Observer says: What is a digital collection? You may not understand it, but that doesn't stop it from thriving in the digital world. Fashionable young people already have their first collection, and fast-eyed operators have already thought far. Cultural consumption is always related to literary and artistic creation and cultural products. Zhejiang News Client will launch a series of cultural observations, and walk with new phenomena, new consumption and new products in the literary and art circles, stir up the floating dust, distinguish between good and bad, judge trends, and move towards the future.
As a derivative of the concept of a metaverse, digital collections are entering the public eye in a more touchable and understandable way.
What is it? In China, digital collections that are closely integrated with cultural relics and art can be regarded as an emerging virtual cultural commodity.
According to the trading platforms of most digital collections, each digital collection has a unique serial number on a blockchain as a unique proof of ownership. This serial number cannot be copied, tampered with, or split. In a sense, this is also the main value of the digital collection at present.
In Zhejiang, digital collections bring an interesting phenomenon. Many up-and-coming technology companies engaged in the business of digital collections are from Hangzhou, and from the perspective of the development of the digital economy, Zhejiang is completely at the forefront of this field. However, most museums in Zhejiang are currently indifferent to this new thing, one step slower than museums in other regions – and museums are just one of the largest IP parties in digital collections.
Behind the contrast between one cold and one hot, there are hidden risks and hopes brought by digital collections. Recently, the reporter interviewed a number of practitioners in related industries, exploring from many different angles how to give full play to the greatest cultural value of digital collections at this stage and let it grow better in the field of cultural creation.
Oops, "Dunhuang Feitian" is online in seconds
Digital collections are in the hot market in China, and cultural relics cannot be avoided.
On June 23, 2021, Alipay co-branded dunhuang academy of fine arts launched Dunhuang Feitian and nine-colored deer skins, which sold out in seconds. On December 16, 2021, the Henan Museum released the cultural and creative digital collection "Women's Good Eagle Zun", priced at 19.9 yuan, limited to 10,000 copies, and sold out in a very short period of time.........
As a result, people see great market potential for digital collections.
According to Tianyan, in Zhejiang, there are more than 130 enterprises established in the past two years to carry out digital collection-related business. Hangzhou Yinmei Technology Co., Ltd., as a core member of the digital media technology technology innovation team in Zhejiang Province, has been focusing on the field of culture and museum for many years, and is a technical industry specializing in museum digital services. Recently, the company has also started a digital collection business.
The reporter opened its "collection digital collection auction shop" at Ali Auction, where the digital collection is a digital cultural tourism series cooperated with artist Wu Yonghang, each product is limited to 300 copies, the price does not exceed 20 yuan, and the final hammer price ranges from 100 yuan to 50 yuan.
After the purchase is successful, buyers can view, download or share their digital collection on social media through the corresponding WeChat or Alipay Mini Program.
Hang Jianping, chairman of Hangzhou Yinmei Technology Co., Ltd., told reporters that through the hands of artists, each digital collection contains unique cultural values. In his view, the low price, easy to buy digital collection, almost everyone can participate, can quickly link the various cultural groups on the Internet, and carry the buyer's unique and unique collection experience, will become a cultural product with strong communication power and great prospects.
Easy, fun, with a sense of science and technology and cultural connotations, Hang Jianping depicts the shining point of digital collections in the field of cultural creation. It is undeniable that the cultural relics hidden in the museum are becoming more and more familiar through digital collections. Open a digital collection trading platform, the Western Han Dynasty big bronze horse, the Seven Treasures Ashoka Pagoda, the human head snake body jade ornament... Many ancient precious artifacts swirled quietly under the virtual light, and they were deep in the black void, as if waiting for some viewer to ask about their thousand-year-old story.
Unconsciously, cultural heritage is being integrated into our daily lives through the Internet. Hang Jianping also has a greater desire, "We hope to use the boom of digital collections to enhance the influence of Chinese cultural IP through cooperation with museums, thereby influencing the cultural industry." ”
At present, Hangzhou Yinmei Technology Co., Ltd. is in contact with many museums in Zhejiang to develop digital collections. But the process didn't go well, and most museums were conservative.
Hang Jianping believes that the relevant policies and regulations for digital collections in China are still in a vacuum, which is the main reason why these museums are prohibitive. In addition, except for a few larger trading platforms that have a sound business system that can protect the rights of buyers, most consumers will still face problems such as platform running away and digital collections. The seed of digital collection is in dire need of officials to improve and regulate the market.
The "slow step" of Zhejiang Wenbo people think so
2021 is known as the meta-cosmic year.
It can be seen that the digital collection based on the concept of the metacosm is really too new and too new.
There are many objective reasons for the "slow" step of museums across Zhejiang. Although the province's museums are rich in resources and the total amount ranks among the top in the country, the shocking power of the collections is slightly inferior to that of Shaanxi, Henan and other places; in addition, due to institutional mechanisms, the museum's capital investment in cultural creation has also been constrained. Of course, there are some subjective reasons.
Practitioners in the museum industry told reporters that from their point of view, the value of digital collections to buyers at this stage is still debatable.
