文博“数字藏品”危险了！正面临两大风险的拷问，不听警钟就会听丧钟

The "digital collection" of Wenbo is in danger! Facing two major risks, if you don't care about it, you will be in danger.

风乍起，吹皱一池春水。近几年特别是从2021年下半年开始，数字藏品像一股劲风，猛地撞开了不少博物馆的大门，刮进了文博圈。乘风而来的不仅是阿里、腾讯等巨头，还有电视台、地方网站、文创企业等，都在忙着跑马圈地。

The wind stir a tool of water. In recent years, especially since the second half of 2021, digital collections stroke the door of museums and entered the circle of Wenbo. Not only Ali, Tencent and other giants, but also TV stations, local websites, cultural and creative enterprises, etc., are busy to enclosure.

熟识的文博圈人士提及，至今已经有二三十家企业对接数字藏品，有的合作意向已经排到了今年10月份，可以说是“很狂热”“一窝蜂”。

People familiar with this cultural circles mentioned that up to now, 20 or 30 enterprises have introduced digital collections, and some cooperation who have intention toward it have been scheduled for October this year, which can be said to be "very fanatical" and "swarming".

不少博物馆试水数字藏品，主要是考虑发挥教育功能、抓住机会宣传藏品，尤其是吸引年轻人，同时也希望在推进数字文创方面增加些收益。

Many museums try to impose digital collections, mainly considering that the digit collection has an educational function, and it seized the advanced mode to proclaim collections, especially attracting young people, and hope to increase some benefits in promoting digital cultural creation.

“博古通今 数字秦俑”国际博物馆日数字藏品

Digital Collection of "Digital Qin Figurines from Ancient Times to Modern Times" International Museum Day

然而，当前形势的发展已经越来越呈现出远离这个初衷的迹象，是否赚到了快钱尚不知晓，倒是相关风险正变得越来越大。其中两大风险，正直接拷问数字藏品的未来。

However, the development of the current situation has shown more and more signs of being far away from this original intention. Whether it has made quick money is unknown, but the related risks are becoming bigger and bigger. Two of these risks are directly questioning its prospect.

一是金融风险正在快速加大

First, financial risks are increasing rapidly

留心观察的话，很多数字藏品在近几年的演进中，越来越成为NFT（Non-Fungible Token，“非同质化代币”）的一种。这是表示数字资产（包括jpg和视频剪辑形式）的唯一加密货币令牌，在境外可以买卖。尽管在境内不能合法买卖，数字藏品主要用于个人收藏，但其存在的一些灰色交易地带，极容易引起跟风炒作。事实上，这已经发生了。

If you pay close attention, many digital collections have increasingly become a kind of NFT (Non-Fundamental Token) in the evolution of recent years. This is the only cryptocurrency token of digital assets (including jpg and video clips), which can be transacted overseas. Although digital collections can't be transacted legally in China, and they are mainly used for personal collections, some gray trading areas can easily lead to follow-up speculation. In fact, this has already existed.

支付宝和敦煌美术研究所联合推出的2款NFT数字绘画作品，分别是“敦煌飞天”和“九色鹿”的付款码皮肤，官方售价为支付宝10积分加人民币 9.9元。这两款在蚂蚁区块链上推出的数字藏品，其在二手交易平台闲鱼上被高价转卖，一度被炒到150万元，令人咋舌。虽然闲鱼官方已紧急下架“敦煌飞天”和“九色鹿”皮肤相关的商品，但是警钟已经敲响。

Two NFT digital paintings jointly launched by Alipay and Dunhuang Fine Arts Research Institute are the payment code skin of "Dunhuang Feitian" and "Nine-color Deer" respectively. The official price is Alipay 10 points plus RMB 9.9 yuan. These two digital collections launched on the ant blockchain were resold at a high price on the second-hand trading platform Idle Fish, and were once fired to 1.5 million yuan, which was staggering. Although the idle fish authorities have urgently removed the skin-related products of "Dunhuang Feitian" and "Nine-color Deer", it makes people realize it’s dangerousness.

一些文博圈资深人士直言，若是年轻人真心喜欢，那很好，就担心是币圈换个马甲，因为“数字藏品跟虚拟货币很像”。有些公司一开口就是要把数字藏品放在自己的元宇宙，目前顶多算是小游戏，太扯了。大平台好歹有自己的流量，炒作起来可能销量有保证，很多小平台靠什么？一张图片、一段视频或一个三维模型，有个加密认证，价值能炒到离谱吗？

Some senior people in the cultural circles said that if young people really like it would be good. But the reality isn’t. They were worried that the currency circle would be changed, because "digital collections are very similar to virtual currency". Some companies want to put digital collections in their own metaverse. At present, it is a small game, which is ridiculous. Big platforms have their own traffic at least, and the sales volume may be guaranteed after hype. How about the small one? A picture, a video or a three-dimensional model, with an encrypted authentication, can the value be outrageous?

