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Kawaii Dolls & Digital Tools: How The Forbidden City Caters to Modern Audiences

The century-old Forbidden City is finding new ways to cater to younger, tech-savvy audiences. From its online ‘kawaii’ dolls to interactive apps, Beijing’s Palace Museum is using e-commerce and digital tools to keep up with China’s fast-moving trends while preserving its traditional culture.

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The century-old Forbidden City is finding new ways to cater to younger, tech-savvy audiences. From its online ‘kawaii’ dolls to interactive apps, Beijing’s Palace Museum is using e-commerce and digital tools to keep up with China’s fast-moving trends while preserving its traditional culture.

Over the recent years, the 6 century-old Forbidden City, that houses the Palace Museum, has started to make the traditional trendy again by focusing on e-commerce, creative design, and tech tools.

The Forbidden City, the former Chinese imperial palace in the center of Beijing, was constructed from 1402 to 1420. It was declared a World Heritage Site in 1987 for its grand architecture and embodiment of traditional Chinese culture.

In the modern age of internet and technology, the Forbidden City faces the same challenges as many museums around the world: how to close the gap between the distant history and tradition of the museum, and the modern, tech-savvy people visiting it?

The Forbidden City’s answer to this challenge lies in its use of digital tools and creative products. Especially the Forbidden City museum products, promoted on Chinese e-commerce platform Taobao or Apple’s app store, have become popular amongst a younger audience.

The core idea of these creative products is to “root in traditional culture and bind with popular culture”. By the end of 2015, the Forbidden City had already developed over 8600 different trendy products.

‘Taobao Forbidden City’

In 2010, the Palace museum opened an online shop on China’s biggest e-commerce site Taobao. Called Taobao Forbidden City (故宫淘宝), the e-commerce shop goes beyond the traditional museum souvenir shop and offers a wide variety of innovative products. The online museum shop annually sells thousands of items and is given a good rating by 99.51% of the buyers.

Key to the success of the online museum shop is how it combines popular design and modern functionality in its products.

One of the most popular items of the shop is the Forbidden City Doll (故宫娃娃). The dolls represent Chinese historical figures, with a ‘kawaii’ design. This concept of ‘cuteness’ comes from Japanese pop culture and has also become popular in China.

With big round heads, chubby rosy cheeks and small beady eyes, these dolls are supposed to typify former residents of the Forbidden City during the Qing Dynasty. They are emperors, empresses , guards, officers and soldiers – wearing the traditional clothing of their time.

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Dolls sold at the Taobao Forbidden City e-shop.

Apart from just being decorative, the cute figures also have useful functions. They can, for example, serve as phone holders or picture clippers.

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The items sold on the Palace Museum’s Taobao shop are all daily products with a touch of Chinese traditional culture. Other popular items sold at the online museum shop include stationary tape decorated with emperor Qian Long’s handwriting or historical figure keychains.

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The shop also plays around with the concept of Chinese online memes by photoshopping traditional paintings, such as that of Emperor Yongzheng, making these historical figures smile or adding popular hand gestures (see image below of the Taobao shop of the Forbidden City).

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Besides selling creative products on their online shop, the Forbidden City is also going digital in other ways.

Forbidden City on the App Store

The Forbidden City (aka Palace Museum) has launched a series of apps on the on the Apple App Store since 2013. Some of these apps digitize the museum’s collections.

The Twelve Beauties App, the first app developed by the museum’s app development team, revolves around the screen painting set ‘The Twelve Beauties’ by Emperor Yongzheng, so that users can view them in detail on their mobile devices. The app received recognition as an outstanding app by “App Store 2013”.

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Image: from the Forbidden City app Twelve Beauties by Emperor Yongzheng.

A newer app, the Palace Museum Ceramic App (故宫陶瓷馆), allows users to see the museum’s ceramic vase collection from their iPhone or iPad. The 2016 app ‘Everyday Palace’ (每日故宫) highlights a different item from the museum collection every day and explains its history and details to the app users.

The Palace Museum official apps have generally been well received, with average App Store ratings between 4.5 and 5 stars. Especially the app developed for children receives high ratings. In ‘One Day in the Life of an Emperor’ (皇帝的一天), children learn all about the Forbidden City by playing various games around the digitalized city.

