It is not an easy thing to make a cultural and creative derivative for the Northern Song Dynasty painter Wang Ximeng 's "Thousand Miles of Rivers and Mountains".
"If it were just a simple copy, the public would not think that this had anything to do with themselves. The ancients looked at paintings, and they opened them and spread them on the table, and enjoyed them foot by foot; we don't have scrolls now, but everyone can use folders." At the opening forum of the third folk art life exhibition held by Beijing International Design Week recently, Zhang Erze, general manager of Zidebao Trading (Beijing) Co., Ltd., Deyi Collection Group, which is responsible for manufacturing souvenirs in the Forbidden City, said that the popular products they developed have now sold thousands of sales.
They have become suppliers of prints and souvenirs in the Forbidden City since 2009. Over the past few years, they have designed excellent derivatives that have "opened their brains" and become hot spots on the Internet, contributing considerable strength to the total sales of nearly 1 billion yuan in cultural and creative peripherals in the Forbidden City in 2015.
Facing the "Thousand Miles of Rivers and Mountains" which is more than ten meters long, the designer chose the most exciting paragraph and then divided it into four pieces to design it into a group of folders. If the four folders are put together, it will be a complete picture, and the emperor's inscription is written on the back.
How to appreciate works? How to make it related to life? These are two key issues that designers consider.
Tsinghua University School of Fine Arts Associate Professor Yuan Bo expressed his admiration for practitioners in the entire cultural and creative industry. From the perspective of his many years of teaching and researching traditional crafts and materials, he shoulders two tasks: one is field investigation and study traditional cultural phenomena, and the other is to impart these technologies, materials and craftsmen to students. "What do young people do with this knowledge? Going forward is to become a life-oriented, 'live', so that traditional wisdom and traditional culture can survive," he said. How to survive
? At this time, people who are cultural and creative. "The difficulty of design is actually to transform art and technology into products, which is a cross-border work." Yuan Bo said, "They break out of the scope of original independent craftsmen or artists. If everyone wants to buy and use them, they must be able to produce in batches, but craftsmen cannot do it. Designers also need to consider process technology, as well as market and economic issues, including project organization, platform construction, personnel transfer, etc.."
Yuan Bo will contact a large number of folk craftsmen in his work, and they are now facing a happy and worrying situation.
In recent years, the overall social environment has improved. From the government level, to the corporate market, to the people, the importance of traditional culture and art is recognized, and more and more brands are beginning to find ways to combine with folk crafts. But they are also confused. From handicraft workshops to productization, they need to be exposed to a lot of chores, and if they do everything, they will be unable to do it.
"I am a craftsman. I should do my crafts well at home and slowly, but why do I always feel too busy now?" He believes that social enterprises such as "family inheritance" in Beijing Fang can play a good role as a platform and allocate resources reasonably. "Aren't you unable to separate yourself? Someone is a member of you, and there are various scholars and scholars who come to hold meetings for you, promote you, promote and appear for you, including playing the market, and doing other things. Only in this way can these sentiments be organized together, and each person can do their best and move forward."
Deputy Director of the Organizing Committee Office of Beijing International Design Week Zeng Hui compared such a platform to "brokers" and "painting merchants", and helping folk art craftsmen and independent brands to provide brokerage services, which is actually similar to gallery helping artists to promote and sell.
"Beijing International Design Week actually wanted to do this in recent years." He said, "In the past, the government took money and planted trees and flowers directly, but it was not well raised and poorly planted. Now, it simply improved the soil, only provided sunlight, air and water, and then let the trees and flowers of folk art grow by themselves. This can instead be diversified, meet people's living needs, meet the market, and develop more naturally."
However, in real work, the cultural and creative industry still has to deal with many difficult problems, the most serious of which is infringement of intellectual property rights.When someone asked this question on the forum, it resonated with almost all speakers.
, Chairman of Cola Ma Furniture (Tianjin) Co., Ltd., believes that the emergence of "virtue" in the market is a double-edged sword. On the one hand, of course, it will create market pressure with their low cost and low quality, but on the other hand, it has spread popularity, and customers who are interested in their products are usually not so sensitive to prices.
. Gu Yongcheng, a senior practitioner in the cultural and creative industry who participated in the design and development of the National Museum of China (Beijing) and . Taipei Palace Museum , shared the situation he encountered in 2015. At that time, his company sold a new product in Eslite Bookstore in Taiwan. Not long after the goods were released, the manager of the bookstore told him that the stolen rate of this batch of things was very high. "I was nervous when I heard this. What should I do if the theft rate is very high? He smiled and said, that means your performance will be very good, even thieves like it - the results are very good, and they are still selling until now," he said.
"Good products are to go forward. You can copy them. They mean that they can like my things and like them both elegant and vulgar. There is no way to do this. All the world is actually taking such a necessary path. It's just how we should shorten the time and avoid detours." This tone can be heard almost in most of our colleagues, and we are forced to accept reality and hope for the future.
Zeng Hui said from an official perspective that in recent years, they have been actively promoting the regulations and legislation on design copyright protection with legal professionals. It is conceivable that these tasks are difficult and require a long time to advance. "Infringement is a complex issue, and if copyright can be shared through the authorization model, it is also a good way." He said, "Massive industrial production can allow good designs that were used by only the elite in the past to enter daily life. Sometimes we even think that you are not afraid of plagiarism. The key is that you have to plagiarize better than me, so that you can encourage more people to use good things; if it is shoddy, it will completely destroy the original design."
