【Keywords】Utilization and dissemination of cultural relics; cultural relics of Kifu Xianzhe; Hebei Museum
【Abstract】The cultural relics collected by the Hebei Museum have great regional characteristics, and in 2018, some of them were displayed with the "Quiet Collection of Qunyuan - Exhibition of the 65th Anniversary of the Famous Relics of the Kifu Ancestors in the Hebei Museum", which received good social benefits. However, the capacity and duration of an exhibition are limited after all, in order to further strengthen the use and dissemination of the cultural relics of the Prophet Kifu, in addition to organizing related exhibitions from multiple angles, you can also explore more diversified and effective ways, such as planning cloud exhibitions, publishing e-books, setting up cultural theme parks, etc. Through a variety of media, relying on the power of science and technology, taking advantage of the integration of culture and tourism, the contact point between cultural relics and the audience is expanded from one yuan to multiple, so that the communication space develops from a fixed area to the cloud and a broad world.
The Hebei Museum has nearly 300 calligraphy and paintings of the Ancestors of Qifu, more than 600 ancient books, and a small number of seals and rubbings. These cultural relics were originally collected by the Ancestral Shrine of Kifu. Founded in the late Qing Dynasty, the temple is located in Xiaxiao Street, Beijing, presided over by Li Hongzao, Zhang Zhidong, Zhang Peilun and other directly subordinate officials, and is a garden-style building commemorating the ancestors. In addition to regularly organizing festivals, the founders also collected a large number of relics of the sages through factory purchases and donations from fellow villagers. After the founding of the People's Republic of China, the cultural relics stored in the ancestral hall were transferred to the capital of Hebei Province, and then handed over to the Hebei Provincial Museum (now the Hebei Museum). The cultural relics of the Kifu Ancestors have distinct regional characteristics, and their rational use and effective dissemination can not only promote the construction of a culturally strong province and the integrated development of Beijing, Tianjin and Hebei, but also have great significance for carrying forward the excellent traditional Chinese culture and inheriting the Chinese humanistic spirit.
In 2018, based on this batch of cultural relics of the Ancestors of Qifu, the Hebei Museum launched a special exhibition "Jingzang Qunyuan - Exhibition of the 65th Anniversary of the Famous Relics of the Ancestral Hall of Qifu Xianzhe into Tibet" (hereinafter referred to as "Jingzang Qunyuan"), which has had a good social impact. However, due to the limitations of the venue and other conditions, the exhibition only exhibited 108 pieces (sets) of celebrity relics, and there are still a large number of calligraphy and painting relics and ancient books that have been stored in the warehouse for a long time and are little known. It is our unshirkable responsibility to fully study these relics of the sages, explore more diversified and effective ways to use and disseminate cultural relics, and make these precious relics of the sages come alive and play a greater role.
I. Utilization and Dissemination of Cultural Relics:
Review of the exhibition "Quiet Quncheng"
As the most direct means for the museum to attract the audience, the exhibition is the main motivation for the audience to enter the museum, and it is also the main form of the use and dissemination of cultural relics. In 2018, the Exhibition "Quiet Hidden Qunyuan" (Picture 1) launched by the Hebei Museum was divided into two chapters, and 108 pieces of calligraphy, paintings and books of the ancestors of Kifu were selected for display, of which two-thirds of the exhibits were publicly exhibited for the first time since the establishment of the Hebei Museum. The exhibition "Quiet Qunyuan" attracted a large number of audiences, and even the descendants of the ancestors went to the exhibition hall many times to pay respects to the relics of the ancestors, which was called "an exhibition that let the cultural relics go out of the 'deep boudoir'". Reviewing the planning process of the exhibition, it can be summarized into the following aspects.
(1) Conduct in-depth research and determine the theme of the exhibition
To plan the exhibition of cultural relics, it is necessary to have a full understanding of cultural relics, the so-called "bamboo in the chest", the first step is to conduct in-depth and meticulous research on cultural relics.
First, trace the origin of the artifacts. The original cultural relics bill shows that the cultural relics were handed over to the Hebei Provincial Museum in 1953. So, how did they converge on the Kisuke Shrine? After consulting the relevant historical materials and examining the inscriptions of the calligraphy and paintings, it was learned that there were two aspects of their origins: on the one hand, the founders of the Ancestral Ancestral Hall of Qifu bought from the factory, such as Zhang Zhidong mentioned in his book to Zhang Peilun, Zhao Nanxing's Tie Ruyi Tuoben, Yang Jisheng's Jiaoshan Yanshu and Shi Jiu's brothers' letters, etc. are all obtained by the factory; on the other hand, the founders donated, such as Li Hongzao's couplet, Guo Tong's cursive scroll and Zhang Zhidong's electric manuscript.
