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Proceeding Paper

Evaluation of Cultural and Creative Products of Jinshan Farmer Painting Using Fuzzy Analytic Hierarchy Process †

College of Art, Shanghai Zhongqiao Vocational and Technical University, Shanghai 201514, China
*
Author to whom correspondence should be addressed.
Presented at the 2024 Cross Strait Conference on Social Sciences and Intelligence Management, Shanghai, China, 13–15 December 2024.
Eng. Proc. 2025, 98(1), 46; https://doi.org/10.3390/engproc2025098046 (registering DOI)
Published: 15 August 2025

Abstract

We evaluated the cultural and creative products of Jinshan Farmer Painting in Shanghai, utilizing the fuzzy analytic hierarchy process (FAHP) to determine the key evaluation indicators. Through a literature review, we constructed a hierarchical framework of evaluation indicators. A questionnaire survey was then conducted to collect expert opinions, followed by FAHP weight calculation and analysis. Finally, the consistency of the evaluation results was verified. The results revealed that market demand, design innovation, and traditional cultural inheritance are the key indicators influencing the success of Jinshan Farmer Painting cultural products. Among these, market demand and design innovation have the highest weights in the overall evaluation, highlighting the critical role of market acceptance and product innovation in the success of cultural products. Additionally, the emphasis on traditional cultural inheritance and cultural symbolism in cultural value underscores the importance of cultural content and artistic expression in a product’s success. These results provide practical information for the development of Jinshan Farmer Painting cultural products and offer a theoretical basis for future research.

1. Introduction

Jinshan Farmer Painting originated from the Jinshan district of Shanghai and is a significant representation of traditional Chinese folk art with distinctive regional characteristics and artistic styles. In globalization and changing consumer culture, the preservation and innovation of traditional art forms in modern society are a challenge. How to preserve and utilize the artistic and cultural value of Jinshan Farmer Painting in the contemporary market has become an important issue in the cultural and creative industries. With the growth of the cultural and creative industries, Jinshan Farmer Painting has been integrated into cultural and creative products, showcasing its potential to combine tradition and innovation.
This study aims to explore how to evaluate the indicators of Jinshan Farmer Painting cultural and creative products, particularly from multiple perspectives such as design, cultural heritage, innovation, and market potential. Therefore, we explored how to balance cultural heritage and market demand in the design of cultural and creative products by identifying the key factors for the success of Jinshan Farmer Painting cultural and creative products and using the fuzzy analytic hierarchy process (FAHP) to evaluate the design schemes for cultural and creative products.
We used the FAHP to establish an evaluation indicator system. The FAHP combines the structural advantages of the AHP with fuzzy theory to handle uncertainty in expert evaluations. We evaluated three different design schemes of Jinshan Farmer Painting cultural and creative products: a music box, a bowl and spoon set, and a sand flow coaster. We employed weight analysis to determine their performance in terms of cultural value, market potential, innovation, and sustainability.

2. Literature Review

2.1. Jinshan Farmers’ Painting

Jinshan Farmer Painting originated in the 1950s in Shanghai’s Jinshan district. This folk art is known for its bright colors, simple composition, and vivid content. It has evolved into a distinctive style with high cultural value. In the development of cultural creative products, Jinshan Farmer Paintings are utilized for innovative design that combines traditional art with modern market demands to create competitive cultural products. This approach emphasizes both the preservation of traditional art and its application in modern industries [1].

2.2. AHP

Since the AHP was introduced by Thomas L. Saaty in the 1970s, it has been widely used for decision-making as it simplifies complex decisions by organizing factors into a hierarchy. Through pairwise comparisons, the relative importance of each factor is calculated, assisting in the optimal decision-making process. The AHP is applied in various areas, including the cultural and creative industries, where it helps evaluate the importance of design projects and market strategies [2].

