In recent years, there have been more and more products integrating e-commerce with traditional cultural IP, such as the Palace Museum lipstick and Dunhuang silk scarves. E-commerce enabled IP seems to let people see a new dawn of the vitality of traditional culture. Moreover, the continuous improvement of e-commerce operation level and the full digital consumption scenario based on big data, Internet of things, artificial intelligence and other technologies not only improve the user experience, It also promoted the continuous expansion of the development scale of cultural and creative products.
1、 Theoretical basis and definition of relevant concepts
（1） E-commerce
E-commerce usually refers to the trading activities of buying and selling goods through online services through electronic means in the global commercial activities trade through the open network environment. It takes commercial activities as the main body, and then cooperates with network information technology, uses electronic means, and ensures that commercial transactions are conducted within the legal rules.
（2） Cultural and creative industries
Under the background of economic globalization, the cultural and creative industry is a new cultural industry with creativity as the core. It is a unique industry that relies on cultural elements to develop creative products and market intellectual property. In fact, the concept of cultural and creative industries was first proposed by the British in 1998. This brand-new interpretation of culture has gradually developed into a systematic scale of cultural activities such as promoting cultural innovation and attaching importance to literary and artistic works under the social background of global consumption, so as to promote emerging concepts, practical activities and economic development.
（3） Cultural and creative products
Cultural and creative products are products that originate from cultural themes and are transformed through the creativity of individuals or teams to give them value. This value includes both the value of their source culture and their commercial value, and then determines their market value. The core of cultural and creative products is their creativity and culture. The cultural and creative products designed and produced should not only conform to the current market orientation, but also realize their own cultural value. Cultural and creative products need to have rich cultural resources and innovative ideas to enhance the market value of the goods themselves.
2、 Current situation of Museum Cultural and creative products in e-commerce environment
（1） Current situation of cultural and creative products of Domestic Museums
At present, the development of e-commerce in China has entered a mature stage, and the e-commerce dividend is gradually disappearing. In addition, the market has excess capacity and the homogeneous competition is intensifying, resulting in the market supply exceeding demand. Although e-commerce has entered a mature stage, it also faces many problems. At the same time, China's trade in cultural and creative products has also developed rapidly in recent years. However, affected by the epidemic, many cultural and creative industries have been negatively affected. Although the development of e-commerce has encountered a bottleneck, it has also made the development of e-commerce relatively mature. Therefore, it has also helped the development of China's trade in cultural and creative products. Now, in the face of the pressure and challenges brought by the epidemic, the development of cultural and creative products is increasingly dependent on high-tech digital Internet information technology. At this time, the importance of e-commerce to the trade of cultural and creative products has also been shown.
If the cultural and creative industries want to truly become a pivotal pillar industry, they must be supported by modern science and technology and promoted by new business models. In fact, culture and creativity are also global resources that are least limited by time and space. The cultural and creative industries are expansionary, open and driven, which provides the possibility and premise for new business models to intervene in the cultural and creative industries.
On March 27, 2020, online pinduoduo live broadcast of seven top museums in the world became an effective attempt to turn the cultural and creative industry around and change its business model. As the relevant person in charge of pinduoduo cultural and creative industry said, "the live broadcast can not only explain cultural relics and works of art, but also sell cultural and creative products, so that consumers can take art home." More importantly, the current epidemic has caused an explosive growth in online consumption, which can further promote the transformation of the cultural and creative industry from offline sales to online sales.
In recent years, pinduoduo's sales of cultural and creative products have increased by 233% year-on-year, which is enough to explain the possibility and inevitability of the sales reform of the creative industry. It can be said that new e-commerce has added wings to the cultural and creative industry, and cultural and creative cooperation with e-commerce is the new direction of future development. The emergence of cultural and creative e-commerce can also gradually improve the low added value of traditional e-commerce. At present, cultural creativity + e-commerce has shown great vitality. The live broadcast of cultural creativity in 2020 is a successful example of sales reform in the cultural creativity industry. It gives cultural creativity designers hope and also increases the income of the cultural creativity industry. It can be imagined that with the help of new e-commerce, cultural creativity will become the most mainstream business form and consumption energy in the future.
