The unique Overseas Chinese Museum in the world has moved Chinatown into the museum to show all kinds of overseas Chinese.

Usually, when tourists go to Xiamen University and Nanputuo Temple for sightseeing from the airport or railway station, they will pass through the museum station. This museum is the only overseas Chinese museum in the world, the only overseas Chinese museum in China, and the first comprehensive museum in China that comprehensively and systematically displays the history of overseas Chinese. Located in the west of HIVE BOX, Xiamen City, Fujian Province, it was initiated by the late patriotic overseas Chinese leader Chen Jiageng in September 1956.

Even if you pass by in a hurry, you will be attracted by its double-eaved palace building with strong China national style. The building adopts white granite and green glazed tile eaves, which are antique and magnificent. The museum is mainly divided into three parts: Overseas Chinese, Chen Jiageng Precious Cultural Relics Exhibition and Natural History Museum. Among them, Chinese overseas Chinese are divided into five parts: preface hall, going abroad, China social spring and autumn, glorious history and tail hall.

Before entering the Overseas Chinese Museum, when I saw these ship models, I would think of Zheng He's voyage to the West. Then I visited the Overseas Chinese Museum, only to know that the ship type of this ancient China seagoing ship actually has a name-Fortune Ship, which is also one of the "four ancient ships" in China.

Fortune ship is the general name of the sharp-bottomed seagoing ships along the coast of Fujian and Zhejiang. Lucky ships are suitable for sea navigation and can be used as ocean-going transport ships and warships. According to ancient records, the China navy in the Ming Dynasty took the ambush as its main warship. When Zheng He's fleet sailed to the Western Ocean, passing through the Pacific Ocean and the Indian Ocean, and going to the Persian Gulf, East Africa and other deep-water areas, it was inevitable to choose a lucky ship with a sharp bottom, a deep draft and a small aspect ratio.

Here, we can look back at the footprints of overseas Chinese going abroad and going to the world, see the collision and integration of different cultures, and see their transformation from expatriates to citizenship, especially the part of letters, which makes people feel deeply. Now when it comes to overseas Chinese, most people will sigh that they are rich, but they seldom know the hardships and tribulations of their struggle in foreign countries.

What impressed me the most was the 36-line miniature in the Overseas Chinese Museum. Each grid shows 36 industries that overseas Chinese in Singapore and Malaysia mainly engaged in in in 1950s and 1960s, among which it is not difficult to find that overseas Chinese in Southeast Asia were engaged in service industries at that time.

Unexpectedly, such an exquisite exhibition was made and donated by Singaporean Chinese Chen Laihua and his wife. Just like the grid of time and space, it takes you through the past time, and the vivid miniature is the solidified historical witness.

The most shocking thing is the second floor, which seems to have entered another time and space after crossing the Zhonghua Gate. Many overseas Chinese often call themselves "Tangren", and many foreign countries also have "Chinatown". We can also find the answer here.

It was the Han Dynasty that recorded China people living abroad. In BC 124, Emperor Wu of the Han Dynasty established a channel to communicate with China and the West, and successively opened up maritime traffic with Southeast Asia, India and Sri Lanka, with envoys and personnel exchanges every year. Because of overseas trade, businessmen and sailors can go to Southeast Asia, and some of them settle down there and become the first generation of overseas immigrants. During the Tang Dynasty, the number of people living abroad in China increased gradually. Many foreigners call overseas Chinese "Tangren" and overseas Chinese return to China as "Tangshan".

After the demise of the Tang Dynasty, due to the influence of the Tang Dynasty on the world economy and culture, the habit of foreigners calling China "Tangren" has not changed, from the Song and Yuan Dynasties to the Ming and Qing Dynasties. The Biography of True Wax in the Ming Dynasty said: "The people of the Tang Dynasty are also called China people by many fans, and all overseas countries are complete." Today, the older generation of overseas Chinese still like to call themselves "Tangren" and China "Tangshan". As for the places where overseas Chinese live together, almost everyone knows. I didn't expect to see such a "Chinatown" in the Overseas Chinese Museum.

Although it is only a short imitation of Chinatown, the fineness is too shocking. Look at this lifelike wood carving. The exquisite craftsmanship is self-evident. Chinatown, to some extent, entrusted their yearning for the motherland and hometown.

There is also a wedding room with the same effect. From the application for marriage of foreign Chinese to the marriage document, from the traditional ornaments of the wedding to the wedding bed in the wedding room, the integration of Chinese and Western culture has gradually become obvious.

Generally speaking, when we watch cultural relics exhibitions, we will be attracted by the exhibits, but in the Chen Jiageng Collection Cultural Relics Exhibition of Overseas Chinese Museum, the unique showcase is the first thing that catches our eye and leaves a deep impression.

Chen Jiageng personally directed the design of the showcase. The main structure is the double-eaved roof and sumitomo style of traditional buildings in China, and there are two windows of Myanmar and Thailand architectural styles in the middle, which realizes the harmonious unity of rich national style and romantic Nanyang sentiment.

Up to March 20 17, there are nearly 7,000 cultural relics in the museum, showing some bronzes, ceramics, calligraphy and paintings selected from the cultural relics collected by Mr. Chen Jiageng in Beijing and other places over 80 years old, so that the audience can appreciate the mysterious bronzes, exquisite ceramics, calligraphy and paintings with different styles and other artistic treasures full of the wisdom and painstaking efforts of their ancestors, and understand the profound, long-standing and brilliant China.

This group is a pastel porcelain statue of the Eight Immortals in the Republic of China. This painting is vivid, colorful and almost well-preserved. It was collected by Mr. Chen Jiageng in 1959.

This picture is the axis of Xu Beihong's Angry Horse. This painting is a dark horse that Mr. Ji Fang gave him during the anti-Japanese war in Nanyang, with an angry head on it. The painter outlined the horse's body with rough and powerful lines, and rendered it with ink and wash, with distinct shades. Strong limbs in thick ink, hooves in thin pens, manes and ponytails in scorched ink and wide pens. Modeling is generally accurate, with strong sense of texture and movement. It fully expresses the regret that the painter is in a foreign country and misses the "warriors who fought in the front line" when the nation is in danger, but he can't personally gallop on the battlefield to kill the enemy.

The last finishing touch is the tail hall of the whole "Overseas Chinese" plate. Surrounded by the Great Wall, there is a huge glass fiber reinforced plastic root carving on the wall, and an ancient piano is in the middle.

The intricate background wall is accompanied by music and blue light, and the lyrics of the Chinese and English version of "Love of Green Leaves for Roots" are embedded in the glass plate. This is the love of overseas Chinese for the motherland and the good talk about the country.