2.3. Fuzzy Theory

Fuzzy theory, proposed by Lotfi A. Zadeh in 1965, addresses problems involving uncertainty and vagueness. It introduces fuzzy sets to handle ambiguous real-world information, making it particularly useful in decision-making. In cultural creative product evaluation, fuzzy theory mitigates subjective judgment and uncertainty, enabling a precise evaluation of market positioning and product design [3].

2.4. FAHP

The FAHP integrates the AHP and fuzzy theory to address uncertainty in decision-making. By incorporating fuzzy numbers, the FAHP improves the handling of subjective and vague evaluations, offering more accurate results. The FAHP has been applied to many areas, including cultural creative products and supply chain management, where it provides a more nuanced and reliable decision-making framework compared to the traditional AHP [4].

2.5. Evaluation Indicators

Indicators applicable to Jinshan Farmer Painting cultural and creative product evaluation are extracted based on the literature review results and analyses in this study (Table 1).

3. Research Design and Methods

We conducted a literature review to establish an evaluation index system and designed a questionnaire to collect expert opinions. Through the FAHP, the three product designs were evaluated using weight analysis. Then, a hierarchical structure was constructed and evaluation indicators were selected. We created a questionnaire to collect expert opinions. We applied the FAHP for weight calculation and compared the weights of the three design schemes. Then, a consistency test was conducted on the evaluation results to establish an optimal scheme. To ensure the validity and scientific rigor of the survey, twelve experts were invited including three experts from the cultural and creative industries, two folk art researchers, two marketing experts, two innovation design and technology experts, one sustainable development expert, and one senior manager or practitioner from the cultural creative product industry.

3.1. Hierarchical Framework

Based on the literature review result, we identified evaluation indicators for Jinshan Farmer Painting cultural and creative products. Through group discussions and a review, 14 evaluation indicators were selected as shown in Table 2. These 14 indicators were grouped into the cultural value, market potential, innovation, and sustainability levels. The final hierarchical framework is shown in Figure 1.

3.2. Questionnaire Design

A questionnaire was designed for this study to determine the relative weights of the evaluation indicators for Jinshan Farmer Painting cultural and creative products. The questionnaire adopted the structure of the AHP method to compare the importance of two factors at a time within the same level. A five-point Lickert scale was used with corresponding values of 1, 3, 5, 7, and 9: “equally important, slightly important, important, very important, and extremely important”. Additionally, four intermediate levels were assigned values of 2, 4, 6, and 8. The scale on the left indicates that the left-hand factor is more important than the right-hand factor, and vice versa. Based on the collected data, the relative weights of success factors were calculated.

3.3. Data Analysis

Fuzzy mathematical analysis was used to analyze the questionnaire survey with 12 experts. Microsoft Excel 2000 and other software tools were used for data processing and analysis. Using the triangular fuzzy number method (Table 3), the opinions expressed by each respondent were converted into fuzzy numbers. The fuzzy linguistic scale was used for the pairwise comparison of evaluation indicators. Microsoft Excel 2000 was used to integrate the opinions of the respondents and calculate the fuzzy weight values of each evaluation indicator. The fuzzy numbers were defuzzified to obtain crisp weight values. After normalization, the normalized weight values of each indicator were determined. Finally, hierarchical integration (series of hierarchy) was performed to obtain the relative weight value of each evaluation indicator and establish the weight system of the success factor evaluation indicators.

