魏水華

前不久，在浙江衛(wèi)視播出的一部電視劇《雞毛飛上天》火了，義烏人津津樂道。在他們看來，“雞毛換糖”傳統(tǒng)所反映出來的浙商的創(chuàng)業(yè)精神，正是義烏文化的特質(zhì)。

這個(gè)小商品之都——曾經(jīng)作為“中國制造”走出去的前沿陣地，在經(jīng)歷了十幾年的磨練、變遷之后，也正在發(fā)生耀眼的改變，變成“中國智造”的興起與傳播之地。

最近在義烏舉行的第十二屆中國文化產(chǎn)品交易會(huì)正是折射這種文化嬗變的精彩呈現(xiàn)。

從創(chuàng)意到產(chǎn)業(yè)

在文交會(huì)現(xiàn)場的江西省博物館展區(qū)，一組取材于南昌西漢?；韬钅乖岢鐾廖奈锏摹霸佻F(xiàn)?；琛毕盗形膭?chuàng)產(chǎn)品首先吸引了我的目光。

“再現(xiàn)海昏”由文房清供、愫居逸品、數(shù)碼尚品、青銅臻品四大系列衍生品組成，汲取南昌西漢?；韬钅乖岢鐾琳淦分?，通過時(shí)尚人文的設(shè)計(jì)理念，將實(shí)用與審美巧妙結(jié)合，使得深藏博物館的江西漢代經(jīng)典藝術(shù)珍品，走進(jìn)大眾一展“芳容”。

品牌負(fù)責(zé)人王思齊介紹了他們?nèi)绾芜M(jìn)行二次設(shè)計(jì)的經(jīng)過：“?；韬瞵F(xiàn)是熱門，我們從江西考古研究所拿到授權(quán)后，就立即進(jìn)行開發(fā)，并選取玉神獸作為主推的設(shè)計(jì)元素，是因?yàn)樗浅Ｏ哺校夏贻p人的口味?！?/p>

其實(shí)，“再現(xiàn)?；琛辈⒉皇莻€(gè)例，本屆展會(huì)匯集包括中國國家博物館、首都博物館、浙江省博物館等在內(nèi)的國內(nèi)博物館、美術(shù)館行業(yè)領(lǐng)軍單位參展，共有80多家博物館和美術(shù)館帶著他們的衍生品，以文化創(chuàng)意衍生品的形式來講述文物背后的故事。組織者之一的中國文物交流中心副主任周明說：“展品主要是博物館的藏品、文化遺產(chǎn)的資源。因?yàn)橹袊菤v史文明古國，歷史悠久，文化璀璨，擁有非常豐富的文化遺產(chǎn)，這些是我們做文化創(chuàng)意的無盡源泉，有中國傳統(tǒng)文化元素的滋養(yǎng)。我們都知道義烏的設(shè)計(jì)團(tuán)隊(duì)、研發(fā)團(tuán)隊(duì)和制造團(tuán)隊(duì)都是非常強(qiáng)的，而且義烏是世界小商品集散的一個(gè)樞紐。這是我們文物交流中心第一次大規(guī)模地出面組織文博單位來參加展會(huì)，主要希望我們文博單位的產(chǎn)品優(yōu)勢能夠與義烏的生產(chǎn)銷售優(yōu)勢得到更好的結(jié)合，推動(dòng)文博文創(chuàng)產(chǎn)業(yè)進(jìn)一步發(fā)展，不單是在國內(nèi)發(fā)展，也能走向世界?！?/p>

除此之外，4DX、數(shù)碼版畫、陶瓷油畫……新技術(shù)、新概念讓人目不暇接；老字號(hào)也不甘寂寞，今年文交會(huì)特設(shè)“非遺和工藝美術(shù)展區(qū)”，為東陽木雕、桐鄉(xiāng)藍(lán)印花布等非遺的傳承保護(hù)和二次開發(fā)搭建優(yōu)質(zhì)平臺(tái)。浙江省非遺衍生品生活主題館以“再現(xiàn)·再造·再生”為主題，強(qiáng)調(diào)非遺衍生品與大眾生活、商業(yè)貿(mào)易融合發(fā)展的重要性；中國美院打造的“最設(shè)計(jì)”展區(qū)更是首次將設(shè)計(jì)課堂搬入展廳，客商、顧客在選購商品的同時(shí)能看到一件件文創(chuàng)產(chǎn)品的“生產(chǎn)流水線”。

一切的精彩，似乎都在敘述著，義烏已經(jīng)有能力，把才華、創(chuàng)意變成成熟的產(chǎn)業(yè)，而這，正是當(dāng)初那個(gè)“小商品之都”最缺乏的地域特色和原創(chuàng)能力。

從代工到原創(chuàng)

“不倒翁”茶杯、補(bǔ)水儀、手觸離子燈、水舞燭……在國際商貿(mào)城的義烏小樣達(dá)客網(wǎng)絡(luò)科技有限公司展示區(qū)中，一系列外觀時(shí)尚、設(shè)計(jì)新穎的家具產(chǎn)品引得顧客紛紛駐足。

