Shaanxi Ming and Qing dynasties, describing the other side of the historical appearance

On May 18th, the exhibition of "Carving the People -the Belief World in the Research Line of the Ming and Qing Shi of Shaanxi", which was planned by the Xi'an Beilin Museum, opened in the Xi'an Beilin Museum. This is a special exhibition based on the two generations of regional culture, focusing on the two generations of Ming and Qing Dynasties, and centered on stone carved line painting. The exhibition is based on the Xi'an Beilin Museum's collection of Ming and Qing stone carvings. It selects 65 stone carved line paintings such as engraving, religious painting, meaning painting and custom painting, and outlines the cultural life and folk beliefs of the Ming and Qing dynasties in Shaanxi. The topic selection of exhibition and the creation of cultural atmosphere played a good demonstration role.

Innovative exhibition theme

At present, the development of Cultural Fur has developed rapidly. Museums need to carry out high -quality exhibition business based on their traditional cultural service functions, and discover novel exhibition themes.

One is the selection of exhibits. It was trapped in the lack of historical materials. History and cultural research during the Ming and Qing dynasties in Shaanxi has not carried out a special sorting and display for many years, so that the public knows very little about it. The Xi'an Beilin Museum has extremely rich stone carved cultural relic resources. If it starts from the audience's subjective consciousness, Beilin is the hall of calligraphy art and stone carvings in the minds of people. Even decades ago, there were a few scholars such as Wang Ziyun and Wangshu Village, which was limited to the stone carvings used to decorate the stone carved cultural relics such as portrait stone, sarcophagus, and epitaphs in the Han Dynasty. This exhibition starts from the "cold" stele of the Ming and Qing dynasties, providing an opportunity to understand the type of stone carvings of stone carvings for ordinary audiences. It is also a promotion of the stone carvings of the Gevilia Museum of Xi'an Beilin Museum.

Based on such considerations, the curator selected 65 pieces from more than a hundred pavilions of the Ming and Qingshi engraving lines to discover the image connotation, sort out the image spectrum system, and systematically sort out the similar themes and similar images, and then arrange in the order of the times. Integrate the changes in the times into the trajectory generated by the image, refine the two keywords of "stone carved line painting" and "educate the people", explain the internal historical logic and causality, and finally form the theme of the exhibition "engraved people".

The second lies in the refinement of real topics. Short -time special exhibitions need to accurately extract the keywords of the times and society, and it is necessary to make the exhibition content extensively penetrate into social life. The social role of the exhibition is not only a refiner of social topics, but also the creator of the topic. In the "Carving Map of the People" exhibition, you can see the breadth and depth of social life involved: if you pay attention to the governing thoughts of local officials in Shaanxi during the Ming and Qing Dynasties, there are the 14th year of Jiajing (1535) of the Ming Dynasty (1535) The book's "The Yellow River Map" records the historical facts of Liu Tianhe Liu Tianhe who has been the governor of Shaanxi and the leader of more than 140,000 people to clear the Yellow River and build a flood prevention; those who pay attention to the daily lives of the people, there are Qing Kangxi reign of the Qing Dynasty (1662-1722) " Zhang Xian sent a statue "and" Fulu Shou Samsung Map ", etc.; Those who followed the literati time, including the 51st year of the Qing Dynasty (1712)" Wang Zhiyuan Painting Bamboo ", the twelfth year of the Qianlong of the Qing Dynasty (1747)" Three Friends Pictures " Wait.

The third unit of the exhibition hall "Chongde Salute"

Rely on academic achievements

The cultural relics exhibition of the museum is based on archeological excavation, handed down cultural relics, and based on cultural relics research. In order to fully and correct the historical information carried by the cultural relics, relevant researchers need to have a certain research ability and a solid academic foundation, so as to give full play to the scientific, guiding, and educational significance of museum display content.

Figure 1 Monument to the seven years of Ming Hongzhi "Ruilian Poetry Picture"