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Users can play games while learning about the Palace Museum in this app.

The Forbidden City also uses technology in another way to enhance visitor experience – also for those who cannot come to the actual museum.

As early as 2003, it published its first virtual reality DVD, titled “Forbidden City: Palace of the Son of Heaven (紫禁城-天子的宫殿)”, that allowed people to virtually explore the Taihe Palace (太和殿), the very first palace at the entrance of Forbidden city, from every perspective.

This September, the Forbidden City and Fenghuang TV signed a strategic contract to use augmented reality (AR) in presenting its collections. AR technology makes it possible for audiences to experience artworks multidimensionally. It can, for example, bring paintings to life via a smartphone camera, or it can show 3D holograms that can answer questions from visitors to make museums more interactive.

One important project incorporated in the contract is a lively presentation of Along the River During the Qingming Festival (清明上河图), a 5-metre long painting that depicts urban life in the capital of North Song Dynasty (960-1127).

600-Year-Old ‘Grandpa’ Catches up with Time

The attempts of the 600-year-old Forbidden City to catch up with time seems to be paying off. According to Xinhuanet, the museum’s creative products earned a staggering 1 billion RMB (±150 M US$) revenue for the Palace Museum in 2015.

Chinese netizens seem to appreciate the efforts of the Palace Museum to become more modern. A much talked-about topic on Chinese social media, the Palace Museum has become a new “internet celebrity” (网红 – an online hit). Under Taobao Forbidden City’s Sina Weibo account, netizens lovingly address the Forbidden City with the cute nickname “gong gong” (from Chinese word “宫”, gong, meaning palace).The official Weibo account of the Palace Museum now has over 2.1 million followers (@故宫博物院).

The Palace Museum is not the only museum or historical tourist site that is exploring new technologies to promote its collection and appeal to modern audiences. The Longquan Temple (龙泉寺) in Beijing, for example, made headlines earlier this year with the launch of its robot monk Xian’er, a chubby boy monk that can answer questions about Buddhism to tourists who visit the temple.

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Through its recent uses of digital tools and trendy design, the Forbidden City is transforming its distant and serious image to one that is more approachable and new-fashioned.

“Now I feel like I really know the Forbidden City”, one netizen writes.

-By Diandian Guo, edited by Manya Koetse

©2016 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Diandian Guo is a China-born Master student of transdisciplinary and global society, politics & culture at the University of Groningen with a special interest for new media in China. She has a BA in International Relations from Beijing Foreign Language University, and is specialized in China's cultural memory.

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China Arts & Entertainment

China’s New Hit Drama ‘Nothing But Thirty’ Thrives in the “She Era”

Chinese latest hit drama ‘Nothing but Thirty’ has 20 billion views on its Weibo hashtag page.

Yin Lin Tan

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China’s latest TV drama hit Nothing But Thirty is flooding Weibo discussions. With over 20 billion views on its hashtag page, the show is one of the most popular shows of the season and demonstrates that China’s ‘she era’ (ta shidai 她时代) dramas are all the rage. What’s on Weibo’s Yin Lin Tan explains.

“Have you heard of ‘independent at the age of thirty’ (sān shí ér lì 三十而立)?” Wang Manni asks, her hair pulled back neatly and white shirt cleanly pressed. “I hope that, before I’m thirty, I’ll be promoted to supervisor.”

Riding on the wave of female protagonist (‘heroine’ 大女主) shows that have been taking over China’s entertainment scene, Nothing But Thirty (三十而已) is a 43-episode drama by Dragon Television that follows the challenges of three different women who have reached the ever-important age of thirty.

In a society where women are often expected to be married by their late twenties, a show like this, which tackles women’s present-day struggles, both in their personal and professional lives, has resonated with many.

In fact, the show is so popular that at the time of writing, the show’s hashtag (“Nothing But Thirty”, #三十而已#) has over 20 billion (!) views on Weibo.