Second, sort out the categories of cultural relics. The cultural relics of the Ancestors of the Academy include three categories: calligraphy and painting, ancient books and miscellaneous items. Among them, calligraphy and painting cultural relics are the most abundant, including: 226 pieces of calligraphy, most of which are cursive, which can be divided into famous courtiers' inkblots, Wenyuan manuscripts and imitation books; 29 paintings, which can be divided into landscape paintings, portraits and flower and bird paintings with the theme of "Four Gentlemen"; 24 works of calligraphy and painting framed. Ancient books mainly include Fang Zhi and Kifu celebrity poetry collections in the Kifu region, such as the engraving of the Qing Guangxu Decade (1884) in the "Kifu Tongzhi", the engraving of the Qing Guangxu 5th to 18th year (1879-1892) of the Dingzhou Wang Clan Qiande Hall and the "Biography of the Ancestors of the Great Qing Dynasty" in tianjin at the beginning of the Republic of China. Miscellaneous items include the sacrificial utensils in the original Kifu Ancestral Hall and some of the literary utensils of kifu celebrities, such as Ji Xiaolan's dragon pattern rectangular green-ended stone, Fan Jingwen's seal, and the collection seal of kifu ancestral hall.
Again, refine the characteristics of cultural relics. These cultural relics are the most abundant in calligraphy and painting, and the authors include Yang Jisheng, Fan Jingwen, Zhao Nanxing, Wei Xiangshu, Li Hongzao, Zhang Zhidong and other famous ministers and politicians, as well as Sun Qifeng, Sun Chengze, Liang Qingbiao and other Rulin Wenyuan. Although kifu's calligraphy and painting are also influenced by the mainstream style of calligraphy and painting, they do not win by technique, but pay attention to the integration with traditional philosophical ideas and noble sentiments. "Books carry the Tao" is embodied in calligraphy works: the inkblots of famous ministers are mostly works of grandeur and righteousness, which provides a reliable model for us to understand the calligraphy of the Ming and Qing dynasties; the Wenyuan manuscripts not only reveal the author's true feelings, but also have important documentary value; the imitation calligraphy reflects the path of the calligraphy style of the sages of Kifu; the Xinzha is mostly based on the theme of cultivating the body and cultivating the heart, respecting the Noble Virtue and exhorting the good deeds, reflecting the character and cultivation of the writers, such as zhao Nanxing's Zhiren's book "Independent of all things is for the sake of aspirations." To be able to submit to the people of ten thousand is to have nourishment", wei Yijie's family letter proposed that "the servants of the clothes and horses are all frugal, especially do not have to show off". All kinds of works do not have any factor of showmanship, but are the true expression of the author's thoughts. "Painting with Virtue" is mainly embodied in paintings with the theme of "Four Gentlemen" of Plum, Orchid, Bamboo and Chrysanthemum. These works embody the author's noble moral pursuit, and the plum, orchid, bamboo, and chrysanthemum in the painting have been separated from their material attributes and transformed into formal elements representing the virtues of gentlemen, becoming symbols used by the intellectual elite to express inner emotions and pen and ink tastes. For example, the "Momei Tu Axis" of the second generation master of the Tianjin Famous Garden "Shui Xi Zhuang" cha Li and the third generation of master Cha Weiyi's "Lanzhu Tu Axis": the former adopts the folding branch painting method, the old plum branches are written with dry brushes, and the plum blossoms are outlined with light ink, and the picture focuses on expressing the super-comfortable feelings of the old trees and dead plums; the latter writes a cluster of Orchid and two poles of green bamboo with ink pens, aiming to create an elegant artistic conception with orchid and bamboo. Landscape painting expresses the author's ideal of life outside the dust, such as Zhang Shining's "Autumn Forest Idle Residence Map Axis", Mi Hanwen's "Floating Hill Mountain House Picture Scroll", Zhang Zhiwan's "Distant Mountain Cluster Tree Map Axis" and so on. These calligraphy and painting relics reflect the noble moral sentiments of the sages of Kifu, which have both elegant aesthetic value and profound spiritual orientation.