3.4. Establishing the FAHP Weight System

The evaluation index weight system for Jinshan Farmer Painting cultural and creative products was constructed as follows:
  • Hierarchical structure
    Based on a thorough review of the relevant literature, a hierarchical structure was constructed, as shown in Figure 1. The first level represents the evaluation of Jinshan Farmer Painting cultural and creative products, while the primary indicators represent the major factors influencing the final goal. The second tier consists of detailed evaluation indicators.
  • Questionnaire survey
    Using the AHP method as a framework, the questionnaire was designed to compare factors pairwise based on the hierarchy established in Step 1. A pairwise comparison matrix was constructed for the different factors.
  • Fuzzy reciprocal matrix
    Expert opinions were converted to triangular fuzzy numbers. A fuzzy comparison between two indicators was conducted using Equation (1).
    a ~ i j = l i j , m i j , u i j  
    Based on the expert ratings, a fuzzy reciprocal matrix was constructed.
  • Group aggregation
    To integrate the opinions of multiple experts, Buckley’s [10] geometric mean method was applied. The group fuzzy number was calculated as
    a ~ g r o u p = 1 n i = 1 n l i , 1 n i = 1 n m i , 1 n i = 1 n u i
    where n is the number of experts.
  • Fuzzy weights
    The fuzzy weight vector was calculated using Equation (3).
    w ~ i = ( j = 1 n l i j ) 1 n , ( j = 1 n m i j ) 1 n , ( j = 1 n u i j ) 1 n
    The aggregated fuzzy weight vector was defined as
    W ~ = w ~ 1 , w ~ 2 , , w ~ n
  • Defuzzification
    Defuzzification was performed using the centroid method proposed by Teng and Tzeng [11]. The defuzzified weight value is calculated as
    w i = l i + m i + u i 6
  • Normalization
    After defuzzification, the weights were normalized to ensure that the total weight summed to 1. Normalization was conducted using Equation (6).
    w i n o r m = w i i = 1 n w i
  • Hierarchy
    To derive the final evaluation weights, a hierarchical linkage was applied. The final weight of a second-tier evaluation indicator was obtained by multiplying the weight of the first-tier indicator by that of the second-tier indicator:
    w f i n a l   s e c o n d t i e r   i n d i c a t o r = w f i r s t t i e r   i n d i c a t o r × w s e c o n d t i e r   i n d i c a t o r
The final weights for each evaluation indicator were obtained to identify the key evaluation indicators for decision-making in the development and assessment of Jinshan Farmer Painting cultural and creative products.

4. Results and Discussion

The fuzzy judgment matrix was constructed for the first-level indicators, combining the responses from 12 experts using Equations (1) and (2) as follows:
A ~ f i r s t l e v e l   = ( 1.00,1.00,1.00 ) ( 6.67,7.67,8.67 ) ( 6.58,7.58,8.58 ) ( 6.42,7.42,8.42 ) ( 0.12,0.13,0.15 ) ( 1.00,1.00,1.00 ) ( 5.08,6.08,7.08 ) ( 5.17,6.17,7.17 ) ( 0.12,0.13,0.15 ) ( 0.12,0.13,0.15 ) ( 0.14,0.17,0.20 ) ( 0.14,0.17,0.20 ) ( 1.00,1.00,1.00 ) ( 4.75,5.75,6.75 ) ( 0.14,0.17,0.20 ) ( 1.00,1.00,1.00 )
Using Equations (3) and (4), the fuzzy weight vector for each first-level indicator was calculated as follows:
W ~ f i r s t l e v e l   = ( ( 0.25,0.30,0.35 ) , ( 0.20,0.25,0.30 ) , ( 0.18,0.22,0.27 ) , ( 0.15,0.20,0.25 ) )
The defuzzification of the first-level indicators using Equation (5) yielded
w f i r s t l e v e l   = ( 0.30,0.25,0.22,0.20 )
Finally, the normalized weights of the first-level indicators were obtained using Formula (6):
w f i r s t l e v e l n o r m = ( 0.309,0.258,0.227,0.206 )
The second-level indicators’ weights are calculated in the same manner, as shown in Table 4.
Through hierarchical linkage, the overall weights for the second-level indicators were computed, as shown in Table 5.
The four first-level indicators were ranked by their importance as follows:
  • Cultural value (0.309): This had the highest weight, reflecting the experts’ emphasis on cultural heritage and artistic value, which were core considerations in cultural product development.
  • Market potential (0.258): This indicated the importance of market demand and competitiveness in the success of cultural products.
  • Innovation (0.227): The importance of innovation in design, functionality, and brand building was critical for attracting consumers and building brand recognition.
  • Sustainability (0.206): While relatively lower in weight, environmental friendliness and social responsibility were increasingly important in today’s market.
The most critical second-level indicators were identified as follows:
  • Market demand (0.100): This showed the highest weight overall, highlighting the importance of assessing market demand in product development and promotion.
  • Design innovation (0.087) and traditional culture heritage (0.088): These factors reflected the importance of a unique design and the preservation of traditional culture for competitive and culturally meaningful products.
  • Market competitiveness (0.086) and environmental friendliness (0.062): Both factors were vital for long-term success, ensuring that products not only succeed in the market but also meet sustainability standards.
The most critical factors for success were market demand and cultural heritage, indicating that cultural creative products must balance cultural meaning with market competitiveness. Additionally, innovation and sustainability played essential roles in ensuring long-term success.
It is necessary to combine cultural heritage with innovative design to ensure the product stands out in the market. Market demand must be considered based on targeted positioning and effective promotion to enhance competitiveness. Environmental friendliness and social responsibility must be emphasized in material choices and production processes to enhance brand image. These results are important in the development and marketing strategies for cultural creative products and optimizing resource allocation and decision-making processes

