2020.5 Capital Museum [from Nanjing to Beijing] repurchased

? It was exhibited in the Capital Museum for the first time after the epidemic. The imperial capital engaged in the prevention and control of normalized epidemic situation, and few of them opened in May. During this exhibition, I entered the palace twice. If Guo Bo looks at the revival road of ancient China, the Forbidden City looks at the central axis and the first China International Import Expo(CIIE) looks at the special exhibition, then the quality of the temporary exhibition held by the special exhibition hall on the first floor of China International Import Expo(CIIE) Square Hall is basically the same as that of the permanent exhibition, even brilliant.

My personal understanding of the purpose and theme of this exhibition is as follows: Taking the spatial migration of the capital of feudal dynasty as the main line, this paper makes a "slice biopsy" of this period of history from the end of Yuan Dynasty to the beginning of Ming Dynasty, investigates how political power repeatedly plays the role of "ceremony", and shapes the weather and spirit of the times in the capital.

In fact, "From Nanjing to Beijing" is an exhibition with the nature of "reading the city", which is not a new topic. The so-called "Understanding the City" exhibition takes a city as the origin, pays attention to the diachronic evolution of the city in different historical periods, and digs out several topics for in-depth discussion, which is an idea for the city museum to pay attention to the current social life problems.

20 15 held the first exhibition "Reading the City". At that time, the biggest highlight of this exhibition was social education, that is, primary and secondary school students participated in the planning, arrangement and explanation of the exhibition, and three large-scale interactive experience projects were tailored for young people-"Exploring the Historic District of Beijing", "Discovering the Beauty of Beijing Courtyard", "Exploring the Central Axis of Beijing" and the exhibition "Reading the City: Capital and Chengdu" of Jinsha Ruins Museum around 20 19 National Day. I hope to understand two cities through an exhibition, which is a bit of a "two-city exhibition" in concept, but maybe my understanding ability is limited, and I feel that the explanation of the correlation between the two cities is a little weak, even a little far-fetched. This exhibition is more of a "gift" for handing in homework on National Day.

So, what is "Reading the City"?

Mr. Yi Zhongtian wrote a pamphlet "Reading the City". He said, "There are many yamen in Beijing, many foreign firms in Shanghai, many shops in Guangzhou and many teahouses in Chengdu". Beijing is a city, Shanghai is a beach, Guangzhou is a city, Xiamen is an island, Chengdu is a mansion, and Wuhan is a small town. Reading and examining the city has never stopped, and the perspectives are more diverse. Now the Wuchang City in Fangfang is no longer a kind of "reading the city".

? If I want to "read this city", I can immediately write down as many points of interest as an A4 paper.

Start with the map. I looked at the map of Ming Beijing in the exhibition hall for about half an hour. I recognize the gates of the Ming Dynasty as corresponding to today's place names or subway stations. I narrowed my eyes and saw this place of Guo Bo Ministry of Public Security, which used to be the seat of six departments. The Temple of Heaven is much bigger than the Forbidden City. The organizational system of Zuozu Right Society has not changed to this day. The location of Tian/Yue/Tian Di/Xian Nong/Xian Silkworm Altar has its own ritual arrangement. ...

The contemporary problems that suddenly come to mind are mainly the disintegration of Beijing's non-capital function, the coordinated development of Beijing, Tianjin and Hebei, and the merger of Dongcheng District and Xicheng District into the central administrative region, which means that Beijing may no longer be the capital in the future, and Beijing and the capital will be a Wayne map with intersection.

There are also industrial heritage protection such as air pollution prevention, open-air vegetable market, flower and bird market relocation, old house renovation, hutong community revitalization and Shougang Park.

Of course, there are also the hardest hit areas of media traffic anxiety: fleeing from California's "sleeping city" to the north, the net outflow of permanent residents and so on.

? There are 1000 cities among 1000 people, and the "reading city" inspired by the exhibition is irreplaceable. The footnotes made by cultural relics are steady and steady, and the city cards with temperature are handed to modern people from ancient times, which stimulates people's impulse to reflect on contemporary urban life problems in the process of reading the ancient city texts.

? As a comprehensive museum with the nature of local chronicles, the primary orientation of the Capital Museum is to comprehensively record and display the history of Beijing. As the capital of Beijing itself, its core function is "ceremony". The basic display of "Ancient Capital Beijing" on the second floor, I guess it has not been updated for a long time. The traditional general history exhibition with dynasties and emperors as the key link, as well as the intensive cultural relics display form of Panjiayuan stall, may no longer satisfy the curiosity of contemporary people about the cultural spirit of the capital. Then, this exhibition "From Nanjing to Beijing" can actually be understood as the restoration, excavation and sublimation of the basic display of "Ancient Capital Beijing".