这种操作的负向作用是明显的，也极容易扰乱金融市场。2021年10月，国家版权交易中心联盟牵头，中国美术学院、浙江省杭州互联网公证处、央视动漫集团、湖南省博物馆、蚂蚁集团、京东科技、腾讯云等共同发布了《数字文创行业自律公约》，提到“坚决抵制任何形式的以数字文创作品为噱头，实质发行和炒作虚拟货币的行为；坚决抵制任何形式的数字文创作品价格恶意炒作，防范投机炒作和金融化风险。”

The negative effect of this operation is obvious, and it is very easy to disrupt the financial market. In October 2021, Led by the National Copyright Trading Center Alliance, China Academy of Art, Hangzhou Internet Notary Office of Zhejiang Province, CCTV Animation Group, Hunan Provincial Museum, Ant Group, JD.COM Technology, Tencent Cloud, etc. jointly issued the "Digital Cultural and Creative Industry Self-discipline Convention", which mentioned "resolutely resist any form of digital cultural and creative works as gimmicks, substantive issuance and speculation of virtual currency; Resolutely resist any form of malicious price speculation of digital cultural and creative works, and guard against speculation and financialization risks. "

如果敲响的警钟不起作用，那么，只能看看丧钟为谁鸣了。

If people still cannot realize it’s dangerousness ,it can only wait the first injuries appear.

黑格尔在《历史哲学》中写过：“人类从历史中吸取的唯一教训，就是人类不会吸取任何教训”。现在发生的很多事，都是如此，不必细言。

Hegel wrote in Philosophy of History: "The only lesson that human beings learn from history is that human beings will not learn any lessons". This is the case with many things happening now, so there is no need to elaborate.

更明确的信号是，今年4月13日，中国互联网金融协会、中国银行业协会、中国证券业协会联合发布了《关于防范NFT相关金融风险的倡议》提出，“NFT作为一项区块链技术创新应用，在丰富数字经济模式、促进文创产业发展等方面显现出一定的潜在价值，但同时也存在炒作、洗钱、非法金融活动等风险隐患”。

The clearer signal is that, On April 13th this year, China Internet Finance Association, China Banking Association and China Securities Industry Association jointly issued the "Initiative on Preventing NFT-related Financial Risks", "NFT, as an innovative application of blockchain technology, shows certain potential value in enriching the digital economy model and promoting the development of cultural and creative industries, but there are also potential risks such as speculation, money laundering and illegal financial activities".

二是文物数据安全风险正在快速加大

Second, the security risks of cultural relics data are rapidly increasing

事实上，不少公司与博物馆洽谈数字藏品合作时，一直要文物原始数据，博物馆对此的态度也是有差别的。对文物原始数据的保管，尚缺乏明确规定。

In fact, many companies always want the original data of cultural relics when negotiation taking, and museums have different attitudes towards this. There is still a lack of clear regulations on the custody of the original data of cultural relics.

不过，《博物馆条例》第十九条规定“博物馆依法管理和使用的资产，任何组织或者个人不得侵占”，该条款还规定“博物馆不得从事文物等藏品的商业经营活动”。文物原始数据，是否属于博物馆依法管理和使用的资产，是否适用“不得从事文物等藏品的商业经营活动”，值得研究。

However, Article 19 of the Museum Regulations stipulates that "no organization or individual may occupy the assets managed and used by museums according to law", and it also stipulates that "museums shall not engage in commercial business activities of cultural relics and other collections". It is worth studying whether the original data of cultural relics belongs to the assets managed and used by museums according to law, and whether it is applicable to "not engaging in commercial business activities of cultural relics and other collections".

国家文物局2011年发布的《文物复制拓印管理办法》第十三条规定“未经文物行政主管部门同意，国有文物收藏单位或管理机构及其工作人员不得向任何单位或个人提供文物复制、拓印模具和技术资料”。数字藏品所需要的文物原始数据，似乎符合“技术资料”范畴。

Article 13 of the Administrative Measures for Reproduction and Rubbing of Cultural Relics issued by the State Administration of Cultural Heritage in 2011 stipulates that "without the consent of the administrative department of cultural relics, state-owned cultural relics collection units or administrative institutions and their staff shall not provide molds and technical materials for reproduction and rubbing of cultural relics to any unit or individual". The original data of cultural relics needed by digital collections seems to conform to the category of "technical data".

尤其值得注意的是，就在今年4月，相关主管部门在北京组织召开了一个关于数字藏品的小范围座谈会。这个会对于观望数字藏品的政策风向来说，还是很重要的。与会人士透露，会议精神既鼓励社会力量通过正规授权方式利用文物资源进行合理的创新创作，以信息技术激发文物价值阐释传播，更意味深长地强调“文博单位不应直接将文物原始数据作为限量商品发售”；“确保文物信息安全”；“消费者应选择合理合法、健康有序的收藏方式，维护自身正当权益，远离因盲目炒作产生的风险”。

It is particularly noteworthy that in April this year, the relevant authorities organized a small-scale symposium on digital collections in Beijing. This meeting is still very important for watching the policy trend of digital collections. Participants revealed that the spirit of the meeting not only encourages social forces to use cultural relics resources for reasonable innovation and creation through formal authorization, but also stimulates the interpretation and dissemination of cultural relics values with information technology. It is more meaningful to emphasize that "cultural and cultural units should not directly sell the original data of cultural relics as limited commodities"; "Ensure the information security of cultural relics"; "Consumers should choose reasonable, legal, healthy and orderly collection methods, safeguard their legitimate rights and interests, and stay away from the risks caused by blind speculation".

