China’s Artwork Dilemma

开篇：润墨网以专业的文秘视角，为您筛选了一篇China’s Artwork Dilemma范文，如需获取更多写作素材，在线客服老师一对一协助。欢迎您的阅读与分享！

The foreign artworks are hard to get into china while the domestic artworks are hard to get out of China. The current rules put the fast developing Chinese artwork market into a predicament.

As said， the relevant laws and regulations are needed to push the rise and resurrection of Chinese arts and improve its status in the world. The current situation makes it nearly possible. Thus， changes are expected according to the status quo and the long-term strategies.

No Inlet

Recently， China-based Dalian Wanda Group spent RMB 172 million buying Picasso’s masterpiece “Two Children” in Christie’s in New York. Unfortunately， it would cost Wanda Group additional RMB 40 million in the form of tax to move this masterwork into China， as some experts point out.

The similar case happened in September 2013， Liu Yiqian， a collector in Shanghai， spent RMB 50.36 million buying Su Dongpo’s handwriting script Gong Fu Tie. Previously he wanted to bring this precious handwriting into the Shanghai Arts Gallery. The total cost of transporting the book from New York to Shanghai costs US$1，000. The insurance cost reached US$10 thousand. Therefore， the CIF reported to the customs of Shanghai amounted to US$8.21 million， or RMB 50.24 million. The imports tax reached US$3.0144 million. Meanwhile， according to the Temporary Rules for the Value-added Tax of China， Liu Yiqian also needs to pay 17% valueadded tax additionally.

Having no other way， Liu Yiqian said that he had to move the handwriting script to Hong Kong and then moved to his own gallery in the form of“borrowing display item”.

No Outlet

In March 2013， the State Administration of Cultural Relics published the Standard of Identifying the Limited Exportation of Works of Famous Calligraphers and Painters Dead after 1949 （Second Batch）. Such a rule made it clear all works of Wu Guanzhong could not be exported outside and the works of Chen Yifei and Guan Shanyue are principally not allowed to be exported. The artworks of 21 painters and calligraphers are forbidden or limited to be exported.

Prior to that， the first batch included 143 famous painters and calligraphers having passed away after 1949 whose works are forbidden or limited to be exported. Therefore， there are 164 painters and calligraphers dead after 1949 whose works are forbidden or limited to be exported.

The new regulation raised a lot of debates in the artistic circle. Many opinions say that the scope of artists is too big. In today’s domestic artworks market of China， the purchasing power for domestic artists’ works is much larger than the one for overseas works. Many of the artworks of Chinese painters and calligraphers that had flown to the overseas market have been bought back by Chinese.

Therefore， there is not such a worry about the massive outflow of domestic artworks to foreign countries because of the great gap between the national and international purchasing. In addition， many of the painters and calligraphers in that list are not well-known in the overseas market. Therefore， the limitation is not necessary； instead， the Chinese need to study into how to promote their artworks to the international market.

Are the strict measures of protecting the cultural relics necessary or not？ For example， the archeologists unearthed tens of thousands of small pottery jars for making salt in the area of Three-Gorge. An archeologist said that these pottery jars are not too much pricy and it is enough for the museums to preserve some of them.

However， if these jars can be identified as the cultural relics from the ThreeGorge Area， they could be sold as meaningful souvenirs or even exported to foreign countries. The current laws cannot allow such a thing to happen， so these jars had to be hidden in the storages or even buried underground.

The measures of protecting the cultural relics should contain not only the passive protection and reservation， but also the long-term viewpoint of cultural exports. Some experts point out that the obese regulations and rules might limit people’s free starting-ups and trades.

The Hurdles

There are two defects in China’s cultural relics preservation. One is the massive outflow of China’s cultural relics to foreign countries in the history. And the other one is that the displayed items in Chinese museums are limited to domestic cultural relics and have no international elements.

The artworks market of China also has one defect： the lack of global circulation. This refers to insufficient circulation of Chinese artworks in the world， and also means that there are no phenomena of collective artworks from other countries in China.

Along with the economic growth of China， the private buyers and collectors are more and more enthusiastic in the international artworks market. The changes are expected to happen to the aforementioned thing. The Chinese government should make more promotional rules to offset the defects， particularly the tax policy for imported artworks and the limitation of exportation of artworks which were the main hurdles in China.

In the museums or galleries in Europe， Americas， Japan and even Korea， there are not only domestic artworks， but also the collection of various art- works or relics from other countries. This can expand the cultural horizon of their citizens and show their inclusiveness. In China， the economic power and the traditional thoughts once stood in the way of this， but now， there are still no state-owned museums having collected or displayed foreign artworks systematically.

The financial crisis has made some private museums in foreign countries unsustainable. Some Chinese rich men have the plan of acquiring the entire museums. This should be a good opportunity to fill in the blanks of China’s museum system， but the current tax policy has scared many investors. The limitation and the high tax have made Chinese artworks market less attractive even though the dramatic economic growth has greatly driven it.

The resurrection and prosperity of the art is related with the revival and long-term development of China. In today’s world， the artworks market is an important leverage to promote the development of the arts. However， the historical limitation and the current regulation are affected by the relevant governmental departments’ short-sighted and incomprehensive planning， which have become a hurdle for the development of China’s arts market.