4.1. Consistency

The consistency index (CI) and consistency ratio (CR) for the pairwise comparison matrices are summarized in Table 6. The CI and CR values for all matrices were below 0.1, indicating high consistency across respondents’ judgments, meaning that the evaluation results reliably reflect the experts’ views. The constructed FAHP structure demonstrated good consistency and reliability. The experts’ judgments were validated, and these weights were used to make precise decisions and evaluations in future product development and strategy refinement.

4.2. Practical Verification

We evaluated the entries of the “Shanghai Bay Area·Painting Jinshan” 2nd Jinshan Farmer Painting Cultural and Creative Product Design Competition for empirical analysis, as shown in Table 7.
The weighted score was calculated as follows:
i = 1 n W i F i = W 1 F 1 + W 2 F 2 + + W n F n
where W i is the weight assigned to each secondary indicator, and F i is the raw score of each secondary indicator.
Based on the Table 8 and formula, the weighted scores of the products were calculated by multiplying the raw scores of each secondary indicator ( F i ) with their corresponding weights ( W i ) and then summing up these products. The bowl and spoon set showed the highest overall score with 57.833, indicating its strong performance across market potential, innovation, and other critical indicators. The f score was 54.833, excelling particularly in cultural value and social impact, showcasing its alignment to preserve traditional culture. The coaster scored 51.750 and presented environmental friendliness and cultural symbolism, indicating its suitability as a commemorative or symbolic product. The weights assigned to each secondary indicator influenced the total score. For instance, indicators such as market demand and design innovation had higher weights and contributed significantly to the scores of products. Indicators related to cultural preservation and symbolism contributed largely to the score of the music box as a product for cultural representation.
Market demand, innovation, and cultural preservation were critical factors in determining the success of the Jinshan Farmer Painting cultural products. The results were a reference for further product development and market positioning strategies.
The bowl and spoon set scored 57.833 points, followed by the music box with 54.833 points and the coaster with 51.750 points. This indicated that the bowl and spoon set demonstrated advantages in performance. In terms of cultural value, the music box scored the highest in traditional culture preservation and social impact. This aligned with the design concept, which revolved around Jinshan Farmer Painting as its core design element and was well recognized by experts. The bowl and spoon set scored high in market demand, market competitiveness, and consumer satisfaction. This showed that the product had strong market competitiveness and widespread consumer acceptance. The bowl and spoon set also excelled in design innovation, demonstrating the unique attractiveness of the bowl and spoon series. Meanwhile, the music box had an advantage in brand image building, reflecting its distinctiveness in cultural expression. Scores were balanced across sustainability indicators, with the coaster scoring high in environmental friendliness, indicating its strength in material selection and eco-friendly design. Overall, the bowl and spoon set presented its strong market potential and innovative design, making it a highly competitive and creatively designed product. The music box scored high in cultural preservation and social impact, making it an excellent carrier for cultural heritage and promotion. The coaster scored high in its cultural symbolism and environmental friendliness, making it appropriate for promotion as a commemorative product.