Finally, on the basis of the above in-depth research, the theme of the exhibition was established, that is, to show the humanistic spirit of the ancestors of Kisuke. The main title of the exhibition, "Jingzang Qunyuan", is taken from Bai Rong's "Xingshu Couplet" of Bai Rong, who was "Jiaqi Family Law Of Virtue and Encouraged Courtiers" in the Qing Dynasty by Xuanzong Daoguang: "Yue Gao Shang Jingzang Qunyuan, Hai Da Ju Yu Na Bai Chuan", which is used here as a metaphor for the ming and qing dynasties, and the famous ministers and masters are like a group of peaks. In 2018, coinciding with the 65th anniversary of the entry of these cultural relics into the Hebei Museum, we have selected representative cultural relics to display to the public, through the opening of the calligraphy, elegant paintings and a wide range of ancient books, so that the audience can understand the idea of attaching equal importance to the study of the sages and governing the country, the spirit of knowledge of the special things and the feeling of taking the Hongji people's livelihood as their own responsibility, not only remembering the ancestors, but also expressing respect for the founder of the Ancestral Temple.
(2) Take the characters as the clue to tell the story of the ancestors of the township state
In the preliminary investigation, we found that the phenomenon that several cultural relics in this batch of cultural relics belong to the same person is very common, such as 3 cultural relics related to Fan Jingwen, 2 cultural relics related to Yang Jisheng, 8 cultural relics related to Sun Qifeng, etc. Therefore, let the cultural relics tell the story of the ancestors of the township state, and the characters as the clue is the first choice.
The exhibition selects 35 celebrities from which 35 are divided into two chapters: the first part is "Famous Ministers, Shuo Ru", including Yang Jisheng, the leader of the Eastern Lin Party, Fan Jingwen, who was known as "Two Injustices" because he had inscribed "Unintended and Unfaithful", and 19 people, including the late Ming scholar Mi Wanzhong, the early Qing Dynasty connoisseur Liang Qingbiao, and the Qing Dynasty Thesis scholar Weng Fanggang. The cultural relics on display are mainly calligraphy and paintings, supplemented by ancient books, seals, rubbings, etc., and the life deeds of the characters are presented on the exhibition board in condensed and popular language. For example, the sage figure in the ninth unit of the first chapter is Wei Xiangshu, and a total of 3 related cultural relics are exhibited: "Cursive Scroll" writes a discussion on "Deye" with a strong pen, reflecting the calligraphic characteristics of Wei Xiangshu's physical opening; "Xingle Tu Axis" depicts Wei Xiangshu standing in front of the Golden Ruan Hall in court clothes, and his solemn and elegant image is unforgettable; Wei Xiangshu's "Complete Collection of Han songtang" written by Wei Xiangshu is included in the "Complete Works of Han Songtang" inscribed in the late Qing Dynasty," and the old pages exude an ancient and elegant atmosphere. The three cultural relics, trinity, presented Wei Xiangshu's image of "a good man, a clean official, and a scholar" in a three-dimensional way in front of the audience. Using the characters as clues, different categories of artifacts are combined to make visiting the exhibition like watching a miniature version of a documentary.
(3) Multi-dimensional interpretation of calligraphy and painting cultural relics
The value and connotation of cultural relics are not intuitively visible, especially calligraphy and painting cultural relics, which require multi-dimensional interpretation by curators. At present, the interpretation of calligraphy and painting cultural relics has a relatively single dimension, most of which are combed out from the perspective of style, or from the author's teacher-inheritance relationship, this interpretation is too academic and insufficiently interesting, and it is obscure and boring in the stage of mass communication, resulting in low effectiveness of information dissemination. Therefore, multi-dimensional interpretation of calligraphy and painting cultural relics is a necessary link to achieve effective dissemination. Take Yang Jisheng's "Zishu Annals" as an example. Yang Jisheng is known for his outspokenness and daring advice, is a model of admiration by later generations of officials and eunuchs, this volume is Yang Jisheng's review and account of his life in prison after the impeachment of Yan Song, the great traitor at the end of the Ming Dynasty, if only the texture, size and calligraphy art characteristics of the work are described, without excavating the historical value behind the cultural relic, it is impossible to understand why Yang Jisheng was called "the first counselor of the Ming Dynasty", and the dissemination of the cultural relic information will be seriously limited. The way to break this limitation is to increase the dimension of cultural interpretation. In the process of planning the exhibition, while summarizing the artistic characteristics of Yang Jisheng's calligraphy, we also combined the time and place of creation of the chronology and the life deeds of Yang Jisheng to conduct a comprehensive analysis, and in the "Author's Biography", the difficulties and obstacles encountered in his 40 years of life were detailed, especially his impeachment of the traitors Qiu Luan and Yan Song, so that the image of the "First Counselor of the Ming Dynasty" who was outspoken and bold and the image of the iron bone Zhengzheng appeared intuitively in front of the audience. Through the information provided by the exhibition text, the audience not only has a certain understanding of Yang Jisheng's calligraphy works, but also has an understanding of the dark political environment at the end of the Ming Dynasty, and understands Yang Jisheng's loyal and unswerving feelings and tenacious integrity, which in turn produces spiritual shock and experiences spiritual baptism.