觀察近幾年的文交會(huì)，商品越來越新穎別致，文化滲透力越來越強(qiáng)。

義烏有著發(fā)達(dá)的商品資源，集聚著7.5萬個(gè)商戶、25萬家中小企業(yè)，號(hào)稱“只有你想不到的，沒有你買不到的”。過去，義烏小商品一直是單純生產(chǎn)加工，沒有自己的創(chuàng)意設(shè)計(jì)，附加值很低。想要轉(zhuǎn)型，義烏必須擺脫創(chuàng)意設(shè)計(jì)缺失、文化味不足的短腿，但困難重重：當(dāng)?shù)氐奈膭?chuàng)團(tuán)隊(duì)雖說不少，但大多被市場牽著走，創(chuàng)意水平不高，而且更多商戶習(xí)慣了模仿。義烏創(chuàng)新設(shè)計(jì)產(chǎn)業(yè)協(xié)會(huì)會(huì)長李丹坦言：“時(shí)間一長就被人家仿造走了?！?/p>

“邁出第一步是最難的，因?yàn)閯?chuàng)意、設(shè)計(jì)不會(huì)在短期內(nèi)給商家?guī)砝??！绷x烏法藍(lán)文化創(chuàng)意有限公司運(yùn)營長助理王超男說，公司自2015年入駐義烏國際商貿(mào)城以來，目標(biāo)是為小商品廠家、商戶提供一個(gè)和設(shè)計(jì)師對(duì)接的平臺(tái)?，F(xiàn)在，越來越多小商品生產(chǎn)商看到了“文創(chuàng)”的重要性。

事實(shí)上，義烏文交會(huì)在2014年第9屆轉(zhuǎn)型升級(jí)之際，圍繞文化產(chǎn)業(yè)“新業(yè)態(tài)、新技術(shù)、新產(chǎn)品、新概念、新工藝、新設(shè)計(jì)”的“六新”概念，緊緊抓住文化創(chuàng)意和設(shè)計(jì)服務(wù)的融合特性，已經(jīng)開始打造全產(chǎn)業(yè)鏈生態(tài)化營銷模式了。

文化創(chuàng)意和設(shè)計(jì)服務(wù)作為紐帶，不僅為傳統(tǒng)生產(chǎn)企業(yè)提供優(yōu)質(zhì)的創(chuàng)意、產(chǎn)品設(shè)計(jì)、包裝設(shè)計(jì)、工業(yè)設(shè)計(jì)等，促進(jìn)產(chǎn)品附加值提升，而且還為動(dòng)漫游戲企業(yè)衍生品開發(fā)、文化文物單位文創(chuàng)產(chǎn)品開發(fā)、非遺和工美領(lǐng)域的中國傳統(tǒng)文化元素二次開發(fā)創(chuàng)意產(chǎn)品提供服務(wù)。同時(shí)，又可以獲得第一手市場反饋信息，了解市場需求，并且通過生產(chǎn)企業(yè)熟悉文化產(chǎn)品領(lǐng)域的工藝流程、工藝特點(diǎn)等訊息，從而降低設(shè)計(jì)成本和研發(fā)成本。另外，開發(fā)出來的動(dòng)漫游戲衍生品、文化文物單位文創(chuàng)產(chǎn)品、非遺和工美創(chuàng)意產(chǎn)品，為生產(chǎn)企業(yè)提供了市場“新藍(lán)?！?。

是的，一個(gè)曾經(jīng)只是“代工廠”的地方，已經(jīng)成為原創(chuàng)文化輸出、版權(quán)資源豐富的“文化金庫”。

從外銷到交流

本屆文交會(huì)上，另一個(gè)有意思的場景是一場由國際木文化學(xué)會(huì)組織的木雕展。64個(gè)國家90位藝術(shù)家的200余件作品，風(fēng)格各異，體現(xiàn)出濃郁的民俗傳統(tǒng)、精神氣質(zhì)和匠心獨(dú)運(yùn)。此外，還有“一帶一路”國際藝術(shù)展也吸引了不少人的目光。藝術(shù)展匯集了來自俄羅斯、烏克蘭、西班牙、意大利、波蘭以及中國的多位寫實(shí)主義油畫大師在各個(gè)時(shí)期的30余幅優(yōu)秀作品，令藝術(shù)愛好者們驚喜不已。

相比往屆，此次展會(huì)更加國際化。在一會(huì)之內(nèi)飽覽各國風(fēng)情，讓很多客商也發(fā)現(xiàn)了商機(jī)。

“之前沒有想到這次來能看到這么多國家的文化展，收獲很多?！眮碜葬橹莸目蜕锑嵶雨栒f，自己從事與中美文化商貿(mào)交流相關(guān)的工作，因?yàn)槲幕牟町?，如何把美國文化“本地化”是他最頭疼的問題，“看到國外的展覽反響竟然能這么好，對(duì)我也有一些啟發(fā)?！?/p>