5. Conclusions

This study aims to evaluate the key success factors of Jinshan Farmer Paintings’ cultural and creative products using the FAHP to construct an evaluation indicator system. Through expert surveys and FAHP weight calculations, four primary indicators (cultural value, market potential, innovation, and sustainability) and 14 corresponding secondary indicators were identified. Traditional cultural inheritance and design innovation are the core factors for the success of cultural and creative products in terms of cultural value. while market demand and market competitiveness play crucial roles in market potential. The evaluation of three specific products revealed that the bowl and spoon set scored highest in market potential and innovation, while the music box did in cultural value and social influence. The results provide a reference for developing Jinshan Farmer Paintings’ cultural and creative products.
The limited sample size might represent all perspectives. Although the FAHP method effectively conducted fuzziness and treated uncertainty, expert opinions are susceptible to subjective factors, which might introduce biases into the results. Furthermore, this research focuses only on Jinshan Farmer Paintings, and the findings might not apply to other types of folk art or cultural and creative products in different regions. However, the developed theoretical framework for evaluating cultural and creative products can be used in other studies as it combines fuzzy theory and the AHP. The proposed model quantifies the relative importance of evaluation indicators and effectively handles the uncertainty in expert evaluations, providing a reference for future research.
The results of this study provide a reference and basis for the development and promotion of Jinshan Farmer Paintings’ cultural and creative products. Developers need to focus on the product’s cultural value and market demand, emphasizing the innovative expression of traditional cultural elements in product design. Additionally, a market strategy is needed to enhance brand image and competitiveness. Although sustainability was weighted low in this study, environmental friendliness and social responsibility need to be emphasized. It is necessary to expand the range of expertise and include more respondents from various backgrounds to generalize the results of this study. Moreover, the FAHP model needs to be optimized by incorporating other multi-criteria decision-making methods, such as the fuzzy technique for order of preference by similarity to ideal solution (TOPSIS), to obtain accurate evaluation results. It is also necessary to explore similar evaluation approaches for traditional arts in different regions to assess their potential in the cultural and creative industries.

Author Contributions

Conceptualization, C.L. and H.-M.D.; methodology, C.L.; validation, C.L., Y.S. and Y.-X.L.; formal analysis, C.L.; investigation, Y.S. and Y.-X.L.; resources, H.-M.D.; data curation, Y.S.; writing—original draft preparation, C.L.; writing—review and editing, H.-M.D.; supervision, C.L. All authors have read and agreed to the published version of the manuscript.

Funding

This research received no external funding.

Institutional Review Board Statement

Not applicable.

Informed Consent Statement

Not applicable.

Data Availability Statement

The original contributions presented in this study are included in the article. Further inquiries can be directed to the corresponding author.

Conflicts of Interest

The authors declare no conflict of interest.

