Recently, cultural and artistic exchange centers across the country have been attempting to transition towards digitalization, but this transformation has not been smooth. Taking the Chengdu Cultural Exchange Center as an example, its digital collection themed on the panda for the 2023 Universiade did not achieve the expected market response. Similarly, the digital collections related to the Sanxingdui that were previously issued in the Sichuan region also failed to spark a market frenzy.

The root cause of this phenomenon may lie in the limitations of market size. As industry insiders have pointed out, regional digital collectibles markets often face the problem of being "small and closed." Attempting to achieve self-circulation within a closed ecosystem ultimately leads to digital collectibles struggling to gain widespread market recognition and circulation.

In fact, the success of the digital collectibles market depends not only on the cultural value and artistic appeal of the collectibles themselves but also on an open and fluid market environment. A closed regional market restricts the circulation and value realization of collectibles, making it difficult for even digital collectibles with unique cultural connotations to attract enough buyers.

This phenomenon also reflects that, in the wave of digitization, traditional cultural trading institutions are facing the challenge of transformation. How to break geographical limitations while maintaining local characteristics and build a more open and interconnected digital collectibles ecosystem has become a question that cultural exchanges and related institutions need to think deeply about.

In the future, the road to cultural digitalization is still long, requiring market participants to continuously innovate and explore more attractive business models and operational strategies to truly activate the potential of the digital collectibles market.