 

Depicting the struggles of China’s thirty-something women

 

Nothing But Thirty revolves around the lives of three female leads from different walks of life. Gu Jia (Tong Yao) is a capable businesswoman turned full-time housewife; Wang Manni (Jiang Shuying) is an independent, career-oriented sales assistant; and Zhong Xiaoqin (Mao Xiaotong) is your run-of-the-mill office lady.

For Gu Jia, the birth of her son was what truly transformed her into a full-fledged housewife. In many ways, she seems like a perfect wife and mother: well-educated, capable, and thoughtful. But, eventually, she too has to face life’s challenges.

Driven and hardworking, Wang Manni is confident in both her looks and abilities. Her immediate goal, at least at the start of the show, is to achieve professional success. Throughout the show, her resilience is put to the test, personally and professionally.

Zhong Xiaoqin is described by many netizens as the most “average” or “normal” character. She is kind-hearted -sometimes to the point of being a pushover -, and has spent years at the same company without rising the ranks. Though her story might seem mundane at first, this peace is disrupted when her marriage takes a turn for the worse.

 

A story that resonates with the masses

 

“The show attracted wide attention, and it strongly resonated with female audiences. Many thirty-something working women saw their own lives reflected in the show,” Xinhua recently wrote about the show.

Nothing but Thirty currently carries a 7.6 out of 10 rating on Douban, an online reviewing platform.

Though some reviewers criticized how the later episodes of the show were unnecessarily draggy, most praised it for its portrayal of strong female characters, good acting, and largely realistic depiction of women above the age of thirty.

“I saw myself, and also saw the friends beside me,” a reviewer notes.

In China, women are, more often than not, burdened with expectations of getting married and settling down by the time they are in their late twenties. If you’re single and thirty, that’s made even worse.

Those who fall into this category carry the derogatory label of “leftover women” (剩女), a term that reflects how single women above the age of thirty are seen as consolation prizes or even unwanted goods.

Thirty is thus an incredibly important number, especially for women — something that’s clearly reflected in the show’s concept trailer.

Aside from societal expectations of starting a family, some women now also take it upon themselves to build their careers. In fact, you can chase after professional success without burdening yourself with the idea that you must be married – a notion exemplified by the character of Wang Manni.

Nothing But Thirty also showcases the sheer diversity of experiences for women above thirty: you don’t have to be married, you don’t have to be super capable, and you don’t have to be thinking about having children. Each woman goes through her own unique struggles and isn’t necessarily endowed with the so-called “protagonist’s halo.”

Ultimately, the popularity of the show is driven by the three female leads and the actresses who bring these strong characters to life.

By telling a story that is relatable and touches on relevant social issues, namely on expectations of women in society, Nothing But Thirty was able to achieve widespread popularity and is adding another notch on the trend of China’s ta shidai (她时代) dramas. 

 

The rise of ta shidai shows

 

Ta shidai literally translates to “her era” or “the ‘she’ era.”

Ta shidai shows explore what it’s like to be a woman in China today. The female characters are diverse when it comes to both their backgrounds and character arcs; they might have different jobs, different levels of education, or different personalities. These shows mostly center around a strong female lead and/or a main cast that is primarily female.

More importantly, they often feature capable women and how these women overcame the odds to achieve success.

Recent shows like The Romance of Tiger and Rose (传闻中的陈芊芊) and Sisters Who Make Waves (乘风破浪的姐姐) also fall under this category, as do somewhat older hit shows such as Ode to Joy (欢乐颂) and Women in Beijing (北京女子图鉴).

The Romance of Tiger and Rose is set in a society in which women are in charge and men are subordinate, in a daring reversal of gender roles. Though the show has been criticized for using social issues to attract attention, it gained a decent following for tackling topics like gender inequality and women’s rights.

The Romance of Tiger and Rose (传闻中的陈芊芊)

A reality TV competition that swept the Chinese entertainment scene, Sisters Who Make Waves attempted to rebuke stereotypes of women over 30 as “leftover women.”

The show brought together female celebrities above the age of 30 (the oldest competitor was 52), and had them go through a series of challenges, culminating in a girl group formed by the final competitors.

Nothing But Thirty is just another example of a show that’s attempted to depict the realistic struggles of women in modern-day China.