The multi-dimensional interpretation condenses the artistic and historical values contained in the calligraphy and painting cultural relics into an easy-to-understand language, brings the audience a three-dimensional information collection experience, eliminates the gap between the audience and the cultural relics, and glimpses the humanistic spirit behind them through the cultural relics. It can be said that multidimensional interpretation activates the Chinese wisdom and Chinese spirit contained in cultural relics, as Lu Jiansong said: "Guided by cultural dissemination, strengthen the collection of archaeological information and multidisciplinary interpretation research, strengthen the construction of the scientific system of museum collections and the excavation and interpretation of the connotation value of collections, reveal the Chinese wisdom, Chinese strength, Chinese spirit and Chinese values contained in cultural relics, and achieve the spirit of seeing things, seeing people, seeing things and seeing spirit." ”
(4) Distilling the essence of culture with contemporary significance
The development of the Ming and Qing Dynasties culture gave birth to the creation of the Kifu Ancestral Hall and the collection of cultural relics. Wang Changhua once summed up the "Kifu culture": "During the Yuan, Ming, and Qing dynasties, the Kifu region centered on today's Beijing showed a historical trend of multi-ethnic politics, economy, ideology, scholarship, religion, art and literature gradually integrating in exchanges and collisions. "The cultural relics of the Kifu Ancestors are a cross-section of the Qifu culture in the Ming and Qing dynasties, interpreting the historical origin of the integration of The Beijing-Tianjin-Hebei culture.
The Ming and Qing dynasties were supplemented by the areas of present-day Beijing, Tianjin and Hebei (except for southern Hebei), and the creation of the Ancestral Ancestral Hall reflected the historical phenomenon of "geographical connection and human affinity" in the Beijing-Tianjin-Hebei region at that time. The "Immortal Hall" of the main hall of the ancestral hall enshrines 1485 ancient sages from ancient times to the Qing Dynasty in the Kifu area, which is not only larger than the Ancestral Ancestral Hall of Zhongzhou in Henan and the Ancestral Hall of Jilin in the same period, but also far beyond the nature and scope of the ancestral hall, and in fact has "approached the nature of the Celebrity Memorial Hall". The function of the temple to commemorate the ancestors and set an example for future generations is still of great significance today.
In 2018, General Secretary Xi Jinping stressed at the National Conference on Propaganda and Ideological Work that "the spiritual identity of excellent traditional culture should be extracted and displayed, and the cultural essence of excellent traditional culture with contemporary value and world significance should be extracted and displayed." Therefore, in the process of preparing for the exhibition, we pay attention to refining the contemporary significance of the cultural relics of the kifu sages, showing the exchange of ideas between the sages with the help of cultural relics such as letters and hand scrolls, reflecting their mutual reference in art with the help of paintings, and expressing their mutual influence in scholarship with the help of ancient books, which well confirms the historical origin of "regional integration and cultural lineage" in Beijing, Tianjin and Hebei.
