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The purpose of this paper is to construct a price index for Chinese oil paintings and analyze the financial performance of investing in Chinese oil paintings and its potential for portfolio diversification in Chinese financial markets.

A hedonic regression model is applied to construct a semiannual price index for Chinese oil paintings from 2000 to 2014. The CAPM model, downside β and standard portfolio optimization are used for analyzing portfolio diversification.

The hedonic regression shows that the majority of hedonic variables, such as dimension, artist’s reputation, living status, medium and auction houses, are statistically significant in estimation. Not only the return from oil painting investments is higher than other equities, but also the β coefficient of the CAPM model and downside β indicate that Chinese oil painting may be a good hedging instrument against stock market risk. Furthermore, the portfolio optimizations under standard assumptions suggest that oil paintings as an alternative investment provide diversification benefit.

This paper provides a new and comprehensive analysis of characteristics and risks of investing in the Chinese oil paintings.

The purpose of this study is to build a database of digital Chinese painting images and use the proposed technique to extract image and texture information, and search images similar to the query image based on colour histogram and texture features in the database. Thus, retrieving images by this image technique is expected to make the retrieval of Chinese painting images more precise and convenient for users.

In this study, a technique is proposed that considers spatial information of colours in addition to texture feature in image retrieval. This technique can be applied to retrieval of Chinese painting images. A database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. The authors develop an image-retrieval technique that considers colour distribution, spatial information of colours and texture.

In this study, a database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. An image-retrieval technique was developed that considers colour distribution, spatial information of colours and texture. Through adjustment of feature values, this technique is able to process both landscape and portrait images. This technique also addresses liubai (i.e. blank) and text problems in the images. The experimental results confirm high precision rate of the proposed retrieval technique.

In this paper, a novel Chinese painting image-retrieval technique is proposed. Existing image-retrieval techniques and the features of Chinese painting are used to retrieve Chinese painting images. The proposed technique can exclude less important image information in Chinese painting images for instance liubai and calligraphy while calculating the feature values in them. The experimental results confirm that the proposed technique delivers a retrieval precision rate as high as 92 per cent and does not require a considerable computing power for feature extraction. This technique can be applied to Web page image retrieval or to other mobile applications.

The purpose of this paper is to introduce a progressive strategy of the National Palace Museum (NPM) using new media art exhibitions as a creative marketing tool to interpret its collection, generate cultural value and navigate the greater global context.

A review of museum marketing literature and the challenges presented by Taiwan’s sociopolitical situation contextualize discussions on marketing activities and the emergence of museum-commissioned new media art at the NPM within the past two decades.

Democratic potency inherent in the digital medium has enabled the NPM to transcend the conflicting cultural perceptions surrounding its collection and fulfill the function of market expansion and cultural transmission.

Specialized heritage museums, such as the NPM, do not traditionally create or collect contemporary artworks that engage in ongoing cultural dialogues. This paper brings into view the novelty of using the digital medium to generate cultural value as exemplified in the new media art commissioned by the NPM.

The purpose of this paper is to deconstruct the multi-faceted dimensions of Chinese travellers’ image of boutique hotels with a large amount of online textual data from social media (53,427 reviews written from 2014 to 2018), reinforcing the value creation of user-generated content via social media.

With the aid of Python, a computer language, online textual reviews (53,427 reviews) of 86 high-end boutique hotels in seven cities (Beijing, Shanghai, Hangzhou, Nanjing, Chengdu, Qingdao and Sanya) were collected from the top-ranked online travel agency in China, Ctrip.com. Then, the overall perceived image of boutique hotels was revealed with the aid of Python.

The results showed multiple dimensions of the image of boutique hotels. The overall image can be grouped into eight dimensions (room, service, food, environment, entertainment, location, price and value, and uniqueness). An affective image based on eight dimensions was further developed in the Chinese boutique hotel context. It appears that online data from social media are beneficial for hotel managers to learn travellers’ overall perceptions of boutique hotels and help put more effective management strategies in place in the hospitality industry.

The relationship between cognitive image and affective image should be further investigated in future research. Theoretical implications are discussed from both cognitive image and affective image perspectives in the boutique hotel context. Managerial implications are highlighted to help industry managers understand the travellers’ perceptions of the hotels, via online data from social media, and put more effective hotel strategies in hospitality industry.

By using textual online data from social media, this paper deconstructs both the cognitive image and the affective image of boutique hotels. The dimensions of the most frequently mentioned concepts related to the Chinese boutique hotel industry are profoundly deconstructed, as is the uniqueness of the image of boutique hotels. The work is valuable for promoting effective marketing strategies in the hotel industry.

The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production.

In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth.

In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed.

The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods.

The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development.

Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.

The purpose of this paper is to define and characterise the precise nature of these cultural systems and their resulting impact on the respective art and artists of each territory, by ascertaining the impact on those systems of their respective government and governance.

This paper is based on three approaches to art market modelling. All three are based on political ideologies. The first, which typifies the art markets of Western Europe and the USA, is predicated on a Pluralist and Neo-Liberal ideology. The others correspond to the systems of government in China, Taiwan, South Korea and Japan.

It has been shown in this paper that political systems and their accompanying ideology, born of cultural preferences, have impacted on the art markets of China, Taiwan, South Korea and Japan. It has been demonstrated that all four markets are employing variants of the international norm.

The art that is exported from East Asia will only be accepted by East Asian national markets when East Asian art markets exercise a majority influence on emerging and transitional markets. It is not the intention of this paper to pursue this thought beyond the possibility that it may occur.

The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair.

This paper also suggests the disengagement of East Asian and Chinese “culture” and art from a global (western) norm and production and consumption of national culture in East Asia by East Asians.

The paper looks (for the first time) at the direct (and subliminal) influence of political systems on art markets and the consequential effects of political ideology on the art markets of East Asia and China. The paper arrives at a series of precise definitions for the way that these art markets operate.

The color painting of ancient buildings has high historical and artistic value but is prone to aging due to long-term outdoor exposure. The purpose of this study is to develop a new type of sealing coating to mitigate the impact of ultraviolet (UV) light on color painting.

The new coating was subjected to a 500-h UV-aging test. Compared with the existing acrylic resin Primal AC33, the UV aging behavior of the new coating, such as color difference and gloss, was studied with aging time. The Fourier infrared spectra of the coatings were analyzed after the UV-aging test.

Compared with AC33, the antiaging performance of SF8 was substantially improved. SF8 has a lower color difference value and better light retention and hydrophobicity. The Fourier transform infrared spectroscopy results showed that the C-F bond and Si-O bonds in the resin of the optimized sealing coating protected the main chain C-C structure from degradation during the aging process; thus, the resin maintained good stability. The hindered amine light stabilizer TN292 added to the coating inhibited the antiaging process by trapping active free radicals.

To address the problem of UV aging of oil-decorated colored paintings, a new type of sealing coating with excellent antiaging properties was developed, laying the foundation for its demonstration application on the surface of ancient buildings.

Chinese began to arrive in Florida at the turn of the 20th century. Currently there are more than fifty thousand Chinese living in Florida. This article provides information resources for scholars and students of Chinese studies, and for people interested in the history of Chinese Americans and Southeast regional studies. It consists of archive papers, books, journal and newspaper articles and Internet resources containing information on Florida and China. The list is arranged by authors’ last names when available.