From 1.0 to 4.0, when the museum is breaking the circle of cultural creation

【Watching Home】

From the "archaeological blind box" that can be "grabbed" with speed, to the edible "ancient coin" chocolate becoming a hit, and then to "Miss Tang Palace Night Banquet" becoming popular and breaking the circle, in just a few months, "will The Henan Museum of "playing" is really on fire.

The museum has once again been searched for through cultural and creative purposes.

Nowadays, the museum launches blind boxes, gourmet food, beauty makeup, digital products, games... it is not new, and the enthusiasm is unabated.

From version 1.0 to version 4.0, the museum’s cultural and creative industries have been "savagely growing". Many products have become popular because of their brilliant ideas. The museum culture has also used these cross-border cultural creations to continuously break the circle and reach the public in more ways. .

Version 1.0 copy the image of cultural relics, simple overlay

　　This is the initial stage of the museum's cultural and creative "appearance", and it often acts as a tourist souvenir in the museum.

The more common ones are imitations of cultural relics, as well as small daily necessities or stationery such as mugs, T-shirts, post-it notes, bookmarks, notebooks, and refrigerator stickers.

　　The 1.0 version of cultural creation usually imitates cultural relics according to a certain proportion, or directly prints the image of cultural relics, museum architectural patterns, and logo elements onto the product.

Among them, imitations only have purely ornamental functions, lack practical value, and are priced relatively high, and viewers often shout "Can't afford it."

The cultural and creative design of printed patterns is generally relatively simple, just copying patterns directly and mechanically, and lacks innovation.

As a result, the prices of cultural and creative industries are often polarized, and they cannot cater for the consumption needs of different groups in different levels.

In addition, this version of cultural and creative varieties is limited, and the homogeneity is serious, and the sales are mainly sold in museums.

　　In general, the 1.0 version of the cultural and creative industry has a relatively small cross-over range, and the product is not attractive to the public.

For a long time, this has been the main way of presenting cultural and creative museums.

In fact, to this day, there are still quite a few small and medium museums' cultural and creative works that still remain at version 1.0.

Version 2.0 extracts cultural relic elements, creative life

　　The 2.0 version of cultural and creative is less "cold" and more "fresh", and began to pay attention to extracting attractive elements from cultural relics for product design.

For example, the Chaozhu earphones launched by the Palace Museum in Beijing cleverly took advantage of the similarity between the appearance of the pearls and the earphones. Some people joked that wearing the earphones seemed to be instantly "in possession of Lafayette."

Another example is the Shanghai Museum's "One World" canvas bag, which is designed by extracting Song Huizong's signature painting in "Liu Crow, Reed Goose", and the canvas bag made is very unique.

　　With version 2.0 of the cultural and creative industries, the product usage scenes have gradually become more life-like, and cultural and creative products that are both attractive and practical have become popular one after another.

Tapes, weights, cell phone holders, canvas bags, umbrellas... these products have a unique sense of fashion, which not only meets the aesthetic needs of modern people, but also meets people's joy of traveling through time and space, and successfully attracted the public's attention to museum culture. .

As Shan Jixiang, the president of the Chinese Society of Cultural Relics and the former president of the Palace Museum, said, "People will like them only if they extract cultural resources and connect them with people's lives."

　　In addition to stationery and daily necessities, this version of cultural creation has also begun to experiment with new types of electronic products, food, and skin care.

For the 2.0 version of cultural creation, on the one hand, the museum strictly controls the quality, on the other hand, it consciously sets up product prices in layers to meet the consumer needs of different groups.

At the same time, sales channels have also expanded from a single in-store counter to online marketing.

Version 3.0 breaks away from the ontology of cultural relics and excavates the connotation

　　This version of cultural creation has entered the "stride" cross-border stage, breaking the dimensional wall and playing with popular culture.

With the deepening of museum cross-border brand licensing cooperation, a variety of refreshing "museum+" have appeared: +catering, +technology, +finance, +beauty, +tourism, +games...

　　For example, the National Museum of China and L'Oréal jointly launched the "A Thousand Years of Beauty" series of lipsticks, which corresponded to five "star color numbers" and five "classical beauties", incorporating Chinese classical elegance into beauty makeup; the Palace Museum and NetEase Games The jointly-developed mobile phone game "Essence of Painting·Wonderful Pen Thousand Mountains" is based on "A Thousand Miles of Rivers and Mountains". Players are like being on the scene, traveling back to the great rivers and mountains of the Northern Song Dynasty in one second; Sanxingdui Museum is online in the WeChat emoji store "Gushu" "Moe Baby" series of emoticons, the original mysterious and serious bronze mask turned into a cute adorable baby, coupled with the interesting Sichuan dialect, the style is relaxed and joyful, causing netizens to download them; Hunan Provincial Museum and Changsha Bank, milk tea brand "Tea Yan" "Yue Se" jointly launched the credit card "Drinking Card", with the theme of the "Jun Xing Shi civet pattern lacquer plate" IP of Hunan Province Bo, and outputting history and culture with food topics...