(5) Establish a place for audiences to have dialogues with cultural relics
The exhibition hall is a place for the audience and cultural relics to communicate across time and space, so we focus on creating an equal communication space in the exhibition design to inspire the viewer's thinking. The ancient literati study hall is not only a place for them to read, but also a spiritual space for their self-cultivation and cultivation of sentiments, so the exhibition "Quiet Hidden Valley" has specially opened an area to set up a scene of books composed of antique furniture, ancient books, bonsai and study utensils (Figure 2). Carved dragon and phoenix pattern on the Bogu shelf displayed ancient book reproductions, on both sides of the flower several placed on the bonsai, paintings on the pen and ink paper and literary play, this Elegant Residence scene "with physical objects, intellect and emotion to attract people who are experiencing it", creating a strong atmosphere of the times, enhance the audience's aesthetic experience during the visit. At the same time, the cultural relics have been carefully arranged by the designers, and the ornamentation under the illumination of the lights has been greatly improved. By facing the calligraphy, paintings, manuscripts and letters of the sages, the audience can intuitively feel the writer's pen and ink and emotions; by looking at the portraits in the exhibition hall, the sound and smile of the sages can be reproduced in their minds; combined with the poetry collections on display, immersed in the bookish atmosphere in the study, imagine the scene of their poetry and poetry - the gap between time and space is eliminated, the boundary between history and the present is dissolved, and the exhibition hall becomes an experience space for the audience to dialogue with cultural relics.
In summary, the exhibition "Quiet Hidden Valley" is based on research, with the interpretation of cultural relics as the focus, and the audience experience as the foothold, narrowing the distance between the audience and the cultural relics, so that the audience can recognize the main deeds and artistic achievements of the kifu sages, which not only increases historical knowledge, but also obtains aesthetic experience. From the perspective of the utilization and dissemination of cultural relics, the exhibition "Quiet Hidden Qunyuan" uses a variety of methods to achieve a "super connection" between the museum and the public.
2. Prospects and assumptions
Exhibition is the most mature and extensive way to use and disseminate cultural relics, but its communication time is limited after all, and with the end of the exhibition period, its dissemination behavior will end. Therefore, in order to better utilize and disseminate the cultural relics of the Institute's collection of kifu sages, on the one hand, it is necessary to adhere to the main battlefield of the exhibition and exhibition, organize and plan new exhibitions from multiple angles on the basis of in-depth study of cultural relics, and on the other hand, actively explore more ways for the use and dissemination of cultural relics.
(1) Planning cultural exhibitions with different themes
For the cultural relics of the Ancestral Philosophers of the Academy, with the transformation of the research perspective, the value of cultural relics also shows a multi-faceted nature, and it is difficult to display them in an all-round way only by relying on one or two exhibitions, so planning a series of exhibitions with different themes can further improve the utilization rate of cultural relics and deepen the interpretation of the cultural connotation of cultural relics. Based on the study and classification of the cultural relics of the Ancestral Philosophers in the Courtyard's collection, we believe that the exhibition can be organized from the following four themes.
First, the theme exhibition of The League. Nearly half of the calligraphy works in the cultural relics of the ancestors of Kifu are Yang Lian, the content is mostly auspicious blessings, self-cultivation aphorisms or beautiful poems, and the exhibition is curated with the theme of Yang Lian, which can not only dig deep into the traditional culture contained in the lian, but also trace the origin and development of the couplet. Such exhibitions can be launched before the Spring Festival, and can be held at the same time as the spring festival activities, which not only sets off the festive atmosphere and cultivates the elegant aesthetic taste of the public, but also benefits the majority of the audience.
Second, the theme exhibition of "Kisuke Famous Ministers". Most of the owners of kifu's cultural relics are famous courtiers in the annals of history, who can dig deep into the stories behind the characters and cultural relics, extract the content that is in line with the current core values, and carefully plan the exhibition to promote their loyalty and family feelings.
Third, the theme exhibition of "Kisuke Poets". Liang Qingbiao, Bian Lianbao, Ge Tao, Li Zhongjian, And Ji Xiaolan among the ancestors of Kifu were all famous for their poetry: Liang Qingbiao's elegant and gentle poetic style of "leading the cilin for decades" was one of the representative figures of the poetry circle in the early Qing Dynasty; Bian Lianbao, Ge Tao, Li Zhongjian and Ji Xiaolan were four of the "Seven Sons of Yingzhou" who were active in the poetry circle in the middle of the Qing Dynasty. Revisiting the style of Kifu poets in the form of an exhibition and showing their calligraphy works and poetry manuscripts to the public can not only reflect the poetic cultivation of Kifu poets, but also help to enhance the cultural self-confidence of the local people.