曾經(jīng)單純的外銷，今天是既有“走出去”、又有“引進(jìn)來”的對(duì)外交流，其背后，就是在轉(zhuǎn)型當(dāng)口，義烏人開始思考，自己所處的這座城市，文化特質(zhì)究竟是什么，文化根基在哪？難道，只是那如山如海一般的小商品嗎？

深厚的商業(yè)傳統(tǒng)為義烏的文化發(fā)展勾畫了大致的輪廓與方向。而更密切的國際文化交融、更深刻的傳統(tǒng)文化發(fā)掘，正在義烏悄然勃興。顏烏故里、二喬故里、駱賓王墓、容安古堂等文化資源像珍珠般串兜在義烏大地上，傳統(tǒng)底蘊(yùn)豐厚。

有專家說，義烏文交會(huì)搭建創(chuàng)意與產(chǎn)業(yè)碰撞的平臺(tái)，這里不單單是文化產(chǎn)品和文化活動(dòng)的秀場。當(dāng)創(chuàng)意設(shè)計(jì)與文化產(chǎn)業(yè)相遇，呈現(xiàn)的是一種融入生活的時(shí)尚理念。

從小商品之城，再到“產(chǎn)品+文化”，最后到城市的氣質(zhì)塑造。當(dāng)12歲的文交會(huì)與義烏的融合越來越深入，小商品之都的文化嬗變的燦爛前景也就更加值得期待。

Yiwu， a city in central Zhejiang， is now a star city at home and abroad. It is best known as the worlds largest marketplace of household commodities. It has been exporting small commodities all over the world. As the Belt & Road Initiative is going all the rage， Yiwu is now a key departure port for made-in-China commodities transported by the rail all the way through the Eurasia to reach various destination cities such as Madrid and London in Europe. The city has witnessed tremendous changes that have taken place in China and transformed the ancient oriental country thanks to the modernization drive since the late 1970s.

As a marketplace， Yiwu has seen tremendous changes in itself. It has grown in size， and it has upgraded itself many times； the goods it sells to the world have increased in great variety and quantities； they are of better quality and better design； and its reach into the world has become wider， deeper， and broader.

Innovative designs have been appearing in greater numbers， adding a special cultural touch to the goods China makes and trades to the world， as teied by the 12th China Cultural Products Trade Fair held in Yiwu toward the end of April 2017.

At the trade fair， four series of new design were quite eye-catching. The series drew inspiration from burial objects unearthed from the mausoleum of Marquis of Haihun， one of the biggest archaeological digs in recent years. The news on the well preserved cemetery was first released at the end of 2015. Shortly after the discoveries of rare and precious relics， a group of designers in Jiangxi reached out and got the authorization from Jiangxi Archaeology Institute. They developed stationery and digital products that reflect the ancient inspirations as seen in the unearthed burial objects from the cemetery.

The four series were not an exception at the trade fair this year. As a matter of fact， more than 80 museums and art galleries across China brought their cultural designs to the trade fair in hopes of catching buyers eyes.

“Our new designs were all inspired by the items in our collections. Chinas history and culture do inspire. We know Yiwu is strong in design， product development and manufacturing and it is a marketplace of global influences. Thats why we organized so many museums and art galleries to be here at the trade fair，” observed Zhou Ming， vice director of the China Center for Cultural Relics Exchanges.

What he says about Yiwu is right. The market city boasts 75，000 trade shops and 250，000 manufacturers. The citys business catchphrase is “Name it and we have it”. Yiwu used to sell things cheap and without new designs. In early years of Yiwu， most manufacturers represented in Yiwu were， in a sense， copycats. But competition has long since made businesses in Yiwu want to design their own products. The first big change came in 2014 when the city proposed to introduce new design and culture into the things they make and sell.

The first step was difficult. Many businesses simply didnt know where to find a qualified designer. Designers made themselves known. Nowadays， designs are innovative and fast， reflecting cultural touches from the past and the present and from overseas. Nowadays， designing goes into every part of commodities： designs get concepts， ideas and inspirations from various cultural fields； designs go into products and packing； designs add value. Also featured at the trade fair were products inspired by electronic games， cartoons， and animation films， intangible cultural heritages.

Yiwu used to sell goods made by outsourced manufacturers. Nowadays， it exports cultural products designed by Chinese. The trade fair exhibited a large number of copyrights of cultural products.

The annual event in Yiwu has long since become a window on the world. At the trade fair this year， 90 artists from 64 countries displayed a total of over 200 woodcarving artworks， which attracted the attention of Chinese visitors. Also on display were 30 some oil paintings in realist style by artists of Russia， Ukraine， Spain， Italy and Poland as well as China. Zheng Ziyang， a businessman engaged in cultural exchanges and trade between China and USA， got inspired by the exhibits. He had been trying to find a way to localize American culture in Quzhou in the southwest of Zhejiang. The differences between China and the USA had been a big headache. The warm reception of foreign artworks at the trade fair gave him new ideas.