As is known to all, Siyang Fangzun is a gold-letter name card for China’s bronze culture. It is now housed in the China National Museum. It is the largest and heaviest bronze ware ever unearthed in the world and enjoys the reputation of “a treasure of the town and country”. However, due to the protection of cultural relics, Siyang Fangzun rarely left the National Museum and came to the local museum to exhibit to the public. It can be described as “hidden in the depths of the unknown”.
Through the 3D printing technology, the “copying” of Siyang Fangzun was realized, and at the same time, the relevant cultural institutions exported historical culture to provide teaching carriers. According to reports, Aurora used a desktop-class 3D printer to create a mini version of "Fang Brother" of Siyang Fangzun, giving the public the opportunity to observe various types of bronze craft styling, pattern layout, ornamentation, etc. from zero distance, and truly touch the bronze culture. The four sheep Fangzun represented the noble level of the Shang Dynasty bronze ware production. Its structural review has high requirements for the casting process. Usually a museum makes a copy of the four sheep fawns often requires a lot of manpower, material resources and time costs. The digital manufacturing process based on 3D printing reduces the cost of reproduction of cultural relics to the extreme, effectively breaking the bottleneck. In addition, 3D printing is also widely used in the restoration or reconstruction of artifacts. Due to the ages, most of the artifacts have been weathered and continue to be weathered after hundreds of years or even thousands of years of wind and sun. If you do not protect and obtain historical data in time, their style will disappear forever. However, with the development of 3D printing technology and 3D scanning technology, it has become possible to establish “relic data files” in the form of digital generation. In recent years, with the advancement of the museum's digitization process, many museums and artifact restoration workers have tried to use 3D printing and 3D scanning technology to allow the fragmented cultural relics to “return to life” and continue to be inherited while repairing.