Fourth, the theme exhibition of "Gentleman's Wind". "Four Gentlemen" - plum, orchid, bamboo, chrysanthemum is the main painting theme of Kisuke Sage, with this theme to plan the painting exhibition, so that the audience can appreciate the beauty of the plum of the proud shore, the elegant ethereal spirit of the orchid, the humble heart of the bamboo, the cold and clear of the chrysanthemum, understand the beide consciousness in ancient painting, and deeply appreciate the personal cultivation of the sage.
(2) Create a grounded "cloud exhibition"
According to the 47th Issue of China's Internet Development Statistics Report released by the China Internet Network Information Center (CNNIC), as of December 20, 2020, the number of Internet users in China reached 989 million. According to the preliminary statistics of the State Administration of Cultural Heritage, due to the impact of the sudden epidemic, the "cloud exhibition" of national museums in 2020 has developed in a spurt, and more than 2,000 online exhibitions have been launched during the Spring Festival alone. "Cloud Exhibition" provides exhibition content through the network platform, and the audience receives information through computer or mobile phone login devices, which can be viewed anytime and anywhere, and the freedom of viewing the exhibition is improved. At the same time, it is no longer limited by the exhibition venue and time, and the exhibition capacity can have a flexible space that stretches and contracts. As a normal display method of today's museums, "cloud exhibition" has become an effective path for the utilization and dissemination of cultural relics.
The cultural relics of kifu sages involve many historical figures and a large amount of cultural relics, and the launch of the "cloud exhibition" is conducive to comprehensively displaying the "survival wisdom, ideological essence, moral essence and emotional value" contained in these cultural relics. In our vision, the planning of content and structure can refer to the tablets enshrined in the original Kifu Ancestral Hall, and set up 9 units such as sages, loyalties, filial pieties, famous courtiers, xun officials, Rulin, Wenyuan, solo walking, and hermitage, so that basically all the cultural relics of the ancestral sages of the temple can be displayed. In order to meet the needs of audiences at different levels, the unit description and cultural relics description can be set up in two versions, the simplified version is for browsing visits, the detailed version is for research, and the two versions can be switched arbitrarily. In terms of formal design, you can refer to the architectural form of the Ancestral Ancestral Hall of Qifu, set up a layered interface, and choose the inner yanglian embedding of the temple, such as "Shang Zhou has heard of the People Alone Township Xiankan Society Festival, Youji Guduo Du Du Gong De Instrument as Bang Guang", "Virtual Bamboo Youlan Sheng Jing Qi, and the Wind and The Sun", etc., to create a solemn atmosphere. Finally, through appropriate technical processing, the artistry and technology are perfectly combined to create a "cloud exhibition" with both a sense of experience and a sense of technology. It is worth noting that in addition to the two aspects of content and form, technology application is also a very important part of the "cloud exhibition", which is not only closely related to the visual experience of the audience, but also directly affects the communication effect of the "cloud exhibition". From the current point of view, although the number of "cloud exhibitions" is considerable, there is still room for improvement in terms of technical quality and the combination of technical application and content form. Some "cloud exhibitions" pay too much attention to the diversification of technology, and ignore the combination of technology and content, and their terminal reception effect is not ideal; others just move the exhibition from offline to online, which is too simple in terms of technology application and has a poor sense of experience. Therefore, when planning and implementing the "cloud exhibition" related to the cultural relics of the Kifu Sages, it is necessary to put the integration of content and form design and technical application in the first place, and try to avoid the above drawbacks.
(iii) Develop interesting e-books
In the digital era, the way of using cultural relics and the means of dissemination are constantly improving and innovating, and the use and dissemination of cultural relics of Kifu Sage should also step from "experience space" to "cloud sharing". In addition to the "cloud exhibition", e-books are also an effective way of digital dissemination. The development and production of e-books can start with the "Biography of the Great Qing Kiyosuke Sage". The Biography of the Ancestors of the Great Qing Dynasty is a set of biographies of historical figures in the Qing Dynasty Kifu region (including present-day Beijing, Tianjin, Hebei and parts of Lu and Yu counties), divided into eight doors: famous ministers, famous generals, teachers, literature, Gaoshi, Xianneng, Zhongyi, and Filial Piety, and contains the life deeds of nearly 2,000 people who passed on the master and the accompanying figures. However, ordinary people have almost no chance to see this set of books, even during the exhibition, because it is displayed in a glass display case, the audience can not read it, and there is no way to know many interesting contents of the book. For example, the book records that Weng Fanggang "was more than eighty years old, yu ri made a fly head book self-lesson, can make four characters on watermelon seeds, and wrote 'a piece of ice heart in a jade pot' sentence on a grain of flax, and its gods are different", etc., these vivid words sleep in yellowed pages and have been ignored for a long time. In the digital age, the biography of the character into an e-book is a very mature technology, based on the "Biography of the Great Kiyo kifu Sage", you can select some of the biographies of kifu sages to compile into a book, and through 3R technology (virtual reality technology VR, augmented reality technology AR, mixed reality technology MR) to present some interesting stories or plots, increase the interest of e-books. For example, Weng Fanggang's "calligraphy on watermelon kernels" and "verses on flax" can be made into animation embeddings, and even "human-computer interaction experience, reader interaction experience, ancient text reading and error correction can be embedded in the application system", so that reading ancient books becomes an interesting leisure activity, so as to make "the words written in ancient books come alive".
