Reporter: Jiang Jixuan
Interviewer: Jiang Xiaobin

During her trip to Gansu this National Day holiday, Liao Weiduo, a in her 20s, was pleasantly surprised to find a lively conversation reminiscent of her usual visits to spicy hotpot restaurants. “A bunch of broccoli, a bunch of cabbage… Would you like your dish crispier? How spicy should it be?” she heard while at the Gansu Provincial Museum.

Clad with colorful plush vegetables and meat skewers set neatly on a display, it only took a moment before Liao was served her very own plush “mala tang.” “This creative touch and the whole experience are just so much fun!” she exclaimed, sharing her newly acquired “trophies” on social media, where they garnered plenty of likes and comments.

According to the National Cultural Heritage Administration, a stunning 74.88 million visitors explored museums across the country during the 2024 National Day holiday alone. Museums have transformed into must-visit spots for many young travelers, and museum-themed creations are topping their shopping lists. Items like the Phoenix Crown fridge magnet from the National Museum of China, the “Fat Sword” from the Suzhou Museum, and the “Green Horse” from the Gansu Provincial Museum are intriguing many. What is the magic behind these museum products that captivate the younger generation?

Creative and Engaging Designs Win Over Consumers
“Unique” and “engaging” are commonly echoed sentiments among consumers regarding the cultural products from the Gansu Provincial Museum. Many visit specifically to buy the “Green Horse” and the plush mala tang.

The “Green Horse” is modeled after the museum’s treasure, the “Bronze Galloping Horse,” while the mala tang character embodies the spicy hotpot culture specific to Tianshui, Gansu. “These items are rich in local flavor and one-of-a-kind, truly setting them apart from cultural products from other regions,” Liao observed.

Highlighting regional characteristics remains a central focus in the design of the cultural products at the Gansu Provincial Museum. Cui Youxin, the head of the museum’s creative center, explained, “A museum serves as a cultural hub for its region. While showcasing artifacts and the history behind them, it should also reflect the area’s cultural essence. The ‘Bronze Galloping Horse’ represents Gansu’s historical culture; in our ‘Gansu (not) local specialty’ series, we also feature Tianshui cherries and Dingxi potatoes, hoping that visitors recognize Gansu’s rich resources when they see these adorable creations.”

Besides regional elements, quirky and abstract designs resonate strongly with consumers. Posts on social media describing cultural products like the Gansu’s “Green Horse” and Suzhou’s “Fat Sword” frequently highlight their “ugly-cute” and abstract qualities. In an age where most designs aim for finesse and beauty, why does “ugly-cute” attract more fans?

Bu Xiting, a researcher at the Communication University of China, believes this adorable design approach helps bridge the gap between historical artifacts and younger people. He emphasized that for the heritage and culture embodied in these artifacts to resonate with young audiences, they must feel accessible rather than intimidating. “Cultural creation in heritage must respect history while effectively translating traditional culture into contemporary contexts that capture the youth’s attention,” Bu remarked.

The trend of “traveling to a city for a museum” is picking up among the younger crowd. Data from the National Cultural Heritage Administration shows that last year, museums across China welcomed 1.29 billion visitors, a record high. This year’s National Day holiday saw multiple popular museum tickets fully booked on the first day of reservation.

“As younger people are increasingly willing to visit museums, creative products become a vibrant bridge between audiences and museums. We hope these products convey that museums can be lively, youthful, and fun,” Cui added.

“Creative and engaging products, like the ‘Green Horse’, make visiting the museum more attractive and spark an interest in the stories behind the artifacts.” After experiencing the “Bronze Galloping Horse” exhibition and buying her plush “Green Horse,” Liao even made a special trip to Wuwei, the horse’s known origin. “No matter how it’s presented, making historical artifacts popular among young people is a great achievement,” she noted. “Authentic creations that resonate with youth will attract us.”

Collecting Cultural Creations as a Hobby
In contrast to Liao’s spontaneous approach, some young people are intentionally collecting museum-themed creations as a hobby, forming their dedicated circles. Wang Nanxing, a post-95s enthusiast, has amassed a considerable collection in just over a year.

“I have hundreds of pieces, mostly fridge magnets and decorative items,” Wang shared. “For collectors like myself, the authenticity and craftsmanship of the cultural products are paramount. I love visiting museums because being around artifacts gives me a sense of historical depth; just seeing them evokes centuries of solemnity.”

