Sichuan-Chongqing 5 Hall Co-organized Tiger Exhibition See how "Tiger" the Year of the Tiger is in Jiangjin Museum

"Tiger Roaring Wind And Backgammon - Special Exhibition of the Spring Festival in the Year of the Tiger". Photo courtesy of the Propaganda Department of the Jiangjin District CPC Committee

People's Daily Chongqing, January 27 -- China is the homeland of tigers, tiger culture has a long history, and the Pakistani people regard tigers as totems. From worshipping tigers, carving tigers, drawing tigers to cutting tigers... Behind the evolution and inheritance of tiger culture, there are wonderful historical and cultural stories.

On January 26th, the special exhibition of The Spring Tiger Culture jointly organized by five museums in Sichuan and Chongqing opened at the Jiangjin Museum, and through precious cultural relics with Guan hu elements such as bronzes, stone carvings, calligraphy and paintings, to see how "tiger" this Year of the Tiger is.

Chonghu: Tiger Button tells the story of Pakistan

Entering the exhibition hall, the bronze "heavy weapon" from the Warring States era attracted the attention of the audience, which is a typical artifact of Pakistani culture - the Warring States Bronze Tiger Button.

Ding Yanfei, curator of the Jiangjin Museum, introduced that the Warring States bronze tiger button was excavated from the site of Yong'an Town, Fengjie County, and is now collected in the Chongqing Municipal Institute of Cultural Relics and Archaeology. The first of the "four golds" (錞于, 錞, 铙, Duo) of the ancient music began in the Spring and Autumn Period, flourished from the Warring States to the early Western Han Dynasty, and was found in the Yangtze River Basin, South China and Southwest China. The buttons used for hanging on the top are in a variety of styles, such as bridge-shaped and animal-shaped, among which the tiger button is believed to be an artifact of the ancient Ba people. The upper button is in the shape of a tiger, lifelike, not angry but threatening, and is another important example of the worship of the Ba people and the tiger.

"It can be said that the White Tiger culture runs through the history of the Ba people and has a profound impact on the Ba people and the Ba di." Ding Yanfei said that in the historical evolution of thousands of years, the White Tiger culture has become an important spiritual totem of the Ba people, and has also formed the national character and life attitude of the Ba people who are brave and good at war, and have deep feelings and righteousness.

Carved Tiger: The collection of stone sculptures of the "Four Gods" was unveiled

The "Four Gods" are a common carving theme in ancient times, derived from Chinese folk mythology. As a traditional beast, the tiger often appears as one of the four gods. In the exhibition hall, a set of stone sculptures with four gods themes was watched.

According to Ding Yanfei, this set of combined stone carvings comes from the Song Dynasty, and some of them are collected by the Song Dynasty Stone Carving Museum in Luxian County. This Sichuan-Chongqing joint exhibition activity is the first assembly appearance of this set of combined stone sculptures.

Painting the Tiger: Painting the Tiger Masters shows the pride of the War of Resistance

In China's modern history, the famous tiger painter Yan Songfu had a deep relationship with Jiangjin. Yan Song's father was a native of Yangzhou, Jiangsu Province, and after the "July 7 Incident", he took refuge with his family in Sichuan, exhibited more than 100 anti-Japanese propaganda paintings on the streets of Wanxian County at that time, and after moving to Baisha Town, Jiangjin County, he taught at Jiangjin Middle School and Jiangjin Normal School in Sichuan, and in his later years he served as the deputy director and honorary curator of the Jiangjin County Cultural Center at that time. In his later years, Mr. Yan Songfu was good at painting cattle and tigers, and the inscription studio was "Xiaofeng Lou", which was known as "Yan Tiger".

"Making tiger paintings is not an easy task." Ding Yanfei said that tiger painting is one of the important themes of traditional Chinese painting, paying attention to "the shape is prepared and the atmosphere is complete", and there is an ancient proverb that "painting a tiger is not an anti-dog" to imply the difficulty of painting tigers. In terms of technique, Yan Song's father absorbed the method of famous parents of the past generations, using the method of ink to break through the color of the ink, so that the markings and the color of the fur ink blended together, and the unique painting method was deeply loved by people. Marshal Chen Yi once wrote a poem praising: "Father Song draws a tiger to draw its god, which can make the real tiger paper go up."

A total of 8 authentic works of Mr. Yan Songfu were exhibited this time, including vertical shafts, horizontal shafts, single and multiple pieces, and the types were very rich. In addition, the Yibin Municipal Museum's collection "The Republic of China Zhang Shanxiao Set Up the Color Tiger Middle Hall" and the Shapingba Museum's collection "1928 Zhang Shanxiao Fierce Tiger Chart Axis" were jointly exhibited at the Jiangjin Museum at the same time.

Tiger Cutting: Edutainment Chinese inheritance

"Paper-cutting is one of Jiangjin's intangible cultural heritage skills." Ding Yanfei said. At the exhibition site, many children were accompanied by their parents to carry out interesting paper-cutting activities.

With the theme of the tiger, the Jiangjin Museum provided interactive public welfare activities for children in print printing, ink painting and paper-cutting intangible cultural heritage skills, and also customized the Year of the Tiger cultural and creative calendar as a prize, hoping to let everyone feel the charm of traditional culture through edutainment.

"In this traditional festival, Jiangjin Museum wishes everyone a happy new year and a high step by step!" Ding Yanfei said that he hopes that through this special exhibition, more people can understand and inherit tiger culture and effectively enhance the cultural self-confidence of Jiangjin people. (Liu Zhengning, Yang Xue)