While developing e-books, traditional print reading cannot be ignored. The text content of e-books can be organized and published as popular reading, and the "library" celebrity storybook can be created, published in conjunction with e-books, benefiting the people with simple binding and low prices, expanding the readership and providing support for the reading of the whole people.
(4) Expand multi-functional theme parks
The cultural relics of the Kifu Ancestors are collected in the Hebei Museum, but the Qifu culture contained in it covers the three places of Beijing, Tianjin and Hebei. In the context of the integration of culture and tourism, the spatial expansion of the historical information contained in cultural relics is also a new way to utilize and revitalize cultural relics. More than a hundred years ago, these paintings and calligraphy were gathered at the Kifu Ancestral Hall on Xiaxiao Street in Beijing, which, although called the ancestral hall, is actually a garden-style villa with a beautiful environment. If you create a leisure garden with reference to the architectural style of that year, and restore the scenery of the pine cypress and willow shade ancient locust in the ancestral hall, you can not only reproduce the architectural characteristics of the late Qing Dynasty and the Republic of China, but also expand it into a theme paradise. In the antique building, it is equipped with modern exhibition hall facilities to display the relevant cultural relics and life deeds of the sages, and to sort out and refine the excellent traditional culture contained in the cultural relics of the sages' calligraphy and paintings, so as to play its role in commemorating the predecessors and setting an example for future generations. At the same time, the theme park can be used to expand the social education function: on the one hand, a theme education base for honest government can be created to motivate public officials to self-denial with the deeds of the township sages and honest officials; on the other hand, a children's education base can be created, a statue of the sage can be established, the story of the sage's diligent learning and learning can be told, and the achievements and contributions of the sage can be displayed in a vast park with a novel display method (electronic equipment or amusement facilities) to enhance the love of children and teenagers for their hometown.
In addition, it is possible to create a kifu sage cultural relics research center. The value of the cultural relics of the Ancestors of Qifu is rich and diverse, and it is inevitable to rely only on the Hebei Museum's own scientific research team to carry out the utilization and dissemination of cultural relics, and it is necessary to open cultural relics resources to the society, actively absorb social forces to participate in the revitalization of cultural relics, encourage interdisciplinary and cross-field scientific research cooperation from all walks of life, and contribute to the construction of a culturally strong province.
From the perspective of communication science, we have made the above several assumptions about the utilization and dissemination of the cultural relics of the Kifu Sage collected by the Hebei Museum, trying to use a variety of media, relying on the power of science and technology, taking advantage of the integration of culture and tourism, expanding the contact point between the cultural relics and the audience from one yuan to multiple, so that the communication space develops from a fixed area to a "cloud" and a broad world. "Cloud exhibitions" and "e-books" may only be a prelude to the new media era, and there will be more advanced technologies in the future to make cultural relics and the public have a broad and profound connection. In the trend of deep integration of culture and tourism, the rational use and dissemination of cultural relics will produce more possibilities, and realize the spatial leap from "cultural relics" to "culture" to "tourism landscape". We believe that the function of cultural relics to communicate the past, connect the present, and enlighten the future will be further activated.
The original article "Research on the Utilization and Dissemination Path of Cultural Relics of the Hebei Museum" was published in the Spring and Autumn of Cultural Relics, No. 6, 2021, and the annotation is omitted here. Author: Wang Wenli Hebei Museum; Zhang Yanbing Shijiazhuang Runde School.