（2） Current situation of cultural and creative products in foreign museums
Foreign cultural and creative industries developed earlier. They have mature experience in product creation, design, development, production, marketing and other aspects as well as a complete product production chain. The products designed and developed by foreign museums have been able to meet people's different consumption needs and have achieved a high degree of industrialization. In foreign countries, the income of cultural and creative products accounts for a large proportion. Therefore, foreign media, governments and enterprises are participating in the development of cultural and creative industries in many aspects. For example, the most impressive and representative cultural and creative development in the United States is the art district. The cultural, creative and Art District in the United States can be said to be diverse. It may be inconceivable that originally it was only an area where factories and industrial warehouses were concentrated. After many artists lived and created here, it was gradually developed into a perfect community integrating living, commerce and art by merchants and residents, At that time, the United States also passed legislation in time to preserve the old architectural landscape of Suhe District, and recognized Suhe as a cultural and art district.
There is also the torpedo Factory Art District in Virginia, which is a very famous creative tourist attraction. Here, free creativity is the representative, and tourists are friends of these artists. They can visit various studios like visiting, to see the work creativity of artists who are painting, pottery and sculpture. Even the art district has opened many art courses for adults and children, Art classes with different themes will be launched and explained by artists in the community, which are deeply loved by the local American people.
It is said that French cultural creativity can be "abused" to gain political and economic benefits, and France is full of expectations from the top to the bottom to embark on its own path of cultural creativity. Perhaps it is precisely because of this emphasis that the French government introduced a series of legal mechanisms and measures in the 1960s to support literary and artistic creators. This also leads to the fact that France is still no inferior in the contemporary cultural field under the prevailing American culture, In particular, the French economy has been hit hard by the epidemic, and the French Society hopes to improve economic efficiency through the "Cultural Revolution". In the discussion of the commercial value of cultural and creative industries, the French government launched the "creative France" platform in 2012, which includes different branches of the French cultural and creative industries. They regularly publish research reports to openly discuss the production performance and economic value of the cultural and creative industries. They generally believe that cultural products are not ordinary commodities and should not be simply bound by the "invisible hand" of the market. They need public power to intervene and support.
In the process of Museum transformation, France, like us, has also made use of digital technology, social platforms and different exhibition experience to realize the transformation. The difference is that in addition to the official efforts, there is also a "Museum geek" organization composed of Museum enthusiasts and practitioners in France. They interact with audience groups and official institutions and act as a think tank, critic and promoter of Museum digitization, Constantly create new ways of cultural communication.
3、 Problems of cultural and creative products in e-commerce environment
（1） Contradiction of content marketing demand
In the design and development of cultural and creative products, many domestic museums have the problems of simple copying, lack of creativity and imagination. The designers do not give full play to their subjective initiative and mostly adopt the method of "literal translation of symbols", which does not fully reflect the connotation of Chinese culture, nor actively give full play to their creativity.
Many domestic museums print the simply copied cultural relic patterns directly on various products, which is called cultural and creative products. Such cultural and creative products are no different from tourist souvenirs, and they are not attractive to the public. In addition, although some cultural and creative products of daily nature are based on the daily needs of consumers, the repetition of similar products such as T-shirts, notebooks, USB drives and cups also leads to a single variety of cultural and creative products, and some cultural and creative products have high prices and different quality, which will reduce consumers' desire to continue consumption.
On the whole, domestic cultural and creative products have a single type, similar design and lack of creativity, and the connection with cultural relics and civilization is only superficial. Many products are brought on fire by marketing numbers, but the heat is not long. In this way, they are usually hot for a period of time, and then disappear. If cultural and creative products continue to develop in this way, it will cause people's "disgust".