2020 is the 600th anniversary of Beijing's capital (1420-2020). As a political and cultural center, its status has continued to this day. Shoushan Beijing is famous for 600 years with a history of 600 years. Today, it still seems to have the significance as a carrier. There are many exhibitions commemorating the anniversary, and it is not easy to make them splendid. Some people have bitterly commented that there is nothing to see in this exhibition, and it is better to read textbooks if you want to see the history of Ming Dynasty. Admittedly, there is nothing novel and creative in this exhibition, and it is well-behaved from beginning to end. The times will not be too far away, and there are not many obstacles to understanding and pain points in knowledge. It's just an ordinary Ming history, but it was written separately for two cities. In fact, the transformation of time and space is a game of political power, which produces the value of display and explanation.

"The relationship between exhibition content and form" is a commonplace topic in cultural relics and museology, and it is also a high-frequency proposition knowledge point in the early postgraduate entrance examination for cultural relics and even the written examination for museum recruitment.

This time, I mainly focus on formal design. I prefer to regard the design process of exhibition content plus form as a kind of "creation".

As the cognitive origin of the city in a general sense, the city wall appears in the preface hall, which is very eye-catching as soon as it comes in. Both Nanjing and Beijing have some Ming Dynasty city walls, so the large-scale city wall scenery adds a heavy feeling. Looking closely at the wall brick, there are traces of "testing its sincerity in the name of things", and the details are highly restored, which can be described as intentions. Nothing can better symbolize the image of tired history than the city wall, and the demolition and protection scheme of the ancient city wall in later generations is also an important embodiment of national governance.

Because it is a short period of history from the end of Yuan Dynasty to the beginning of Ming Dynasty, we can cut the timeline very carefully. Also in the preface hall, there is a neon timeline, in which four colors of orange, green, blue and pink are used to show the memorabilia of Zhengnian, Ming Hongwu, Wen Jian and Yongle in the Yuan Dynasty. The place with ulterior motives is that the audience will follow the winding exhibition route to the end of the exhibition, and then come to this bright timeline, and they will find themselves standing next to the huge "1420" era figures, echoing from beginning to end, and marking the key points, which is very relevant.

If you ask me, this is really a cervical friendship exhibition. Overhead space is interesting and vertical space is fully utilized. Above the time axis, there is a long scroll of Ming Dynasty landscape painting, which runs through the exhibition area and will not be cramped visually.

? If the long scroll of landscape painting is a face, then the hanging wrought iron expresses lines, pointing to the silhouette of the royal etiquette building, which is probably the city skyline at that time.

? The exhibition unit is very concise. The first part is Nanjing, the second part is Beijing, and the third part is Yongxi. The first two are easy to understand, and the third meaning probably means peace at home and music.

These golden flowers are basically from the tomb of heroes of princes and kings in Nanjing. How luxurious and glorious it is to be buried today after death. But the fact is, Zhu Yuanzhang, an old acquaintance of Ming Taizu's village and a follower in the battle, was raised. The so-called "birds and animals are all fine, and good bows and hides" was used by Gao Zhen and was killed wantonly. This period of history is mainly sorted out through the footnotes of the middle and high-grade Ming Tombs unearthed in Nanjing.

Building a city is inseparable from architecture. In this building, there are thick three-dimensional exhibition boards. The facade of the building is painted with ink lines on a white background, and the thick glass-colored hollowed-out part seems to be new from heavy logs. It is also this kind of heavy three-dimensional exhibition board, which is manifested as a landscape frame in another place. The silhouette of the palace has been dug out, and the audience can watch the murals behind it through this silhouette.

In the middle of the exhibition line, there is a relatively low showcase, which is not completely blocked from the floor to the ceiling, and the space is transparent. You can also watch the long scroll background of the upper space from a distance. Transparent but not smooth, translucent "painted screen" display board aims to create a dual-viewing display medium. The three "painting screens" show the color paintings and line drawings of Beijing and ancient buildings, overlapping each other, as if the history was condensed into a picture tonight, and the audience moved and changed the scenery with the advancement of the exhibition route.

? If I were asked to answer the essay question "The relationship between the content and form of museum exhibitions" again today, I might not answer it well, or I might not follow the routine. However, isn't the public exposition and criticism pointing to the "diversity" and "tolerance" called for by International Museum Day?