scholarly journals Going Global: Markups and Product Quality in the Chinese Art Market

2013 ◽  
Author(s):  
Jennie Bai ◽  
Jia Guo ◽  
Benjamin R. Mandel
Keyword(s):  
Product Quality ◽  
Art Market ◽  
Chinese Art ◽  
Chinese Art Market

Research on Ceramic Artworks’ Anti-Counterfeiting and Authentication Based on Two-Dimensional Code

2013 ◽  
Vol 791-793 ◽  
pp. 2096-2099
Author(s):  
Ming Liu ◽  
Yong Xie ◽  
Yi Lai Zhang
Keyword(s):  
Art Market ◽  
Cultural Development ◽  
Chinese Art ◽  
Two Dimensional ◽  
Random Code ◽  
Related Information ◽  
Depth Analysis ◽  
Ceramic Art ◽  
Dynamic Encryption ◽  
Chinese Art Market

The prosperity of the Chinese art market promoted the spiritual and cultural development. However, counterfeit, fake artworks often happen. After in-depth analysis of the characters of the two-dimensional code and current artworks anti-counterfeiting technology, and combined with the characteristics of ceramic art, an efficient ceramic artworks anti-counterfeiting and authentication method was proposed based two-dimensional code and WAP technology. Art-related information with a random code was built dynamic encryption security sequence, and consumer can use a phone quickly and efficiently achieve certification of ceramic artwork via WAP. The performance analysis shows that this method is feasible and easy to implement, maneuverability, and safety.

scholarly journals Testing for Bubbles in the Chinese Art Market

SAGE Open ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 215824401990124 ◽  
Author(s):  
Xin Li ◽  
Chi-Wei Su ◽  
Meng Qin ◽  
Fahai Zhao
Keyword(s):  
Asset Price ◽  
Market Price ◽  
Art Market ◽  
Chinese Art ◽  
The Public ◽  
Augmented Dickey Fuller ◽  
Chinese Art Market ◽  
Speculative Behavior ◽  
Adf Test ◽  
Two Bubbles

This article detects the existence of bubbles in the Chinese art market and investigates when the bubbles originate and crash. We utilize the generalized supremum augmented Dickey–Fuller (ADF) test to detect explosive behavior in the Chinese art market. The empirical results indicate that there are two bubbles in the Chinese art market that happened in the periods from 2004 to 2005 and 2010 to 2011. The main reasons are the financialization of artworks, the speculation of investment institution, and the fluctuation of macroeconomics in China. Our findings are in agreement with the bubble model improved by Gürkaynak considering that asset price can be decomposed to bubbles and fundamental parts. Therefore, to favor the Chinese art market price stabilization, the regulators from this market should identify bubbles to notice their evolutions. The authorities should also manage the expectations of the public and reduce speculative behavior.

scholarly journals Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong

Arts ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 28
Author(s):  
Jeremie Molho
Keyword(s):  
Hong Kong ◽  
Art Market ◽  
Chinese Art ◽  
Chinese Market ◽  
Auction Houses ◽  
Recent Emergence ◽  
World Class ◽  
Chinese Art Market ◽  
Global Art ◽  
The City

The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.

Anchoring effects in the Chinese art market

2021 ◽  
pp. 102050
Author(s):  
Timothy Yang Bian ◽  
Jun Huang ◽  
Siqi Zhe ◽  
Man Zhang
Keyword(s):  
Art Market ◽  
Chinese Art ◽  
Anchoring Effects ◽  
Chinese Art Market

Art for art’s sake? An exploration of the Chinese art market

2021 ◽  
pp. 1-19
Author(s):  
Liping Zou ◽  
Anne De Bruin ◽  
Ji Wu ◽  
Yue Yuan
Keyword(s):  
Art Market ◽  
Chinese Art ◽  
Chinese Art Market ◽  
Art For Art's Sake
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