The Xi'an Beilin Museum has been based on the cultural resources of the museum. Over the years, it has published a series of research results around the stone carved line painting, laying a solid academic foundation for the interpretation of exhibits and the design of the exhibition structure. Among them, the article "Readings of the Stone Stone of the Xi'an Beilin Museum", from the perspective of materials publication, graphic interpretation and research, graphic engraving and circulation, artistry, and other perspectives. The author pointed out the period of the development of stone carvo line painting development in the history of the Ming and Qing dynasties in the period of transformation of stone carved line painting. As folk beliefs are closer to realistic issues, folk religious emergence came into being, and independent stone carved line paintings have emerged, such as the artistic forms that can pin their faith and express self. This article became the theoretical basis of the planning of this exhibition. In the end, the exhibition structure was set up as "Ji Shi Anbang", "People and Gods,", "Chongde Salute" and "Fushou Corning". Above the foundation and academic accumulation in the early stage, this exhibition starts from the details of the stone carved line painting, deepening the interpretation of the content of the picture and the political meaning and religious beliefs behind it. For example, the article "The Test of the Monument of the King of the Qin Fan Yongshou" Ruilian Poetry ", in -depth research on the seventh year of Ming Hongzhi (1494)" Ruilian Poetry "(Figure 1), and learned to read the lotus, red 蓼, and Ip The four kinds of plants of 植 and Mugu mean clean, reported, and simple. And the posts can see that the Wang Zhucheng of Yongshou Wang dung this picture not only praises his brothers Qin Wang Zhu Chengyong's political achievements, but also to advise Zhu Chengyong and educate his own response, reflecting the political and Confucian thoughts of the Ming Dynasty and the life of Confucianism. philosophy. The exhibition is interpreted by the figure (Figure 2) to present the political expression behind this work to the audience.

Figure 2 "Ruilian Poetry" line diagram display board

Reappear the belief system

In this exhibition, the curator has a comprehensive grasp of the emotions, cognition and will of the exhibits, and the organic unity of these three is just a faith. A successful theme exhibition, in addition to highlighting the theme to quickly attract the audience and establish a strong academic support to enrich the content, it is also necessary to use the exhibition to establish the correct value orientation. The emotional expression in the stone carved line painting works is more appropriate and concentrated, mainly based on geographical relationships and local interpersonal relationships. This group of stone carvings drawn from Shaanxi during the Ming and Qing dynasties, and Shaanxi during the Ming and Qing Dynasties had different positioning in the eyes of people of different identities and status. It is a home that people are in awe and survival. The theme exhibition of aggregation makes "Shaanxi" show a three -dimensional and multi -dimensional emotional dimension. The princes respect the emperor, caress the people, and Tang Xie Tongxin; the governor is fulfilled; the people will co -achieve the vulgarity of benevolence and pray for Fu Shou Corning. They have created a vivid and vivid historical appearance in terms of emotional dimensions. Figure 3 The 43rd year of Kangxi in the Qing Dynasty

The exhibition is based on discovering the belief system in the stone carved line painting, combing the flow of its content, reflecting the cognitive changes of people in the context of different times and in the living environment. To this end, the exhibition has set up a number of faith topics, such as the topic of "Confucianism, Tao, Display", the topic of "Guanyin", the topic of "Dharma", the topic of "Mei, Lan, Bamboo, and Chrysanthemum", and "Guan Gong". Among them, in the "Guan Gong" topic, the 14th year of the Qing Shunzhi (1657) of the Qing Shunzhi (1657), "Guan Shengzhen Junxiang Praise", the 43rd year of the Qing Dynasty (1704) "Guan Muzi Praise" (Figure 3), etc., reflects Guan Yu In the important position in folk beliefs, as the expansion of its influence, the role of changing social reality, and changing the appearance and expanding the title; in the "Guanyin" topic, the ninth year of Kangxi (1670) in the Qing Dynasty (1670) It reflects the simple psychological demands of the people; in the topic of "Mei, Lan, Bamboo, and Chrysanthemum", the thirty -eight years of the Qing Dynasty (1699) "The Gentleman of the Vanity" (Figure 4), the 39th year of the Qing Dynasty (1700) "Xiangxiang) The works such as "Maps" fully show the peace of Confucianism, the purity and nature of Taoism, the observation of the Buddhist house, the government's intersection and local governance, and the spirit and calmness of the literati. Through the life and spiritual will of the ancients Performance, guide today's people to pay attention to life and enrich the spiritual realm. The exhibition is an important part of the regional belief system with the same mother's problem with the same mother's problem.

Figure 4 "Gentleman" in the 38th year of Kangxi in the Qing Dynasty

The ancients hope that these stone carved line paintings can play the role of "enlightenment and helping people" in "moisturizing and silent". As far as people are concerned, they will also increase their sense of belonging and pride due to the stretching of the context. In the context of the integration of cultural tourism, the urban economy continued to heat up, and the museum gradually became the urban cultural living room. How to attract people to watch the exhibition and how to use emotional people should be the issue of deep thinking in the museum in the post -epidemic era. The innovation of "World of Faith in Shaanxi and Qingshi Research Line in Shaanxi Ming and Qingshi", not only opened the passage of consolidating social topics, relieve emotions, and shape cognition from a new perspective It also evoked the audience's looking back on the social atmosphere, cultural temperament and the world of belief in the Ming and Qing Dynasties, and provided a useful reference for the planning of the museum's short -term special exhibition. (Author: Li Yan Yang Bing)

Edit: Lu Yang Luo Siqi

Review: Cui Bo

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