进行分析；其次,以艺术拍卖为例,介绍了我国目前艺术品市场的地区发展情况,分析了艺术品各个门类板块的市场行情以及相关背景。本节的最后一部分是梳理艺术品市场的特点和发展趋势,指出我国艺术品市场处于古玩跳蚤市场、寄售店、代理制画廊和拍卖行等传统市场形态与现代意义上的网络拍卖与交易、艺术品投资基金和文化艺术品交易所等各种形态并存,形态与发展水平不一,异彩纷呈；而在传统的市场形态中,一二级市场的发展不平衡和严重错位,这种一、二级市场关系颠倒的状况使得市场行情主要由拍卖行来推动,从而资本的力量取代了学术的话语权,甚至反过来还影响了学术的判断；三是艺术品市场处于从个人收藏向机构性金融投资的转变。论文的第三部分包括第三到五章,是论文的核心部分。第三章主要以信息经济学的不完全信息和不对称信息理论为基础,分析了艺术品本身认知方面的不确定性和风险,同时探讨了艺术品的供给与需求特点、艺术品的价值、价格决定因素以及在艺术品价值与价格的关系方面表现出的相互背离而又趋同的关系；从宏观和微观两个角度探讨了艺术家行为的不确定性和道德风险以及可能带来的经济和文化危害；收藏者和投资者在收藏和投资活动中表现出一些非经济动机和有限理性,同时,鉴定专家的主观性、专家知识的局限性和泛化倾向、职业操守和人情世故方面的考虑,评论家的非独立立场和独立精神的缺失等因素,都严重影响着人们对于艺术品的认知,增加了市场的不透明和信息的不对称,给市场的顺畅交易增添了障碍和困难；最后本章归纳了古玩跳蚤市场、画廊、拍卖行、网络拍卖与交易、文化艺术品交易所等交易平台中信息不完全和不对称的机理并由此引发的种种逆向选择和道德风险的表现。第四章阐述了艺术品市场交易费用产生的原因,其中既涉及艺术品市场的行为人对于艺术品本身以及市场信息了解的不完全、也包括艺术品市场参与人的有限理性和非理性动机以及机会主义动机和诚信的缺失,同时交易中艺术品变现和流通的能力、宏观经济形势、法律法规及政策的变动、微观角度的画廊和拍卖行经营策略的变化、交易频率的高低以及竞争对手数目多少等都明显地对于交易费用的产生有着不同程度的影响；本章稍后就艺术品各类交易平台的交易费用的表现以及特定差异进行了梳理和分析。第五章探讨了政策(P)、经济(E)、社会(S)和技术(T)对于艺术品市场可能产生的影响；政策方面,本文总结了中国在艺术品政策方面的反面教训和正面经验,介绍了国外尤其是欧盟和美国在艺术转售税以及进口税等方面的政策及其对本地艺术品市场的影响；经济方面,论文从中国历史上的历次艺术品收藏高潮、中国当代艺术品收藏与经济、国际视野下的艺术品收藏与经济以及艺术品市场与金融市场的相关性等方面对经济对于艺术品市场的影响进行了概括式论述；最后本章尝试分析了不同时代和地域的社会审美时尚和网络技术对艺术品市场的影响。通过第三到五章的论述,作者认为,正是由于艺术品市场信息的不完全和不对称、市场参与者的有限理性和机会主义行为,使得市场交易中出现很多噪音,产生了很高的交易费用,导致市场的运行不畅、交易不透明以及市场运行效率不高。而制度的作用就在于在信息不完全和不对称条件下,通过限制有限理性和机会主义行为,保证现实经济活动能够有效率地运行。为此,本文认为,构建一套严密的艺术品市场市场交易制度体系是完全必要的,由此引出第六章的内容。论文的最后一部分是第六章,也是本文的结论和落脚点。作者认为,要完善我国艺术品交易制度,首先要从观念和意识的更新入手。这一部分论及艺术品经营者要有分工协作的理念、现代商业运营理念、品牌和信誉意识,经营者和其他市场参与者要增强法制观念和法律责任意识,要正确认识资本对于艺术品市场所发挥的作用。其次,在艺术品市场交易中,法律法规的保障作用不可缺少,为此要完善修订有关法律法规；本文建议制定和通过《全民信用法》、《艺术品代理和经纪人法》、《艺术品鉴定评估法》；其中《全民信用法》是超乎艺术品市场本身的一个法律构架,通过提高人们的信用意识和普及信用文化,能够有效防范风险、减少投机行为和降低社会运行成本；《艺术品代理和经纪人法》和《艺术品鉴定评估法》能有效规范艺术鉴定和经纪行为和增强艺术品鉴定专家和经纪人的法律责任意识；同时要修订《拍卖法》的相关条款,增加其对艺术品拍卖的针对性和效力。再次,要在财政、税务、金融、保险等各方面为艺术品市场提供优惠政策,增强我们的艺术品市场主体的竞争力,积极培育市场运营主体和中介机构；同时,要完善和建立包括艺术品信用体系、鉴定机构、经纪人制度和评论家制度在内的完善的市场服务体系。最后,要加强行业自律,增强行业的自我管理和声誉维护机制；普及全民艺术素养,提倡健康理性的艺术品收藏和投资文化,培养出懂艺术、爱好艺术的健康理性的艺术消费者和收藏者是艺术品市场规模发展的坚实基础。本文的创新点在于：(1)首次尝试运用信息经济学的信息不完全和不对称理论,对艺术品本身、艺术品市场的参与者的不确定性进行了详尽的分析,并就各种交易平台的信息的不对称和逆向选择及道德风险问题进行剖析。(2)首次运用新制度经济学中的交易费用理论,对艺术品传统和现代市场形态中影响交易费用的一些差异化特征进行剖析。(3)首次结合国内外相关论述,对艺术品的金融特征和属性进行了尝试性的归纳和概括,并将其应用于市场分析中。(4)首次在对艺术品市场的信息不对称和交易费用等特点的分析基础上,提出包括全民信用体系在内的艺术品市场交易制度体系的构建,以减少市场交易中的噪音、增加市场透明度、达到公平竞争和提高市场运行效率的目标。以上四点,在国内同类研究中尚属首次学术上的尝试。由于艺术品市场交易机制问题涉及知识面广,情况较为复杂,这方面的研究才刚刚开始,掌握资料不够完备,也由于作者学识和精力的不足,本论文的研究还有一些遗憾之处：1.由于初次尝试,本论文在运用信息经济学和新制度经济学理论对我国现行的艺术品交易现状的分析梳理和制度构建方面还略显生硬,二者还不能非常有机地融合起来；对一些新的问题还未涉及或浅尝辄止,除了新制度经济学、信息经济学和行为经济学外,还需要尝试用新的理论和视角进行分析,研究方法和手段还比较单一。2.对于艺术品交易制度体系的各个子系统还缺乏系统和细化的研究。如信用体系的构建还需要进一步深化研究,各个子系统之间的相互关系以及它们对艺术品市场交易产生的综合影响,还有待于深化研究。3.对艺术品价格指数和相关定量研究方法的研究不够。目前还没有一个综合的指数能够反映艺术品价格的变化,而只有开发出这样一个指数,才能比较客观地对艺术品价格进行财务分析。4.本论文中缺乏国内和国外艺术品市场法律法规政策的相互对照比较和借鉴,未来还要加强对国外艺术品法规政策的研究。最后,由于自己学识和思路的局限,以及缺乏理论指导和资料的支持,有些观点表述不够透彻,还没有能够充分地展开。这些漏洞和遗憾,也是未来研究中应努力的方向。更多还原

【Abstract】 This dissertation consists of three parts:the preface, the main body and concluding remarks. The preface mainly covers the background and significance of the research, current status of research both domestic and abroad, definition of key concepts, the framework and research methodology of the dissertation. The concluding remarks give a summary of the research in the dissertation and point out direction for future research. The main body of the paper can be treated as four parts, details as follows.Part Ⅰ, which is chapter one, is the theoretic basis of the dissertation. First, this chapter hackles the history of incomplete and asymmetrical information theory, then connotation of related concepts and theories, and then analyzes the application of the theory in principal-agent relations and the resulting adverse selection and moral hazards. Secondly, the chapter talks about historical development of transactions cost theory, dimensions of transaction, the human factor and transaction