There are always people complaining that the taste of the new year is getting weaker and weaker. Is it possible that your opening method is wrong?

Who would have thought that the National Museum of China is not only worried about cultural relics, but also about the New Year's Eve dinner.

Recently, Guobo and the time-honored brand Quanjude have teamed up to put on a family portrait golden soup Buddha jumping over the wall gift box, which contains abalone, sea cucumber, scallop, pork tendon, fish maw...

　　The cultural and creative trend in museums that began with the roll of "I know" tape has now almost become a standard feature of various museums, and the Spring Festival market is even more "a battleground for military strategists".

What to eat, use, and play in the Spring Festival, the museum provides solutions for "from cultural relics to life".

　　Eating is a big deal, and the museum thinks so too

　　"We gain three pounds during the festival", especially the Spring Festival, which is the most important festival for Chinese people.

　　"The difference between food and beverage culture and creativity is that good-looking and delicious food must be satisfied at the same time, and there are more requirements for design creativity." said Liao Fei, the director of food culture and creativity of the National Expo, "the audience who entered the National Expo can drink The coffee from Chang'e flying to the moon and pulling flowers, and the ice-cream in the shape of a big cauldron, are designed as New Year gift boxes that are easy to carry and distribute, and I hope people who haven't entered the museum can enjoy it."

　　According to Liao Fei, the outer packaging of the Golden Soup Buddha Jumps over the Wall is based on the "Xianzong Lantern Festival Pleasure Scroll" collected by the National Museum of China, which depicts the lively atmosphere of the palace during the festival during the Chenghua period of the Ming Dynasty.

Buddha Jumps over the Wall is also known as "Fu Shou Quan", which means beauty.

　　During the Spring Festival, the "Ancient Chinese Food Culture Exhibition" will be exhibited at the National Expo. Eating this small thing reflects the daily life of the Chinese people for thousands of years.

In addition to Buddha Jumping Over the Wall, Guobo also launched a gift box of "Lanxiao Xing Le Tu Lunar New Year Refreshment".

Inspiration still comes from "Xianzong Lantern Festival Pleasure Scroll". In the painting, a trader bears the most eye-catching, the currency of the north and the south is dazzling, and the children are embracing each other, which is the most joyful scene.

　　The Liangzhu Museum also recently launched a "Liangzhu Dingsheng" gift box, which combines Liangzhu elements with the traditional snack Dingsheng cake of Hangzhou's time-honored Chinese brand "Zhiweiguan".

The vessel design comes from the black pottery beans of the Liangzhu culture, the glaze is the red of the Liangzhu inlaid jade lacquer cup, and the gold decals come from the decoration of the Liangzhu pottery.

　　Xiong Lei, head of Liangzhu Cultural and Creative, said: "Red has a Chinese New Year atmosphere and echoes the theme of 'definite victory'. With the blessing of the New Year gift box, Liangzhu Cultural and Creative products are more likely to arouse the interest of consumers, which will further enhance Liangzhu's popularity. Culture brings more people's horizons."

　　From ancient art, into modern life

　　长期致力于博物馆研究的上海大学教授潘守永，最近也被各家博物馆的春节文创看花了眼。他发现，博物馆文创进军的新领域越来越多，连电动牙刷都在其中。

　　上海博物馆近年来每到春节，都会推出当年相应的生肖展，并从展品中挑选文物作为灵感来源，创作系列文创产品。虎年将至，这次挑选的文物之一是河南磁州窑的虎纹瓷枕。陶瓷虎枕是金代流行的一种特色生活用具，还有着吉祥、辟邪的寓意。晋代葛洪《肘后备急方》中就主张，虎头枕可以治疗睡眠相关的疾病。上博提取了陶瓷虎枕的图案元素创作了居家毯，试图传达出磁州窑的野逸画风和虎纹中的民俗趣味。上博文创中心副主任冯炜说：“我们想传递一个家的感觉。瓷枕是冰冷的，但是毯子柔软、温暖，可以做挂毯、做桌毯，或者干脆围身上当披肩。”

　　冯炜坦言，做了这么多年的文创，创新并不容易，何况还有“春节”这样一个节庆的限制，“在不违背传播博物馆文化、讲好博物馆故事的基础上，最重要的是，文创产品要与现代人的生活相结合，源于古代艺术，走入现代生活”。

