In the 5,000-year history of Chinese civilization, the folk art bred by different eras and different regions is the coordinate for us to trace the origin and development of past civilizations.
However, with the passage of time, the fragments of culture that record history for people have gradually drifted away from the public's attention in the face of the massive information brought by the Internet, and how to do a good job of "protection and inheritance" has become the core tone of the current cultural self-confidence.
When we jump out of the above logic and re-examine, we will find that the development of science and technology, including the Internet, and the protection of cultural and cultural heritage, the inheritance of intangible cultural heritage, is not a zero-sum game, from cyberpunk to the meta-universe, around the "digital", "virtual" and other keywords of scientific and technological progress, little by little for the new culture to spread the power, rebuild the bond to reach the crowd.
The pain point of the city of museums
Compared with many magnificent historical stories and moments, every step of Xi'an's urban construction is also saddled with the collation and display of a large number of cultural exhibitions, cultural protection and intangible cultural heritage, which may be a bit "Versailles" in the eyes of the outside world, but how to better disseminate the products of civilization that exist at this stage to the future is still the core proposition. Behind hot search keywords such as "going to work like a grave" and "the busiest thing to repair the subway in Xi'an is the Cultural Relics Bureau", what is reflected is the imminent protection of cultural sites.
In October this year, the Third China Archaeological Congress announced 100 Chinese archaeological discoveries in the past 100 years, and the cultural relics province of Shaanxi has gained a lot, winning the championship with 11 entry options, of which 6 are in Xi'an, the ancient capital of the 13th Dynasty.
Daming Palace Ruins Museum Photography Delight Xi'an
In terms of time span, starting from the Paleolithic relics dating back 45,000 years, through the Neolithic Age, Xia Shang Zhou, Qin, Han, Wei, Jin, Southern and Northern Dynasties to the Tang, Song and Yuan Dynasties, there are both the Central Plains civilization buried deep under the yellow land, as well as the exquisite cultural relics distributed along the coast of Jiangsu and Zhejiang; there are new archaeological explorations from the southwest region, and there are historical echoes in the frontier areas.
From the trajectory of discovery, excavation, conservation, storage, and then to display, participation in public cultural life, it can be clearly seen that Xi'an has a set of quite mature mechanisms in this field. Thanks to the use of science and technology, diversified digital means have also continued to exert their effects, so that people from all over the world do not need to be present to enter the local collections and understand the story behind each cultural relic.
However, in terms of empathy, compared with tangible physical cultural relics, intangible cultural heritage cannot completely copy the above path, and the key lies in the fact that the core of tangible physical cultural relics lies in things, and the core of intangible cultural heritage lies in people.
H. H. Fuller International Ceramics Museum Group
Taking Tieshan inner painting as an example, according to Zhang Tieshan, president of the Tieshan Inner Painting Art Research Institute, the inheritor, unlike the categories impacted by industrial production, Tieshan inner painting is still inseparable from pure handmade, Tieshan inner painting has been famous overseas for many years, belongs to the blossoming wall outside the wall, is highly sought after in Europe and the United States, and is one of the few things that can achieve cross-civilization dialogue in the life of Eastern and Western cultures.
At the same time, it takes nearly five years to train a qualified painter, which is far from matching the market environment, and young people are willing to stay and learn too little, so it is even more difficult for other social roles to perceive this wonderful intangible cultural product. Speaking of which, the new ideas brought about by the digital media mentioned above may be of substantial help.
The digital world tells the story of the future of Wenbo
A status quo is that any form of cultural development is inseparable from social attention and capital participation, and if you want to expand such a radius of radiation, the attitude of young people is more and more valued.
On March 10 this year, the sandbox game platform Roblox, as the first company to write the concept of "meta-universe" into the prospectus, successfully landed on the New York Stock Exchange, with a market value of more than $40 billion on the first day of listing, instantly detonating the circle of technology and capital.
Since then, the concept of "metacosmity" has instantly flooded the global information channels, and the phenomenon of "metacosmity" has been formed in a very short period of time, which has also become a new frontier for digital economic innovation and industrial chain, and the digital collection that appeared at the same time has begun to enter the public vision.
Tencent, which is acting quickly, has built a digital collection trading platform based on the "Zhixin Chain": Magic Core, providing trusted depository technology and digital collection voucher technical services, and is committed to exploring the new value of digital collections with relevant industry institutions, opening up richer IP collections for collectors, creating a more interesting interactive experience, and helping creators protect their creative achievements.
On August 4, the "Magic Core" App's first limited edition of the "Thirteen Invitations" vinyl record digital collection was put on sale, limited to 300 pieces, and sold out in less than 1 second after it was launched;
On October 29, the digital collection of "Yue Wang Gou Jian Jian Sword", the treasure of BozhenGuan in Hubei Province, was released to the public, with a total of 10,000 copies, which was sold out in less than half a minute after the Alipay Fan Granule Mini Program was launched.
