俗云「有價就有假」，只要有藝術市場存在的一天，贗品就會一直存在。一般在藝術史和博物館學的範疇中，關於「真偽」的研究多偏重於文物藝術品的鑑定技術，但是都忽略了贗品如何生產、行銷與消費。本文把文物藝術品放 在商業流通的市場脈絡下思考，從社會文化、市場的流通交易，以及鑑定權力系統來分析贗品文化。本文以場域理論討論藝術品的中介與權力關係，主旨在顯示藝術品的價值╱格是來自市場交換，有賴中介者的文化社會資本和場域位置來給予藝術品符號價值。本文認為贗品文化鑲嵌於藝術世界中評斷藝術品價值╱格的知識╱權力系統。

This paper analyzes the relationships between forgeries, market prices, and the existing knowledge/power dynamics in the art world and authentication system. This paper aims to discuss art forgeries in the context of Chinese cultural relics and the art market and to argue that art forgeries are socially embedded. Forgeries are common in the art market, and therefore, authentication is crucial for collectors, auction houses and connoisseurs. Regarding authenticity, many discussions in the field of art history and museology focus mainly on the skill or professional knowledge of authentication. However, this paper argues that the skill of authentication cannot explain the fact that forgeries are still restricted by social aspects of the market and the sign value.

贗品; 贗品文化; 鑑定; 收藏; 古董市場

fake; forgery culture; authentication; collection; antique market