　　博物馆文创的客群主要是年轻人，所以，年轻人日常用什么，上博文创会特别关注。这次与居家毯同时上新的还有虎纹车载颈枕、香薰礼盒、围巾、保温杯、口罩、贴纸……

　　从上一个羊年开始，上博逢年制作生肖颈枕已成传统，进入第八年，观众已经产生了一种期待感。虎年文创还没上新前，就有朋友跟冯炜打听，今年你们做什么款式呀？还有不少粉丝等着集齐一轮12款。

　　国博经营开发部副主任朱晓云说，尽管新春产品适合售卖的时间段并不长，但要付出很大心力，基本上需要提前将近一年去筹备、策划，“希望突破传统‘模板式’的设计思路，力求新颖外观的同时，把国博独特的文化资源融入产品中，赋予产品更强的文化张力”。

　　This year is already the 4th year of the National Expo calendar. "Innovation can be innovative." Zhu Xiaoyun said that the new crown pneumonia epidemic has blocked people's footsteps, but the exhibitions of the National Expo have not stopped. How to make these exhibitions updated Many viewers who were unable to come to the scene saw that in addition to the heavy catalogues, the calendar is a lighter way. "The National Expo Calendar is based on 365 cultural relics in the collection every year. In 2022, we will make the most memorable events of the National Expo 2020-2021. 12 thematic exhibitions are integrated into it".

　　In addition to long-selling products such as calendars, Guobo has also added some new things this year, such as music boxes from the West, which are combined with the Lantern Festival scene for the first time.

The "Xianzong Lantern Festival" in the collection of the National Museum of China depicts the Lantern Festival of Emperor Xianzong in the Ming Dynasty. Following the folk customs, he decorated the inner court with lanterns, set up Aoshan lanterns, set off fireworks, lion dances, and staged acrobatic performances... Music box selection The scenes of acrobatic performances, Aoshan Lantern Festival, lanterns and firecrackers, carts and carriages in the picture scroll, and cheerful music are added at the same time, and the cultural relics are really "live".

　　Where is the next stop for the museum's cultural and creative industry?

　　Pan Shouyong said: "Cultural and creative during the Spring Festival is a bit like what we call 'fast consumer goods'. After this season, customers will lose their motivation to consume. However, some products have a certain duration, such as calendars, which can be used for a year, such as refrigerators. Stickers, pillows, umbrellas are long-term supplies.”

　　Pan Shouyong said frankly that cultural and creative texts are not the main business of museums, and they have only invested manpower and material resources in recent years to become a major part of the museum's work. , this is the new mission of the museum. But the cultural and creative market of the museum is not the increment of the society, but when the market is saturated. For example, it is also a red envelope and an umbrella, why should you buy a museum? ? This is the question we should think about the most."

　　"The advantage of the museum's cultural and creative collection is that it has a large number of collections, which is the best basis for creativity, but one problem is still insufficient creativity, or to follow the trend. For example, all museums are making ice cream and mobile phone cases for a while, not only the variety is heavy, the lack of Creativity, and the awareness of intellectual property rights is relatively weak.” Pan Shouyong said, “Another problem is the boundaries of policies. Although museum cultural and creative industries have the attributes of museums, they are still market-oriented commodities. Operation has input and output. , then, what should I do if I lose? Even if I earn it, I can't share it, but can a certain percentage be set as a bonus, or even a certain percentage of performance? Should the creator be rewarded... These issues require better policy guidance."

　　Zhu Xiaoyun believes that the digital application of museum resources will become an important force for future cultural creativity.

"If the Internet has allowed the museum's cultural creativity to go out of the museum, then the digital cultural and creative industry has allowed the museum's cultural and creative to go out of the physical space and time." Zhu Xiaoyun said that the National Expo has taken the first step in the digital cultural and creative collections, "some collections have been launched online. Digital cultural and creative, all products are sold out within 10 seconds".

　　Zhu Xiaoyun said that cultural creativity is ultimately a cultural industry, which consists of two parts: culture and creativity, and both are indispensable, while design and production are not the traditional advantages of museums. Integrate social resources (design, production, marketing, etc.). This not only depends on the influence of the museum's own IP, but also requires the museum to have an open mind and build an open and win-win platform for all people with feelings and strengths. and institutions, all come to contribute wisdom to the museum’s cultural and creative industries.”

　　China Youth Daily, China Youth Daily reporter Jiang Xiaobin