（2） Lack of credibility in the cultural and creative market
On December 9, 2018, an article entitled "the Palace Museum lipstick, really, really coming" quickly spread in the circle of friends. The reading volume of this article quickly exceeded 100000. In the article, six kinds of lipsticks from the palace museum were released and sold in the "Palace Museum of culture and innovation" applet and the official flagship store of runbaiyan. Meanwhile, The "Palace Museum Taobao" with the certification of "the only Taobao online store of the Palace Museum" denied on Weibo and announced to everyone that it would release its original makeup next Tuesday. However, the denial of the Palace Museum Taobao was quickly deleted, but it still caused discussion. On Tuesday, Taobao of the Palace Museum released the "palace Crane" series of makeup as agreed. In fact, both the Palace Museum Cultural and creative Museum and Taobao of the Palace Museum are part of the Palace Museum. However, there are many departments in the palace museum that produce cultural and creative products, and the authorization management system in the museum is not perfect. Moreover, the palace museum only provides brands, and the product research and development is entrusted to external companies, which leads to confusion and conflict of authorization, Thus leading to the decline of its social credibility.
The real development of China's cultural and creative products is led by the Forbidden City, which is also an excellent place for China to make cultural and creative products. The management system of the Forbidden City's brand authorization is not perfect, and it is even more arrogant. There are even many pirated products in the cultural and creative market. If the brand authorization continues to be unregulated, the social credibility of China's corresponding cultural and creative products market will continue to decline.
（3） Insufficient international voice of cultural and creative brands
China's cultural and creative industries have always been inferior to Disney, Marvel Universe, Harry Potter and a series of IPS in foreign countries. However, recently, China's bamboo woven culture has become popular overseas. The number of bamboo woven videos on tiktok has exceeded 70 million, and more than 10 million netizens have watched the production process of bamboo silk. The contents of these bamboo woven videos include daily life utensils, exquisite small objects and works of art with complex processes. The bamboo weaving teacher in the video has conquered foreign netizens with his exquisite craftsmanship, making them fascinated by our art and reflecting the "mysterious power" that belongs to China alone.
The popularity of bamboo woven culture may be a microcosm of the influence of China's traditional culture on overseas. At present, the IP that really affects the world in China may be giant panda and Jackie Chan, but the IP producers are still foreign countries. China's cultural and creative industries are developing continuously. However, it is not enough to rely on offline and online exhibitions to improve the brand voice in the world. The popularity of bamboo woven culture may be a breakthrough.
4、 Suggestions on promoting the rapid development of cultural and creative products
（1） Strengthen the connection between cultural and creative products and content resources
A truly excellent cultural and creative product should subtly integrate traditional culture into the work, extract its sense of form, spiritual concept or cultural core to improve the artistic conception of the work. The design of cultural and creative products should not only pursue beauty and appearance. The team that designs cultural and creative products should transform the story into self cognition and integrate it into the works. Only in this way can consumers evoke the memories of the times through the designed products, let people understand the cultural and historical stories behind the products, and thus make people interested. In fact, to be precise, what consumers buy should not be just an item, It should be a culture. In fact, the real significance of cultural and creative products is to promote culture through products. Products are the carrier of culture and the fundamental purpose is to promote culture. For example, the design of Hengshan cup is the cup shape below the upper circle. The bottom of the cup is printed with the words "wenhengshan" seal. The cup cover is made of Nanzhu board and has the interest of printing mud. Lifting the cup by hand is like using Wen Zhengming's "Hengshan" seal.
In terms of the commercialization degree of cultural and creative products, the reason why the commercialization degree is not high is that the museum lacks a correct understanding of the commodity attributes of cultural and creative products. In addition, the commercialization of products is a serious and professional problem. If we leave the content resources and rely on the efforts of the sales side, we cannot achieve good results. In fact, now we look at the cultural relics again and redesign the cultural relics, not only for review, but also for discovery, so that people can discover the culture of that era and experience the culture.