When we squeeze out some moisture, more pragmatic, and even more honestly, the digital collection as a virtual product, at this stage, although the domestic buyers occupy it in name, but in the use of - that is, when viewing, or to log on to an APP or small program, through the screen to zoom in or shrink. Such use value can be easily replaced.
Most of the digital collections released by museums are derived from the treasures of the town museum, and the space for secondary creation is very small - almost the original appearance of these cultural relics has been moved into the online world. Models of artifacts are also available on the official websites of some museums.
Zhejiang Museum 3D cultural relics display
For example, open the zhejiang museum public service comprehensive platform, in the 3D cultural relics section, has shown more than 20 precious cultural relics such as Liangzhu Yuchun, the Five Generations ashoka Pagoda, the Southern Song Dynasty Bronze Buddha Seated Statue, etc., visitors can enlarge and rotate the 3D simulation model of these cultural relics in an all-round way, and appreciate every inch of color and every grain on each artifact.
In addition to the fact that digital collections enhance the interaction between museums and the public, the feeling we feel when viewing these digital artifacts may not be much different from when viewing purchased digital collections.
There is also a controversy over copyright. In fact, the cultural relics stored in the state-owned museum are a kind of public cultural resources, and the real owners are the public. When state-owned museums sell so-called unique digital rights to preserved cultural relics to the public who should have enjoyed these resources for free, is it also an abuse of copyright? Especially when these digital collections are just digital replicas of the prototype of the artifact ontology.
Based on various considerations, the relevant cultural relics departments are also taking action. Recently, the relevant departments of the State Administration of Cultural Heritage organized a symposium on digital collections in Beijing. Experts said that cultural and cultural institutions should not directly sell the original data of cultural relics as limited commodities, and should encourage social forces to use cultural relics resources to carry out reasonable innovative creations through formal authorization, and use information technology to stimulate the interpretation and dissemination of cultural relics value.
This means that we should use wisdom to give the digital collection itself greater cultural and artistic value at this stage. Not only limited to 3D models, but also pixel wind, or Y2K - digital collections in the field of cultural relics and cultural creation, which needs more young artists and designers to interpret and display cultural relics and the cultural forces behind them with unique perspectives and aesthetics.
Longquan Sword wanted to try it with the young man
No one can refuse the future.
Not long ago, 60 curators and scholars from 50 museums and universities across the country jointly released the "Initiative on Museums Actively Participating in the Construction of meta-universes", and the co-sponsors of the "Initiative" include Zhao Feng, director of the China Silk Museum.
The Initiative states that "the open sharing of digital resources is increasingly becoming a code of conduct universally recognized by museums around the world." As public cultural service institutions, museums should enhance the awareness of open sharing of collection resources, especially digital resources."
As one of the earliest units to start the digitization of textiles in the cultural system, the China Silk Museum has started the three-dimensional digitization of the collection in the second half of 2021, and has completed the scanning of more than 200 collections, and the number of completed pieces is expected to reach thousands. The ultimate goal is to allow visitors to freely browse high-precision models of the collection on the Web.
Wang Ziqiang, director of the exhibition and storage department in charge of this work, has been concentrating on the restoration of cultural relics such as textiles, calligraphy and painting, and ancient books for thirty years. Such a person who picked up the charred black Tuan Fan painting could immediately identify which style of literature and culture in the Song Dynasty, and did not understand the digital collection, but he realized that "whether it is in line with the current epidemic situation or the farther future, digitalization is a big trend." ”
What digital collections really sell is also the future. In the mouth of Internet companies, it is a ticket to the future meta-universe; in the eyes of more people, it is a heat wave that can be caught under some kind of megatrend. This led to the idea: why not ride the waves and use the youth and vitality it can bring in no time?
Longquan Celadon Sword Industry Bureau, in cooperation with Zhejiang Nuoyi Company, is expected to issue the Longquan Celadon Sword Digital Collection for the first time in late April this year. This is an attempt by Longquan to further expand the channels of dissemination of works and explore the deep integration of cultural industries and digital technologies.
The two sides began to plan the production of the Longquan Sword Digital Collection in early 2022, and Zhejiang Nuoyi Company introduced the development trend of domestic digital collections to the Celadon Sword Industry Bureau and the case of combining with intangible cultural heritage projects. Director Qiu Zhangping said, "Everyone is interested in the digital collection of Longquan Sword, we provide a lot of legends and stories of Longquan Sword, as well as some physical Longquan Sword photos, etc., and then Nuoyi will carry out 3D digital production." ”
Qiu Zhangping's first concern is to promote the Longquan intangible cultural heritage among the young people that this new concept can influence, and then through publicity, more people will understand the Longquan sword and porcelain, and also hope to help the real economy of Longquan. For example, the expansion of the rights and interests attached to the digital collection, such as the discount of museum tickets, can attract people who see or hold the digital collection of Longquan sword porcelain to Come to Longquan.
Whether these wishes can be realized will take time to verify. However, the future must be full of risks and uncertainties, and those who try carefully will most likely get more than those who are always on the shore.
The Qiantu Digital Collection section can provide you with !!!
1. Industry 7*24 hours newsletter;
2. In-depth industry reporting;
3. Domestic digital collection listing dynamics;
4. We will actively co-create with users on the real-time price of digital collection secondary market and strive to output more value.
Welcome.