More Chinese dramas that feature women — specifically, their struggles and the expectations that society places on them — are slated to be released in 2020.

Over the past few years, more attention has been focused on women’s rights in China. As feminism becomes an increasingly important topic of discussion in China, strongly facilitated by social media and not without controversy, companies are likely to hop on the bandwagon and continue producing shows that fall squarely in the ta shidai category, given the genre’s rising popularity.

Though we can’t expect every single show to perfectly, accurately, and realistically portray women’s struggles, the fact that more stories like these are being produced already helps bring such conversations into the mainstream. 

Hopefully, the trend of ta shidai shows is a sign that these issues won’t just be tackled on camera, but in real life as well. 

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

 Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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China Arts & Entertainment

Two Hour Time Limit for KTV: China’s Latest Covid-19 Measures Draw Online Criticism

China’s latest COVID-19 infection prevention and control measures are drawing criticism from social media users.

Manya Koetse

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No more never-ending nights filled with singing and drinking at the karaoke bar for now, as new pandemic containment measures put a time limit as to how long people can stay inside entertainment locations and wangba (internet cafes).

On June 22nd, China’s Ministry of Culture and Tourism (文旅部) issued an adjusted version to earlier published guidelines on Covid-19-related prevention and control measures for theaters, internet cafes, and other indoor entertainment venues.

Some of the added regulations have become big news on Chinese social media today.

According to the latest guidelines, it will not be allowed for Chinese consumers to stay at various entertainment locations and wangba for more than two hours.

Singing and dancing entertainment venues, such as KTV bars, can only operate at no greater than 50% maximum occupancy. This also means that private karaoke rooms will be much emptier, as they will also only be able to operate at 50% capacity.

On Weibo, the news drew wide attention today, with the hashtag “KTV, Internet Cafe Time Limit of Two Hours” (#KTV网吧消费时间不得超2小时#) receiving over 220 million views at the time of writing. One news post reporting on the latest measures published on the People’s Daily Weibo account received over 7000 comments and 108,000 likes.

One popular comment, receiving over 9000 likes, criticized the current anti-coronavirus measures for entertainment locations, suggesting that dining venues – that have reopened across the country – actually pose a much greater risk than karaoke rooms due to the groups of people gathering in one space without a mask and the “saliva [drops] flying around.”

The comment, that was posted by popular comic blogger Xuexi, further argues that cinemas – that have suffered greatly from nationwide closures – are much safer, as people could wear masks inside and the maximum amount of seats could be minimized by 50%. Karaoke rooms are even safer, Xuexi writes, as the private rooms are only shared by friends or colleagues – people who don’t wear face masks around each other anyway.

Many people agree with the criticism, arguing that the latest guidelines do not make sense at all and that two hours is not nearly enough for singing songs at the karaoke bar or for playing online games at the internet cafe. Some wonder why (regular) bars are not closed instead, or why there is no two-hour time limit for their work at the office.

Most comments are about China’s cinemas, with Weibo users wondering why a karaoke bar, where people open their mouths to sing and talk, would be allowed to open, while the cinemas, where people sit quietly and watch the screen, remain closed.

Others also suggest that a two-hour limit would actually increase the number of individuals visiting one place in one night, saying that this would only increase the risks of spreading the virus.

“Where’s the scientific evidence?”, some wonder: “What’s the difference between staying there for two hours or one day?”

“As a wangba owner, this really fills me with sorrow,” one commenter writes: “Nobody cares about the financial losses we suffered over the past six months. Our landlord can’t reduce our rent. During the epidemic we fully conformed to the disease prevention measures, we haven’t opened our doors at all, and now there’s this policy. We don’t know what to do anymore.”

Among the more serious worries and fears, there are also some who are concerned about more trivial things: “There’s just no way we can eat all our food at the KTV place within a two-hour time frame!”

By Manya Koetse

*” 餐饮其实才更严重,一群人聚在一起,而且不戴口罩,唾沫横飞的。开了空调一样也是密闭空间。电影院完全可以要求必须戴口罩,而且座位可以只出售一半。KTV其实更安全,都是同事朋友的,本身在一起都不戴口罩了,在包间也无所谓。最危险的餐饮反而都不在意了”

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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