艺术的“原位性”是不可替代的,即使艺术品是“原作”也无济于事,因为被劫掠的艺术品并非在原始的情境当中进行展示,无法代表艺术品背后的真实语境。大馆的优势是资源,小馆的优势是胆量!是勇于采用“破坏性技术”进行模式创新的胆量!什么是博物馆行业的“破坏性技术”呢?简单说,就是与以往对文物本体与精品展陈截然不同的价值主张!博物馆的文创产品应该是博物馆原位文化的衍生品,就好比故宫以皇家文化为原位文化,它的衍生品就应该是宫廷系列的文创产品;寺院以佛教文化为原位文化,衍生品就应该是佛像、佛珠、香火等。在原位文化尚未成熟阶段,不太可能形成完整的文创产业链,需要根据当时观众的消费倾向与能力,有意识的开发些引导性的前端产品作为路演,并在原位文化不断推进的过程中,逐步融入产品的价值主张,并在营销过程中不断调整、完善产品的设计思路。 The “in situ nature” of art is irreplaceable, even if the artwork is “original”, because the grabbed artwork is not displayed in the original context and can not represent the true language behind the artwork territory. Museum’s advantage is the resources, the advantages of small museum is courage! Is the courage to adopt “destructive technology ” for the guts of model innovation! What is the “destructive technology” in the museum industry? Simply put, is the past On the cultural relics ontology and boutique exhibition Chen diametrically different value proposition! Museum of cultural and creative products should be museum in-situ culture derivatives, like the Forbidden City royal culture as the in-situ culture, its derivatives should be the court series of articles Create products; temples to the culture of Buddhism as the original culture, derivatives should be a Buddha, Buddha beads, incense and so on. In the not-yet-mature stage of in-situ culture, it is not possible to form a complete industrial chain of cultural and creative industries. It is necessary to consciously develop some guiding front-end products as a roadshow in accordance with the propensity to consume at that time and to promote the process of in-situ culture In the gradual integration of product value proposition, and constantly adjusted in the marketing process, improve product design ideas.