factor affecting transaction cost, the measure and significance of transaction cost. Finally, the chapter briefs the elements and their relationship of art transaction mechanism.The second part, which is chapter two, traces the historical development of art transaction in China in accordance with three clues:the royal art sponsorship, the private art sponsorship and public art sponsorship. The royal art sponsorship dated back to Qin and Han dynasties, flourished in Tang and Song dynasties and declined in Ming and Qing dynasties. With rich financial support under royal art sponsorship, the artists created aulic art in pursuit of pure aesthetic excellence but, for fear of political persecution, their works tended to be isolated from real life. The royal family also bought art works from its people, but this kind of transaction was actually a kind award by the royal family to its people. Another line of art sponsorship is by the private consisting mainly of the aristocrats, the officials, the landlords and merchants. The private art sponsorship reached its prime during Yuan Dynasty with support by the Jiangnan Landlords, and Ming and Qing dynasties with support from Huizhou Merchants and Yangzhou Salt Merchants. Similar to royal art sponsorship, the private art sponsorship is actually in the form of labor service by the artists in exchange for life support. Compared with artists under royal sponsorship, the artists under private sponsorship enjoyed more personal freedom and less pressure from spiritual persecution; the private sponsors seldom interferes in artistic composition. Under public art sponsorship, which is market system, the artists had to make a living from direct sale of their works, and thus had to cater to the secular taste and often lacked in artistic innovation. But since they got directly involved in the market and social life, their works got much artistic nourishment from their social reality of life. The second section of this chapter gives a brief analysis on the current status and development trends of art market in China. First, I give an analysis on the size and the structure of art market in China. Second, with art auction as example,I briefed on the regional development of the art market in China and then on the market status of the different categories of art works in China, for example, the ancient Chinese art paintings, Chinese ceramics, oil painting etc. Thirdly, in the development trends of art market in China, I point out that:(1) the art market in China is now in the stage of co-existence of traditional market forms such as flea market, art consignment gallery, agent art gallery and art auction houses, and modern market forms such as online art auction and transaction, art investment fund, Art Exchanges (similar to stock exchange). Different forms of art market are in different levels of development;(2) in traditional art market forms, the primary and secondary markets are in the stage of dislocation, which means the art auction dominates the market status, and the power of capital surpasses that of academic judgment;(3) the art market is in transition from personal art collection to institutional financial investment in art.The third part, covering chapters three through five, is the core body of the dissertation. With the theory of incomplete information and asymmetrical information as an analysis tool, Chapter three first talks about uncertainty in perception of art works, features of supply and demand, the value of art works, determinants of prices of their artworks, the disproportional and convergent relationship between art prices and art values. The chapter further analyzes, from macro-and micro-level, the uncertainty of the conduct of artists and moral hazards, and their resulting economic and cultural harm their conducts may bring; the