拍賣國寶：中國大陸文物拍賣市場的興起與發展

Abstract

在1992 年之前，中國大陸沒有文物拍賣，然而在2010 年中國大陸榮登全球藝術品拍賣市場冠軍寶座。中國大陸的文物拍賣，是在缺乏藝術市場的情況下所產生的，它為探討中國大陸如何從社會主義的控制經濟逐步邁向市場經濟，提供了一個很好的案例。市場不是自然形成的，其中必須有行動者，有效的組織結構與法律規範。本論文認為國家在中國文物藝術品拍賣市場的形成佔有關鍵的治理角色。本文以國家對文物的治理方式之別，把中國大陸文物藝術品拍賣市場發展分為三個階段來討論。從管控期（1949-1978），嘗試改革期（1978-1994），到1995 年之後的建立規範期。文物在社會主義中國是一種非常特殊的物品，國家對於文物的嚴格管控，也延伸到對新興文物藝術品拍賣市場的管理。在改革開放期間，一切向前／錢看的氣氛，鼓勵冒險的行動者願意成立新興的商業組織。國營企業的經理人從香港習得拍賣文物的交易模式，國營企業成為推展文物拍賣的行動者，將文物交易市場化。在經過一段衝撞體制的嘗試期之後，國家介入施行綿密的法規治理，同時還成立「中國拍賣行業協會」代理國家實際扮演監督管理的角色。中國文物藝術品拍賣市場只有20 年的發展歷史，其中處處可見國家的角色，是國家支配型市場經濟的典型案例。

This paper argues that the antique auction market in China constitutes a different route of art market formation in which the state plays a key role. This paper deals with essential questions regarding how a distinctive type of market is formed and sustained in the tradition of the sociology of market. Now, China has become the biggest antique auction market in the world, surpassing that of New York and London. The performance of the Chinese art market is worthy to be studied. In western societies, art auction is a highend art market underpinned by a mature art world which includs collectors, antique dealers, art critics, museums, galleries, and academia. However, when China launched the first trial on artifact auction in Beijing in 1992, there was neither an art market nor art world in China. How did state-owned cultural relics go on market? Who were the key players that have brought about the antique auction market? What was the role of the government in this auction market formation? This paper mainly explores the role of the state in governing the booming antique auction market in the course of developing Chinese state-directed capitalism.