Entering 2026, the imagination space for the RWA track is expanding rapidly. Following bond and real estate tokenization, cultural IPs and artworks are also being brought into the fold.

The problem is, traditional art investment thresholds are too outrageous—often starting at several million dollars, making it impossible for ordinary people to participate. But through tokenization, the收益 rights of high-priced artworks and well-known cultural tourism IPs are broken down into small tokens. In this way, a few tens of dollars can buy a share and enjoy the appreciation gains of these assets. Simply put, it turns high-end assets into retail financial products.

Why is this so attractive? The core lies in two words: scarcity.

Artifacts and artworks are inherently non-reproducible and have strong long-term preservation value. Ming and Qing imperial kiln porcelain, modern famous artists’ paintings—these have maintained an annual appreciation rate of 8%-12% over the years. After tokenization, the sources of收益 become more diverse—there’s the appreciation of the assets themselves, IP derivative income (such as merchandise and licensing fees), plus operational收益 from cultural tourism projects (like ticket sales and experience fees).

For example: there’s a Qianlong famille rose nine-peach celestial globe project, which拆成 1 million tokens, with a minimum investment of 0.5 yuan. Investors can not only享受 the appreciation dividends of the artifact but also share in auction reserve dividends and priority access to museum visits. Similar cultural tourism IPs like Fencing Panda also work this way, with ticket dividends and derivative product revenue sharing, achieving an annualized return of over 7%.

This approach既保留了传统资产的保值属性，又通过代币化激活了流动性和可及性。