non-economic motives and limited rationality of the collectors and investors; the subjectivity of appraising conduct, limitation and generalization in knowledge, professional ethics, and personal factor in judgment of the artworks, of the connoisseurs, the non-independent standpoint of critics, all have some impact on human perception of the art works. These factors further aggravate the opacity and asymmetrical state of the art market and further hinder the smooth operation of the market. Finally, chapter three analyzes the situation of incomplete and asymmetrical information, and the corresponding adverse selection and moral hazards in the flea market, galleries, art auction houses, online art auction and transaction, art exchanges. Chapter four elaborates on the reasons of transaction cost in art market, which includes both human factors and transaction factors. The human factors refer to incomplete information, limited rationality and irrational and opportunistic motives of the market participants and their lack of credibility. Transaction factors include the liquidity of art works, changes in the macro-economic situation, related laws, regulations and policies, changes in operational strategies of the galleries and auction houses, transaction frequency and number of competitors. Chapter four also deals with manifestations of transaction costs in flea markets, galleries, art auction houses, online art auction and transaction, art exchanges. Chapter five deals with the impact on art market, of policies, economy, social and aesthetic trends, and technology. In the part of the policy, the chapter summaries the lessons and experiences in China’s policies in art market, briefs on the impact of resale tax and import tax on the art market of Europe and USA. In the economic analysis, the chapter gives an overall review of the art collection booms in Chinese history and in current art collection in China, art collection and economy in the international perspective and the relatedness of art market with financial market, and examines the impact of economy on art market. Finally the chapter tries to deal with the effect of social and aesthetic trends and network technology on art market.From the discussions in chapter three through chapter five, we can conclude that it is the incomplete and asymmetrical information, limited rationality and opportunistic conducts of the market participants that lead to noises, opacity, high transaction cost and low efficiency in art market. The function of institutions is, by restraining limited rationality and opportunistic conducts in the condition of incomplete information and asymmetrical information, to ensure the efficient operation of economic activities. Thus I strongly believe that it is completely imperative to structure a set of rigorous transaction institutions regarding art market in China, which is the main topic of chapter six.In Chapter six, the author believes that, to structure transaction institutions regarding art market in China, we first need to start with updating our perception and consciousness. The runners of art works should have a high consciousness of labor division and coordination, modern commercial operation, brand and reputation; the runners and market participants should have a strong sense of law and legal liability and should accurately understand the role of capital in art market. Secondly, the guarantee of laws and regulations is essential in the art market. For that we need to modify and improve related laws and regulations. The author suggests we enact and pass Civil Credit Law, Art Agency and Agent Law, and Art Appraising and Evaluation Law. Civil Credit Law is a legal framework which is more than just on art market: enhancement of people’s awareness of credit and credit culture can effectively help to