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Scenic spots such as Mount Tai and Huashan have launched digital collections to help the new upgrade of the cultural tourism industry

On April 22, China’s first cultural and tourism Metaverse co-created IP “Digital Landmark” was officially released, pressing the fast-forward button for Metaverse to empower the cultural tourism industry.

Under the Metaverse boom, digitalization has become the key to the transformation of culture and tourism, and digital collections are the focus of the cultural tourism industry.

Under the premise that the travel agency continues to slump and the scenic area is slowly boosted, the digital collection of the scenic area has been the first to achieve profitability, or even disappear in seconds.

“The phenomenon of ‘sold out in seconds’ of digital collections launched by museums and tourist attractions shows us that digital collections have a natural fit with the cultural tourism industry , especially the museum’s digital cultural creation as a pioneer, which further proves that consumers have a strong sense of cultural richness. The connotation of digital collections is loved and sought after.” said Han Jingting, secretary general of the Digital Twin Technology and Application Working Committee.

It can be seen that digital collections have gradually become a fashion, and the “Renaissance” of the digital age seems to be coming.

A successful attempt of digital collections in the cultural and tourism industry

Cultural tourism digital collections are an important part of the cultural tourism Metaverse. Nowadays, many museums and scenic spots in the industry have launched their own digital collections, which are extremely popular.

On November 22 last year, Dunhuang Academy of Fine Arts and the only art platform launched the world’s first Dunhuang dynamic NFT, and the first 25,000 copies were quickly sold out!

The Dunhuang Art Series Dynamic NFT uses systematic content and a combination of dynamic and static to “live” ancient culture with the help of emerging technologies, so that the public can better appreciate the artistic charm and cultural value of Dunhuang culture, and let the millennium Dunhuang be in line with the times. Provide a new digital experience for Dunhuang culture enthusiasts and NFT enthusiasts.

The picture comes from the only art platform reported that on March 23, Taishan Scenic Area launched the first phase of four digital collections, carefully selecting four representative stone carving landscapes such as “Five Sacred Mountains”, “Boundless Wind and Moon”, “Ruyi” and “Tiger Character Stone Carving”. , the collection is “second light” when it goes online.

The collection uses 3D technology to restore every detail, every tick and stroke, striving to be realistic, giving people a sense of immersion when they stop and observe.

The picture comes from Tai’an Circle

On April 24, the Huashan miniature digital collection with the theme of “Living in the World, Gifts in the Cloud” was officially put on sale at Ali Auction.

The four collections are all based on the real scenery of Huashan Scenic Spot, which involves the four scenic spots in Huashan, Jinsuoguan, Nantianmen, Chess Pavilion and Shaluoping, which represent the “strange, dangerous, steep and beautiful” of Huashan respectively. , which is also the first time that Huashan Scenic Spot has released a digital collection of miniature landscapes.

The picture comes from Huashan-miniature landscape product map

In addition, there is the Henan Museum’s first 3D version of digital cultural and creative “Fuhao Owl Zun”, which represents the spirit of perseverance and perseverance. It was instantly emptied after it went online; Hubei Provincial Museum will be the treasure of the town hall “Goujian Sword”, the king of Yue. The digital cultural relics are made into digital cultural relics, and the cultural relics are sent to the places that everyone likes to see and hear; the digital collection of the theme of “The Intergeneration of Things” combines Sanxingdui cultural relics with rare animals in Sichuan, showing the beauty of the interconnection of cultural relics and animals across time and space…

These successful attempts have proved that in today’s post-pandemic world, the cultural and tourism industry has found a viable digital path. These digital collections can not only deepen our understanding of history and culture, but also allow us to feel the spiritual power reflected in the thousands of years of Chinese culture.

It’s just that the industry’s successful attempts in the direction of digital collections will make museums and scenic spots follow suit, but will it have bad results?

It is important to keep upright and innovate

For the cultural tourism industry, it is very important to seize the opportunity of product digitization, but it should not fool the public for the sake of profit. It should find IPs suitable for its own scenic spots, and keep upright and innovative.

It can be said that digital collections are derivatives of scenic IP. Each vivid image or scene of cultural relics, for scenic spots, is the product of image recognition, simple, bright and attractive elements and symbols. For digital collections, it is an excellent prototype choice, which can not only empower traditional culture, but also spark new commercial energy.

On New Year’s Eve this year, the dance “Only Blue and Green” appeared on the stage of the Spring Festival Gala to amaze the world. It is a dance poem inspired by Wang Ximeng’s famous painting “A Thousand Miles of Rivers and Mountains” in the Northern Song Dynasty. It uses the beauty of dance to lead the audience into the Chinese aesthetics full of modern connotations. palace.

Photo source CCTV news

On March 3, China Oriental Performing Arts Group, Damai and Lingjing Culture jointly launched a digital collection of commemorative tickets for the dance poem “Only Green”, which was snapped up by over 100,000 people online. National culture, build more bridges to national cultural IP for the audience.

From this, it can be inferred that if the scenic spot wants to establish a strong stickiness with consumers, IP is still the core competitiveness.

Digital collections have found new consumption space for the IP transformation of scenic spots, satisfying the consumption preferences of young people. First learn about the culture of the scenic spot from the digital collection, and then attract them to enter the physical scenic spot from the online, so as to form a linkage between virtual and reality.

It is worth noting that everything can be collected, but not all can be called digital collections. Behind the digital collection is not only a certificate that cannot be tampered with, but also a carrier that carries the artistic and cultural sense of the scenic spot.

How to use the aesthetics recognized by contemporary consumer groups to display the humanistic landforms of scenic spots requires the efforts of major scenic spots to explore!