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dumping and anti-subsidy measures, have largely reduced China’s export to the country.
Photovoltaic modules export to India also slumped 24.4 percent to 1.81 GW in the first quarter, as the Indian government ordere
d that all photovoltaic modules for government and central public utilities projects should be 100 percent India-made.
China’s top five photovoltaic modules exporters in value in the first quarter were Jinko Solar, J
A Solar, Trina Solar, Canadian Solar, and Longi, taking up 12.8, 8.6, 8.3, 7.4, and 6.7 percent, resp
ectively, of total export value. Export volume of the top 12 exporters took up 65 percent of total export, added the report.
The report projected that China’s photovoltaic modules capacity will furth
er expand 8.5 percent to 83 GW this year, with nearly 50 GW exported to the overseas market.
Wang Yang, an analyst with Soochow Securities based in Suzhou, Jia
ngsu province, said that apart from the economic recovery underpinned by su
pportive policies, cyclical factors also imply that earnings growth will continue to recover in the rest of the year.
According to Wang, the current profit cycle of A-share companies started from 2
016 and should end with recovery this year, as the cycles usually last for 12 to 14 quarters.
This year’s gradual recovery in earnings growth could help the A-share market to withstan
d external uncertainties, said Yan Xiang, an analyst with Shenzhen-based Guosen Securities.
“It is quite different from 2018 when earnings growth of most companies deteriorated. Earn
ings growth, a determinant of the market trend, is likely to be on the recovery path,” Yan said in a note.
According to a public announcement from the Palace Museum, director and curator Shan Jixiang
has retired April 8, succeeded by the director of the Dunhuang Academy, Wang Xudong.
Born in 1954, Shan majored in urban planning and graduated from Tsinghua University. Before taki
ng his place as the head of the Palace Museum, Shan was director of the National Cultural Heritage Administration.
During his time at the Palace Museum, the place underwent a series
of innovative changes. By the end of 2018, over 80 percent of the areas in the Forb
idden City opened up to public visitors, compared with only 52 percent in 2014, and merely 30 percent before that.
The proportion of exhibited “royal treasures” increased from only 1 percent to the current 8 percent.
Shan also injected new vitality into Chinese cultural heritage. From the various creativ
e products to the Lantern Festival light show, the Palace Museum has returned to the center of public discus
sions. In 2017, the sales of its extensive creative product lines reached 1.5 billion yuan ($223 million).