Captivated by the unique weight of historical artifacts, Wang wishes to see similar aesthetics in cultural products. “While these creations can’t fully replicate the artifacts, if they are well-made and can mimic the patina or texture, they evoke a strong sense of history.” He even created a display cabinet at home complete with lighting, carefully arranging his mini “artifacts” just like in a museum. “While I can’t bring home the actual artifacts, having these little replicas to look at every day brings me joy,” he said with a smile.

Wang has also made several like-minded friends through this hobby. In their group chats, they excitedly discuss the latest news about cultural creations, from beautifully crafted Phoenix Crown fridge magnets to oversized copper wine vessels, noting trends and details.

Museums are continuously innovating, refining their designs and focusing on quality to cater to various interests, ensuring their products resonate with a diverse audience of young people.

“Whether it’s a playful plush toy like the Gansu’s ‘Green Horse’ or the exquisite fridge magnets like the National Museum’s ‘Queen Dowager’s Phoenix Crown’, they both represent an art form—serving as an introductory step into the world of museums,” Wang reflected. “If they can draw attention and encourage interest in artifacts, then that’s good cultural creation.”

Sang Nuo, a fellow enthusiast from Shanghai, has a diverse collection that spans from the Neolithic period to the late Qing Dynasty, featuring representative artifacts from various dynasties. She arranged her fridge magnet collection by era on a display board labeled “Ten Thousand Years of Huaxia.” This board has garnered nearly 100,000 likes on social media, with some commenting that it has become the “hall of fame” for fridge magnets.

Acquiring such a collection, even if it’s just fridge magnets, can be expensive. However, Sang sees it as “a spiritual enjoyment.” “Cultural creations serve as a pathway for popularizing artifacts. For museums, generating more revenue through these products helps enhance exhibit facilities and create more special exhibitions, benefiting enthusiasts like us,” she explained.

Social Attributes Fuel Cultural Creation Popularity
Looking back at recent successful cultural creations from museums, it’s clear that many possess strong “social attributes” that have gained traction through social media. This “momentum” comes not only from museum promotions but also from spontaneous discussions and endorsements by young people themselves.

Cui Youxin noted that the Gansu Provincial Museum has focused on creative design for over a decade. Initially concentrating solely on the cultural aspects of products, they’ve since evolved to emphasize practicality and fun, constantly searching for what might resonate with youth.

Today, merely possessing those attributes is not enough to satisfy younger audiences. “Only products with social attributes can truly ‘go viral’ and gain traction,” Cui explained. Young consumers eager for relatable experiences share their finds on social media, while museums proactively build a communication matrix across various platforms, bridging gaps with younger audiences to foster positive engagement and outreach.

Coupled with the “social attributes” is the experiential element of sharing cultural history when young people purchase cultural products. In the Gansu Provincial Museum, visitors can select their favorite plush “mala tang” items to “cook”; at the Suzhou Museum, they can bundle plush “hairy crabs” right before taking them home. The adorable designs and the experiential purchase and packaging processes greatly contribute to their popularity.

Bu Xiting posited that this sense of involvement grants consumers richer experiences and emotional value. “Shopping in a scene filled with stories, plotlines, and rituals sparks deeper emotional resonance, making it easier to form cultural memories and immerse people in the experience, all while granting cultural products live interaction and social sharing benefits.”

For traditional cultural product enthusiasts, the impact of social attributes is equally extensive. Items like the Queen Dowager’s Phoenix Crown fridge magnet and the Tian Gong Li fridge magnet are popular on social media, sometimes even difficult to obtain. Buyers often share their finds online, generating lively discussions among collectors.

Sang noted that her “Ten Thousand Years of Huaxia” fridge magnet display sparks conversation and interaction, with many users now starting to collect cultural creations that interest them to create their own “home museums.” “Some friends have messaged me, saying since they started their collection, every day brings something new to look forward to,” she said.

On the whole, cultural products continuously “go viral,” whether unconventional or exquisitely crafted, all embodying a philosophy of stability and innovation, integrating cultural symbols and languages that appeal to youth, thus entering their views, shopping lists, and spiritual realms. “This phenomenon reflects the rich cultural soil nurturing innovation in cultural creativity and tourism, propelling them out of museums and into households across the nation,” Bu remarked.

(Note: As requested, “Sang Nuo” is a pseudonym.)