可能，一道红线正在勾勒当中，今后有可能以相关规定的方式固定下来。

Perhaps, regulation is being outlined, and it may be fixed in the future.

由数字藏品的数据安全风险是否会引发“扰乱文物市场秩序”之问，也在业界形成了一个代表性声音。目前，数字藏品最大的卖点就是将博物馆馆藏精品或镇馆之宝在线上的“再现”，被赋予很大的收藏价值，如果拿到文物各类原始数据，会不会被文物不法分子利用，成为文物克隆的“基因”呢？

The question of whether the data security risks of digital collections will cause "disturbing the order of cultural relics market" has also formed a representative problem in the industry. At present, the biggest appealing point of digital collections is to "reproduce" the fine collections of museums or treasures of town halls online, which is endowed with great collection value. If all kinds of original data of cultural relics are obtained, will they be used by cultural relics criminals and become the "genes" of cultural relics cloning?

毫无疑问，开发数字藏品的平台鱼龙混杂，即使是头部大平台，如何确保文物原始数据安全，目前都没有明确清晰的方案，更遑论其他平台。文物原始数据存在被泄露、被倒卖的风险，而且一旦发生这样的事情，如何追究法律责任也是难题。

There is no doubt that the platforms for developing digital collections are mixed. Even if it is a big head platform, there is no clear plan for ensuring the safety of the original data of cultural relics, let alone other platforms. There is a risk that the original data of cultural relics will be leaked and resold, and once such a thing happens, how to take a sanction is also a difficult problem.

当前，在多方面形势都不明朗的局面下，一些机构也在投石问路进行“变通”探索，然而这些探索是否能被政策端认可，依然不明朗。比如，针对数字藏品转售炒作问题，一些平台绕开“转售”拷问，而是提出“转赠”模式：数字藏品在持有满180天后，可以进行转赠，而受赠人在持有满两年后可以再次转赠。

At present, under the uncertain situation in many aspects, some institutions are also exploring a "flexible" ways. However, it is still ambiguous whether these explorations can be recognized by the policy side. For example, in view of the hype of resale of digital collections, some platforms bypass the torture of "resale" and put forward the mode of "transfer": digital collections can be transferred after being held for 180 days, while recipients can transfer again after being held for two years.

当然，业界更关心一些现实操作问题。比如是否会推行资质认定、审批手续。根据《文物复制拓印管理办法》第七条规定“从事文物复制、拓印的单位，应当依法取得相应等级的资质证书”，第八条规定“复制、拓印文物，应当依法履行审批手续”，而第二条又做了排除法指出“馆藏文物的仿制，不适用本办法。”

Of course, the industry is more concerned about some practical operational problems. For example, whether the qualification certification and examination and approval procedures will be implemented. According to Article 7 of the Administrative Measures for Copying and Rubbing Cultural Relics, "Units engaged in copying and rubbing cultural relics shall obtain qualification certificates of corresponding grades according to law", Article 8 stipulates that "copying and rubbing cultural relics shall go through examination and approval procedures according to law", and Article 2 has made an exclusion method, pointing out that "the imitation of cultural relics in collections is not applicable to these Measures."

这就要看如何判定数字藏品的性质，它是属于文物复制还是仿制，抑或介于两者之间？这就直接决定了制作数字藏品是否需要取得相应等级的资质证书、是否需要依法履行相关审批手续。

It depends on the nature of digital collection, whether it belongs to reproduction or imitation of cultural relics, or in between. This directly determines whether the production of digital collections requires obtaining corresponding qualification certificates and performing relevant examination and approval procedures according to law.

数字藏品当然可以搞，但是一些人甚至业界人士连“数字藏品”与“数字文创”的区别和边界都没搞清楚，还搞什么飞机。

Of course, digital collections can be existing, but some people and even people in the industry don't even know the difference and boundary between "digital collections" and "digital cultural creation", so how can they to distinguish the tarp of it.

在现实国情下，数字藏品与云计算、人工智能、扩增现实、虚拟现实等联系在一起，才有更好的未来；而与比特币、以太币、NFT甚至作为炒作神器的区块链等走得太近，恐怕是自毁前程。

Under the actual national conditions, digital collections are linked with cloud computing, artificial intelligence, augmented reality, virtual reality, etc., in order to have a better future; Going too close to Bitcoin, Ethereum, NFT and even blockchain as hype artifacts is probably self-destructive.