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The digital collection of the Henan Museum was launched, and 10,000 copies of the digital "Women's Good Owl Zun" were sold out online

[Dahe Newspaper, Dahe Cai Cube] (Reporter Yang Xiao Wentu) Can national treasure-level cultural relics be privately collected? Digital "national treasure" cultural relics, can! On December 16, at the seminar on cultural and creative development held in Zhengzhou on "Focusing on 2021 - N Kinds of Possibilities for the National Tide Out of the Circle", the Henan Museum launched the first 3D version of the hospital's digital cultural creation "Women's Good Owl Zun", which is provided by AntChain with the underlying technology and platform to achieve its digital copyright protection, collection and sharing. It is understood that the digital collection is limited to 10,000 copies and sold out on the day of launch.

The digital collection of the Henan Museum was launched, and 10,000 copies of the digital "Women's Good Owl Zun" were sold out online

The Lady Good Owl is one of the nine "treasures of the town hall" of the Henan Museum, and has a high reputation among the domestic public. An owl is an owl. The shape of the female good owl is taken from the shape of a standing owl, which is one of the earliest bird-shaped wine statues found in China. There are 8 kinds of ornaments distributed on its body, including coil snake pattern, gluttonous pattern, animal face pattern, etc., and the ornamentation of the whole owl is clearly distinguished, and each ornament can be independently expressed or intertwined with each other.

Earlier this month, the Henan Museum once revealed the "Women's Good Owl Zun" chocolate. However, the development of cultural relics as a digital national treasure is the first time that they have been publicly sold on the market. Users can purchase it in the Alipay Whale Discovery Mini Program, which is priced at 19.9 yuan per copy.

The digital collection of the Henan Museum was launched, and 10,000 copies of the digital "Women's Good Owl Zun" were sold out online

Song Hua, director of the founding of the Henan Museum, introduced that the female good owl is known as the god of war, representing a strong and indomitable spirit, which means to face difficulties, fight a hundred battles, and protect the motherland and the people. "As a digital technology for cultural integration, digital collection can not only allow more young people to understand Henan culture online, but also attract more and more young people to enter physical museums from online, further enhancing the sense of cultural acquisition and pride."

It is understood that the digitized national treasure cultural relics "Women's Good Owl Zun" was jointly created by the Henan Museum and the Ant Group. This is also the second time to carry out digital exploration of cultural relics IP after the launch of the "Archaeology Bar Together" digital museum series project launched by the two sides this year.

Yu Lin, general manager of the strategic development department of Ant Group, said that with the help of digital technology, domestic literary entrepreneurship is experiencing a new round of industrial change, and the form of digital collection and innovation needs a healthier development environment. The company hopes to unite with the Henan Museum to unite more museums, carry out cross-border integration with innovative technical means and young expressions, deeply explore the contemporary value of traditional culture, and realize the creative transformation of digital collections, so as to explore the new model of "humanities + technology + business" and promote the digital development of cultural and creative fields.

It is also understood that the Henan Museum has more than 170,000 pieces / sets of collections, most of which are precious cultural relics, of which bronze, jade, ceramics, stone carvings and other most distinctive features, is to witness and show the origin of Chinese civilization to form and develop the vein of culture and art. In the future, Henan Museum will continue to launch new digital collections and digital cultural creations, and will coordinate resources and actively build a platform to help the development of digital cultural creation in the province's cultural and creative industry.

Editor-in-charge: Liu Anqi | Review: Li Zhen | Director: Wan Junwei

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