prevent risks, minimize opportunistic conducts and reduce cost of social operation. Art Agency and Agent Law and Art Appraising and Evaluation Law help to regulate conducts of art appraisers and connoisseurs and strengthen their sense of legal liabilities. We need also to modify related provisions of The Auction Act so as to update its responsiveness and effectiveness to art auction. Thirdly, we need to come up with favorable policies in terms of fiscal support, finance, tax and insurance and rigorously cultivate market players and medium agencies and enhance their competitiveness; to construct credit system in art, art appraising and evaluation, art agency system and criticism system. Finally we should strengthen the self-discipline of the industry to maintain the mechanism of self-regulation and reputation; we need also to popularize art competence of the people and advocate healthy and rational culture of art collection and investment. A large group of art consumers and collectors who really understand and love art constitute the solid basis for a rational and healthy art market.The innovations of this dissertation lies in the facts that:(1) this is the first research that applies the theory of incomplete and asymmetrical information to analyse the uncertainties of the art works and participants of art market, and to probe into the asymmetrical information and related adverse selection and moral hazards in different art markets.(2) This is the first research that utilizes the theory of transaction costs to probe into differential features affecting transaction costs in traditional and modern forms of art market.(3) This is the first research in China that summarizes the financial characteristics of art market and then uses them in analysis of art market.(4) This is the first research that, on the basis of analysis of asymmetrical information and transaction costs, advocates the construction of a full set of transaction institutions for art market including civil credit system, to minimize noises, to promote the transparency, fair competition and enhance operational efficiency of art market.The above-mentioned four points are the first trials in research of similar field in China.For wide coverage of knowledge, complicatedness of situations in trade institutions of art market, incomplete data and inadequate academic learning and vigor, there are some points, to my regret, that I did not fulfill:1. The dissertation gives out macro-framework of transaction institutions of art market in China, but fails to give detailed elaboration on the specific use of theories and the their integration of the theories into current laws, regulations in China. For some points I still fail to touch on or have dipped into. Beside the views from new institutional economics, information economics and behavioral economics, we need to try the use of new theories and new perspectives since the current methodologies and means remain simple2. We still need to further detailed research on the subsystem of the institutions, the relationship among the subsystems and their combined impact on art market.3. We need to further study on art price index and conduct more quantitative research on art market. For now no comprehensive index can reflect changes of art prices. And such an index can help us to give accurate financial analysis on art prices.4. The dissertation fails to compare the laws and regulations on art market in China with those of other countries. We need to conduct more research on laws and regulations of other countries.Finally, due to my lack of academic competence, narrowness of my thought of mind and no direction from related theories, some of the opinions and discussions have not been elaborated to the full. These regrets and omissions should be the direction for future research.更多还原