Being an ancient country, China has abundant cultural relics and art treasures. But they used to be stored in museums, far from the reach of ordinary people.

With the nation's economic development and the rising standard of living, the collection of replicas of cultural relics, which once were accessible only to the rich, has become increasing popular. A market in historical relic imitations has appeared and is thriving.

However, as it is still in its early stage, the market cannot meet the increasing needs of handicraft lovers, and has been facing challenges from a multitude of forgeries.

How can Chinese relic replica manufacturers meet the challenges posed by the modern marketplace? Such a question remains the focus of debate among both scholars and business people.

Manufacturers, artists and officials from around China gathered in Beijing last week at the China Relic Replica and Folk Artwork Exhibition to find new growth possibilities and exchange their ideas and concerns over the flourishing market.

"The cultural relic replica does not exist merely as a commercial product. It embraces great cultural achievements and marvelous traditional craftsmanship, which constitutes its core value," said Peng Yunjie, president of the National Cultural Relics Institute which sponsored the four-day exhibition.

It is uncommon for dealers to clearly indicate that the products they are selling are replicas, although this is against the country's Cultural Relic Law. As a result most ordinary consumers mistakenly think that replicas are original works.

Peng also points out that replicas manufactured in a rough and slipshod way have been slipping into the market, which hurts enthusiastic collectors and potential investors.

"That's why we need to push forward the industrialization of relic replicas and the standardization of the market," said Jia Wenzhong, secretary of the Cultural Relic Restoration Committee under the National Cultural Relics Institution of China, who shares this view.

Born into a family of cultural relic restorers, Jia Wenzhong has been engaged in many relic restoration projects. He has seen lots of shabby replicas from small manufacturers.

"Most are family workshops, where workers have little knowledge of cultural relics," Jia said.

Jia said that a qualified manufacturer should master a basic knowledge of drawing, calligraphy and history before he starts to copy or restore a relic.

Experts call for a more standardized market, and one way to realize it, according to Jia, is to build famous brands.

"If manufacturers only focus on profit, not quality, they will lose consumers. In 2008, they will lose the world market. I believe the Olympic Games will be a precious opportunity for the Chinese replica market. You either get hold of it, or you will definitely lose it."

Besides making faithful replicas, producers should also think about adjusting to modern life and pushing their works in the international market, said participants on the exhibition.

Gao Dianliang, who runs a paper-cut factory in Yunxian County of North China's Hebei Province, has a great idea. "In my county, there are more than 200 households making paper-cuts. We produce calendars with beautiful paper-cuts and captions introducing Chinese customs and history, which have achieved great popularity."

For a long time, artists always kept their traditional crafts secret. However, visitors to the Yunxian County are free to see how paper-cuts are produced.

Only broad-minded traditional artists can stand firmly in the marketplace. That is the answer given by Gao, who is a paper-cut manufacturer himself.

Artists and manufacturers also face many challenges and choices. Zhang Tiecheng from Beijing Niren Zhang Arts Co Ltd is one of them.

"Frequently, we have to change the color, the material and the shape of the handiwork in accordance with our foreign clients' wishes, but the craft and the soul of those relic replicas remains the same," said Zhang, whose family has become a household name in China for its vivid small clay figurines.

Having been searching for new space in the traditional arts field for 20 years, Zhang Tiecheng calls for "an international perspective" on traditional culture.

"Information means opportunity. If we are unwilling to adapt to the changing psychology of a changing group of consumers, we will be abandoned by the market," said Zhang.

(China Daily September 19, 2003)