　　When creating the 3.0 version of the cultural and creative industry, the museum began to pay attention to the protection and use of intellectual property rights, consciously establishing a brand image, and creating the museum's characteristic IP.

At the same time, it strengthened the promotion of online sales channels, opened sales channels on multiple platforms such as Tmall, JD, WeChat, etc., and paid attention to online publicity efforts to maintain brand image.

In addition to the quality control of the product itself, this version of Wenchuang also pays attention to its added value. For example, the careful packaging box is enough to bring the product to the next level.

Many viewers create museum articles as a high-quality choice for gifts to relatives and friends, which can be said to be very popular.

　　The 3.0 version of the cultural and creative, broadened the thinking, full bloom.

They break the traditional boundaries of physical products and extend to intangible products. Various creative linkages emerge in an endless stream, ushering in a new cross-border style of museums.

"The new era of museum cultural and creative IP has arrived," said Qiang Yue, former director of the Shaanxi History Museum.

Version 4.0 breaks the limitations of cultural relics and expands the extension

　　The 4.0 version of cultural creation is not only the development of the original content of the museum, but also the expansion of its extension and the realization of self-creation of value, which is another "upgrade and update" of cross-border cooperation.

　　Forbidden City Publishing House and "Mystery House", a chain of live-action room escape games, have launched interactive puzzle-solving books "Mystery Palace·Ruyi Linlang Illustrated Books" and "Mystery Palace 2·Golden List Titles".

The book combines the Forbidden City culture with Chinese classical culture in a fun combination, including simpler ritual and music measurement, seasonal solar terms, chess, calligraphy and painting, five elements and eight hexagrams, which broadens the extension of museum culture.

Wang Yamin, the president of the Palace Publishing House, believes that it is a cross-border cultural creation that "integrates with technological innovation and multimedia" and "makes the culture of the Forbidden City better reach the society, the masses, and the hearts of young people."

　　The "integration" model of the Suzhou Museum is also an excellent example of the 4.0 version of cultural and creative extension of the museum's extension.

According to Xie Xiaoting, deputy curator of the Suzhou Museum, the objects of "Rong" include partners in different industries, experts in different fields, and groups with different needs, including six sectors including media, tourism, finance, and technology.

Xie Xiaoting pointed out that such in-depth cooperation can "help museums enter the public."

　　Version 4.0 is currently the advanced stage of the museum’s cultural and creative cross-border cooperation. At this time, the products are no longer the 1.0 version of stationery and bags. Instead, they dig deep into the cultural potential of the museum. Cross-border cooperation is more systematic, scientific and possessive. More mature operation system.

For example, the Dunhuang Research Institute has divided its own cultural and creative center into three sub-brands: "Like Dunhuang", "Nian Nian Dunhuang", and "Dunhuang of Mankind under the Stars" to explore and explain Dunhuang art, cooperate with foreign brands, and organize public events; it will rebound. Pipa, Feitian, Camel, Zaojing, Nine-Colored Deer, Bodhisattva and other characteristic elements are integrated into cultural creation; cross-border cooperation to launch the "Digital Silk Road" project, launching Dunhuang animation drama, "Dunhuang Poetry Towel" and other digital products, forming The new model of cultural and creative product development in the Internet era vividly interprets the story of mural paintings that span thousands of years in a way that the public loves to see.

　　On the whole, the 4.0 version of cultural creation focuses on improving the influence of museum culture on society, with a sense of innovation and overall view.

They can infinitely shorten the distance between the museum and the public, live close to thousands of households.

As Li Qin, deputy dean of Henan Museum, said, “Catch the audience’s heart with dialogue between ancient and modern”, and through innovative expression of traditional culture, the public can perceive the solid core of Chinese culture, enhance cultural self-confidence, and promote the integration and development of culture and tourism. .

　　Looking at the whole country, the museum's cultural and creative product development team is constantly expanding; various new cultural and creative products have been launched one after another, leading the new fashion of national consumption.

At present, thousands of museums in my country have launched countless cultural and creative products, some are still in the "xiaobai" stage of version 1.0, and some have advanced to version 4.0.

Of course, not all museums have transitioned in sequence according to this development stage, and some have experienced leapfrog development, and the coexistence of several versions of products in a museum is not an isolated case.

On the road of cultural and creative development, all museums are "seeking up and down"; from 1.0 to 4.0, the museum's cultural and creative circle is underway...

(Our reporter Li Yun, correspondent Wu Yijie)