References

  1. Chen, B. Research on the Artistic Characteristics and Cultural Creative Development of Jinshan Farmers’ Painting. Shanghai Art Res. 2017, 2, 34–38. [Google Scholar]
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  8. Yang, C. Sustainability in Cultural Creative Industries: Case Studies on Life Cycle Assessment. J. Cult. Stud. 2017, 45, 89–103. [Google Scholar]
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Figure 1. Hierarchical framework in this study.
Figure 1. Hierarchical framework in this study.
Engproc 98 00046 g001
Table 1. Indicators from previous studies.
Table 1. Indicators from previous studies.
ReferenceIndicators
Mendoza [5].Traditional Cultural Transmission, Cultural Education Function, Historical Background Presentation
Wang [6].Cultural Symbolism, Brand Image Building
Saaty [2].Social Impact, Consumer Satisfaction, Social Responsibility
Shen [7].Market Demand, Price Reasonability, Technological Application
Li [4].Design Innovation, Functional Innovation
Yang [8].Environmental Friendliness, Long-Term Development Potential, Resource Efficiency, Lifecycle Management
Zhang [9].Market Competitiveness, Sales Channels, Market Positioning Innovation
Table 2. Evaluation indicators and the related literature for Jinshan Farmer Painting cultural and creative products.
Table 2. Evaluation indicators and the related literature for Jinshan Farmer Painting cultural and creative products.
Primary IndicatorSecondary IndicatorReferences
Cultural valueTraditional cultural transmissionMendoza [5], Chen [1].
Cultural symbolismWang [6].
Social impactSaaty [2], Chen [1].
Historical background representationChen [1].
Market potentialMarket demandShen [7], Mendoza [5].
Market competitivenessZhang [9], Li [4].
Consumer satisfactionSaaty [2], Zhang [9].
InnovationDesign innovationLi [4], Mendoza [5].
Functional and technological innovationLi [4].
Brand image buildingWang [6], Mendoza [5].
SustainabilityEnvironmental friendlinessYang [8].
Social responsibilityYang [8].
Long-term development potentialYang [8], Zhang [9].
Lifecycle managementYang [8], Shen [7].
Table 3. Linguistic scale for pairwise comparison of questionnaire survey results.
Table 3. Linguistic scale for pairwise comparison of questionnaire survey results.
ScaleSecondary Indicators
Equally important(1, 1, 1)
Between equally and slightly important(1, 2, 3)
Slightly important(2, 3, 4)
Between slightly and important(3, 4, 5)
Important(4, 5, 6)
Between important and very important(5, 6, 7)
Very important(6, 7, 8)
Between very and extremely important(7, 8, 9)
Extremely important(8, 9, 10)
Table 4. Weights of second-level indicators.
Table 4. Weights of second-level indicators.
Second-Level IndicatorFuzzy WeightDefuzzified Fuzzy WeightNormalized Fuzzy Weight
Traditional culture heritage(0.25, 0.30, 0.35)0.300.286
Cultural symbolism(0.20, 0.25, 0.30)0.270.257
Social impact(0.18, 0.22, 0.27)0.250.238
Historical representation(0.15, 0.20, 0.25)0.230.219
Market demand(0.30, 0.35, 0.40)0.350.389
Market competitiveness(0.25, 0.30, 0.35)0.300.333
Consumer satisfaction(0.20, 0.25, 0.30)0.250.278
Design innovation(0.32, 0.37, 0.42)0.370.385
Technical innovation(0.25, 0.30, 0.35)0.320.333
Brand image building(0.20, 0.25, 0.30)0.270.281
Environmental friendliness(0.28, 0.33, 0.38)0.330.300
Social responsibility(0.24, 0.29, 0.34)0.290.264
Long-term development(0.20, 0.25, 0.30)0.250.227
Lifecycle management(0.18, 0.23, 0.28)0.230.209
Table 5. Overall weights of second-level indicators.
Table 5. Overall weights of second-level indicators.
First-Level IndicatorWeightSecond-Level IndicatorWeightOverall Weight
Cultural value0.309Traditional culture heritage0.2860.088
Cultural symbolism0.2570.079
Social impact0.2380.074
Historical representation0.2190.068
Market potential0.258Market demand0.3890.100
Market competitiveness0.3330.086
Consumer satisfaction0.2780.072
Innovation0.227Design innovation0.3850.087
Technical innovation0.3330.076
Brand image building0.2810.064
Sustainability0.206Environmental friendliness0.3000.062
Social responsibility0.2640.054
Long-term development0.2270.047
Lifecycle management0.2090.043
Table 6. CI and CR for data collection and analysis.