（2） Strengthen the construction of brand awareness and strengthen the supervision of cultural and creative market
In fact, for a long time, the cultural and creative industries have been more or less inseparable from the ownership of property rights. With the development of the times, people's social cognition and knowledge level have been continuously improved, and everyone has a deep understanding of the principle of paying for original content. However, many pirated products in the market are difficult to identify.
The cultural and creative product design industry has a low threshold, and there are a large number of young entrepreneurs in the industry, which is the blessing of the cultural and creative industry. However, as the current authorization mechanism is not perfect, entrepreneurs need to bear legal risks when using relevant IP to develop relevant products. In addition, it is difficult for products to settle in institutions such as museums, and the production customization needs to meet the minimum order quantity requirements. It is very difficult for young entrepreneurs in the cultural and creative industry. The design market of cultural and creative products is a typical long tail market, which requires the diversity of cultural and creative products, which is doomed to the development of the museum's cultural and creative industry without the support of young entrepreneurs. Therefore, it is necessary to provide convenient entrepreneurial services for young entrepreneurs who are interested in developing in the industry.
Therefore, first of all, the brand side should manage the internal authorization, strengthen the protection of big IP, and set up a reporting channel. Second, the public should recognize the official information, strengthen the study of laws and regulations, and resolutely resist piracy.
（3） Innovate communication scenarios and promote cultural innovation to go to sea
In recent years, China has attached great importance to promoting the "going out" of culture, and has constantly introduced relevant policies to promote foreign cultural trade and cultural dissemination. However, it is difficult for cultural and creative products to "go out". If cultural and creative products want to go out, they must have a systematic top-level design. However, the Chinese government pays more attention to policy and financial support, which is the foundation. Next, we should improve professional platforms and other supporting facilities. However, China's cultural trade involves many categories and has many competent departments, so it is still difficult to design and implement the cultural trade policy system.
Moreover, the number of foreign public service platforms in China's cultural and creative industries is small, and the number of personnel is also small. There is a lack of talents with professional service ability. More cultural and creative operations in China are limited to organizing overseas exhibitions. This way alone can not meet the growing demand of cultural and creative enterprises to go to sea. At the same time, it is not conducive to stimulating the vitality of the market and private resources. Many cultural and creative enterprises in China lack their own marketing platforms, do not understand the cultural customs, consumption needs, aesthetic preferences, market dynamics, trading rules, legal consulting, industry organizations, etc. of the overseas market, and the local Chinese Chambers of Commerce and intermediary agencies are also unable to provide targeted services. The lack of information in various links leads to the inherent inadequacy of the fitness of cultural products, the core content of cultural going to sea, Thus affecting the success rate of cultural products going to sea.
Overseas promotion of China's cultural and creative products can cooperate with international brands and promote them in a way that young people like. For example, using advanced digital technology to spread China's traditional culture through more advanced images, cultural and creative products can also be integrated into decryption, board games and other modern games that young people like to play, so that people can experience history and culture. Similarly, live broadcast and goods can also be introduced, Webcast can give products a lot of exposure, especially in the current situation of epidemic spread.
5、 Summary
Although the domestic cultural and creative industries have developed in terms of serial development, authorization mechanism, packaging, experience, category, marketing, etc., they still face problems such as serious product homogeneity, confusion in authorization, and difficulty in getting products out of the circle. However, the rapid development of the Internet in China will help more cultural and creative enterprises and museums to open e-commerce service platforms, so that cultural and creative products can be more widely disseminated and sold overseas. It is hoped that the mature development of e-commerce in China can enable cultural and creative products to face the integration and application of 5g, big data and other new technologies, and can continue to carry forward and develop from silent inheritance to the future. This will make the development of cultural and creative products better and better.
Generally speaking, the mature development of e-commerce plays a very positive role in promoting the development of cultural and creative products.