Taking advantage of this Dongfeng, Ali was the first to launch a digital art special session, entering the digital collection industry, and today, Ant Group has sold nearly 8,000 limited edition digital collections, covering cultural relics, skins, hand-made categories and other fields, especially the Dunhuang Mogao Grottoes limited sale of "Dunhuang Feitian" and "Nine Colored Deer" payment code two skins, each 8,000 copies sold short on the same day, the reason why it can produce such a hot market effect stems from its own unique attributes.
On November 3, Ant Chain Treasure Planned to launch the "Datang Kaiyuan Xiaoyan Pagoda" digital collection, as the first digital collection of 3D architectural models in Xi'an, with a total of 10,000 copies, all sold out within seconds after the launch;
On November 21, Chengdu Jinsha Site Museum released a digital collection of national treasures "White Tibetan Clothes", "Fuze Full of Heaven", "Floating Noodles", and "Tiger Tiger Shengwei", each limited to 10,000 copies, which were sold out on the day of release.
According to the interpretation of Alipay's digital collection platform, digital collections are specific works, artworks and goods that have been digitized using blockchain technology for unique identification, and each digital collection reflects the unique serial number on a specific blockchain, which cannot be tampered with, inseparable, and cannot be replaced by each other, and because of these characteristics, digital collections can be traded and circulated.
The basis of all this is that the consumption drive of the young population of Generation Z is mostly from "fun", "novelty", "sense of technology", and under the guidance of these concepts, the digital collection that perfectly combines virtual and real is directly cut into the consumer aesthetic of young people.
In the issue of cultural heritage and intangible cultural heritage protection, the traffic value that its creators cannot obtain through traditional means will be effectively enhanced from the development space of digital collections, a new thing. The future of cultural and intangible cultural heritage is facing new opportunities at this moment. On December 18th, the Shaanxi Digital Art Collection (Cultural Tourism) Exhibition Center will start from the Sunac Qujiangyin Modern Art Center to reveal a meta-cosmic era about cultural inheritance.
Qujiangyin Art Center
Master inheritors, empowering traditional arts
It is worth looking forward to that the national premiere of the "Cultural Expo + Intangible Cultural Heritage" digital collection will be jointly organized by the H.B. Fuller International Ceramics Museum Group through the transaction scene of Ali auction, together with Hangzhou Xuhang and Sunac Qujiangyin Art Center, among which the intangible cultural heritage digital collection will include wonderful intangible cultural entities including Tieshan Inner Painting, Woodblock New Year Painting, Huaxian Shadow PuppetRy, Ceramic Art, etc., to be recorded and collected in digital form.
Corresponding to the above-mentioned different types of cultural and intangible cultural heritage art collections, this press conference will invite Zhang Tieshan, president of the Snuff Bottle Research Association of the China Arts and Crafts Society; Tai Liping, the twentieth generation of woodblock prints of the Shixing Painting Bureau; Wang Tianwen, representative inheritor of the national intangible cultural heritage project shadow puppet play (Huaxian shadow puppet play); and Four Shaanxi national arts and crafts masters such as Chinese ceramic art master Meng Shufeng.
At that time, we will see the artworks personally created by the four masters for this time, which have been converted into digital collections, and listen to the masters' imaginations on the future digital field of cultural and intangible cultural heritage art.
In addition, as the first digital contemporary ceramics copyright innovation and development base in China, the "Ai Hu" series of digital collections created by the H.B. Fuller International Ceramics Museum Group, as well as a number of high-quality digital collections of Sunac Qujiangyin Art Center itself, will also be unveiled here. It should be noted that many of the collections launched at sunac Qujiangyin Art Center will be released on the Ali auction platform on December 18.
Aihoo's three digital design effects
In fact, the commonalities of digital collections are all traceable, nothing more than the collection of blockchain, metaversy, digital tokens, youth culture in one, turning the very few into the majority, providing people with a novel and unique way of bearing value, the process of pure online purchase and purchase, and also providing endless imagination for the interaction of the virtual and real world.
Feng Jicai once said that "the inheritors of folk culture are passing away every minute, and folk culture is dying every minute", in the new track of cultural and cultural heritage protection and inheritance, scientific and technological innovation and advancing with the times are the historical links that take a key step. The establishment of the Shaanxi Digital Art Collection (Cultural Tourism) Exhibition Center is the market response of Wenbo to the new environment, providing the society with the direction of exploring the future of the industry.
In order to open a new era of culture and culture in Xi'an, it is necessary to create a broader meta-universe for a very small number of intangible cultural heritage.