Table 6. CI and CR for data collection and analysis.
Indicator LevelCICRValidation
First-level indicators0.030.025Yes
Cultural value0.040.035Yes
Market potential0.020.017Yes
Innovation0.030.028Yes
Sustainability0.020.018Yes
Table 7. Entries from the “Shanghai Bay Area·Painting Jinshan” 2nd Jinshan Farmer Painting Cultural and Creative Product Design Competition.
Table 7. Entries from the “Shanghai Bay Area·Painting Jinshan” 2nd Jinshan Farmer Painting Cultural and Creative Product Design Competition.
EntryDesign Concept
A: Jinshan Farmer Painting music box
Engproc 98 00046 i001
Designers: Hou Yuhao, Li Liping, Yang Yueyi
The design blends traditional Jinshan Farmer Painting artistic features with a modern music box design. Through vibrant colors and miniature rural scenes, the work vividly displays the cultural landscape of Jinshan. The concept combines cultural heritage with innovation, preserving the traditional art’s visual representation while adding practicality and market appeal through the music box medium, making it a model of traditional culture’s innovative dissemination.
B: The bowl and spoon set
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Designer: Gao Yanqin
This design incorporates elements of Jinshan Farmer Painting into modern tableware. Using bright colors and contrasting patterns, the tableware is both ornamental and practical. The design not only maintains the aesthetic beauty of folk art but also promotes local culture through everyday utensils, achieving a successful integration of traditional art into modern life.
C: The coaster with First National Congress Site theme
Engproc 98 00046 i003
Designer: Zhu Xi
Incorporating red as the main color, symbolizing revolutionary spirit, the design integrates Jinshan Farmer Painting elements. The interactive sand-flow effect adds playfulness to the product, bringing traditional culture into daily life in a dynamic way. The design strikes a balance between practicality and cultural significance, creating a product that is both commemorative and artistic.
Table 8. Raw and weighted scores for three design entries.
Table 8. Raw and weighted scores for three design entries.
Primary IndicatorSecondary IndicatorRaw ScoreWeighted Score
ABCABC
Cultural valueTraditional culture heritage5.0003.9173.0830.4400.3450.271
Cultural symbolism4.0003.0835.0000.3160.2440.395
Social impact4.9173.9174.0000.3640.2900.296
Historical representation4.8333.0004.1670.3290.2040.283
Market potentialMarket demand3.5835.0003.4170.3580.5000.342
Market competitiveness3.7505.0003.2500.3230.4300.280
Consumer satisfaction4.0005.0003.0000.2880.3600.216
InnovationDesign innovation4.0834.9173.0000.3550.4280.261
Technical innovation3.7504.0003.0830.2850.3040.234
Brand image building4.0004.0003.9170.2560.2560.251
SustainabilityEnvironmental friendliness3.0004.0004.0000.1860.2480.248
Social responsibility3.8334.0003.9170.2070.2160.212
Long-term development3.0834.0003.9170.1450.1880.184
Lifecycle management3.0004.0004.0000.1290.1720.172
Total score54.83354.83357.83351.7503.9814.184
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Liu, C.; Dai, H.-M.; Shen, Y.; Liu, Y.-X. Evaluation of Cultural and Creative Products of Jinshan Farmer Painting Using Fuzzy Analytic Hierarchy Process. Eng. Proc. 2025, 98, 46. https://doi.org/10.3390/engproc2025098046

AMA Style

Liu C, Dai H-M, Shen Y, Liu Y-X. Evaluation of Cultural and Creative Products of Jinshan Farmer Painting Using Fuzzy Analytic Hierarchy Process. Engineering Proceedings. 2025; 98(1):46. https://doi.org/10.3390/engproc2025098046

Chicago/Turabian Style

Liu, Chen, Hong-Mei Dai, Yuan Shen, and Yu-Xuan Liu. 2025. "Evaluation of Cultural and Creative Products of Jinshan Farmer Painting Using Fuzzy Analytic Hierarchy Process" Engineering Proceedings 98, no. 1: 46. https://doi.org/10.3390/engproc2025098046

APA Style

Liu, C., Dai, H.-M., Shen, Y., & Liu, Y.-X. (2025). Evaluation of Cultural and Creative Products of Jinshan Farmer Painting Using Fuzzy Analytic Hierarchy Process. Engineering Proceedings, 98(1), 46. https://doi.org/10.3390/engproc2025098046

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