Jiuquan Museum

Jiuquan Museum

synonym

Jiuquan Museum generally refers to Jiuquan City Museum

Jiuquan Museum

Located at No. 10, panxuanxi Road, Suzhou District, Jiuquan City, it is the first comprehensive museum with the theme of urban history and culture in Jiuquan City, and also one of the larger comprehensive museums in Gansu Province.

Built in 2012, the Museum covers a total area of 6600 square meters, with a construction area of 17400 square meters, of which the exhibition area is about 12000 square meters, with three floors above the ground and one floor underground. It was officially opened to the public free of charge on December 22, 2015. It is a landmark building of Jiuquan municipal Party committee and government's "cultural living room", a new window of "improving urban function, enhancing urban taste, carrying forward history and culture, and establishing an open image". It is a modern comprehensive museum integrating cultural relics protection, collection and research, publicity and education, and cultural exchange.

Development history

Jiuquan museum was built in September 2012 and officially opened for free on December 22, 2015.

architectural composition

The design style of Jiuquan museum is in harmony with the garden and landscape of the Wutong garden. Its design concept expresses the historical charm of Han and Tang Dynasty architecture in a modern way. In the design, the colonnade and light and far-reaching overhanging eaves of Han and Tang Dynasty architecture are retained. The layout is grand, the structure is bold and plain, the overall momentum is grand, neat and cheerful, presenting the grand atmosphere of "round sky and open place". There are exhibition hall, sand table area, large temporary exhibition area, multi-functional conference hall and other functional areas. The museum uses sound, light, electricity and other technical means to show Jiuquan city's historical changes, brilliant development achievements and bright future blueprint in an all-round way.

Basic Display

The first floor is a diversified exhibition area, mainly with relief "Damei Jiuquan"

, large digital sand table, resplendent Jiuquan and Qiyu Tonghui exhibition hall, 3D digital cinema, science and Technology Museum, etc. The exhibition on the second floor is divided into two chapters: history and culture and inheritance and innovation. There are exhibition areas such as the source of civilization, opening up territory, blending with the world, Zhenxi Xiongguan, frontier rebirth, aerospace great cause, Jiuquan Chinese civilization inheritance and Innovation Zone construction, intangible cultural heritage protection, etc. The third floor is mainly a temporary exhibition hall.

Temporary Exhibition

"Dunhuang mural art quality public welfare Tour Exhibition" and "Silk Road culture · Damei Jiuquan" national famous calligraphy works invitation exhibition were held

"The third" left West right east "exhibition of outstanding works of art between China and the United States

"One belt, one road, the painting of Dunhuang, the calligraphy and painting exhibition of Jiuquan and Zhuhai".

And the exhibition of "Damei Jiuquan" photography competition.

Collection

There are more than 5200 collections in Jiuquan Museum, including more than 3200 cultural relics, 37 precious cultural relics (18 first-class cultural relics, 11 second-class cultural relics, and 8 third-class cultural relics). More than 880 cultural relics and more than 1250 exhibits are displayed in the exhibition hall. The main types of cultural relics are brick portraits, pottery, bronze, porcelain, etc. The museum uses a variety of means to fully display the development process of Jiuquan and the production and life scenes of its ancestors, and to reproduce the colorful, profound and majestic history and culture of Jiuquan.

Representative collection

Figures are like bricks

In the Western Jin Dynasty, it was unearthed in foyemiaowan, Dunhuang City, Gansu Province. It is 31.5cm long, 15.5cm wide and 6.5cm thick. It is a first-class historical relic. The bricks are painted with chalk. On the left side of the picture is a mound shaped Valley pile. On the right side, the black line outlines the master and servant. The master has a mustache on his upper lip, a long beard on his chin, a kerchief on his head, a robe and a cool fan on his hand. Although he sits on the ground, he is one head higher than the servant, and his body is twice as wide as the servant. The servant wears a bun, a long gown, a silk tapestry and a pair of pointed shoes. His arms are bent in front of his chest. At the bend of his arms is a stick like object. He holds a bowl and stands beside his master. This shows that the owner of the tomb should be a powerful landlord with considerable economic strength, which also reflects the social and economic gap and the strict hierarchy at that time.

The picture of Shenyang is like a brick

In the Western Jin Dynasty, it was unearthed in foyemiaowan, Dunhuang City, Gansu Province. The brick is 31.5cm long, 15.5cm wide and 6.5cm thick. It is a first-class historical relic. Its composition is vivid, its lines are smooth, its body is strong, its head is high, its horns are bent, its chest is straight, its eyes are in front, its right leg is forward, its body, front shoulder and back crotch are feathered, and it is prone. Shenyang is not only painted with wings, but also intentionally uses fast strokes to "express the spirit with form", which enhances the flying motion of Shenyang and gives people the feeling of being elegant and flying in the clouds. It reposes the tomb owner's beautiful vision of heaven and worship of gods after his death.

Lotus like brick

In the Western Jin Dynasty, it was unearthed in foyemiaowan, Dunhuang City, Gansu Province. It is 39 cm long, 39 cm wide, 6.5 cm thick and weighs 14.55 kg. In the center of the brick picture, a lotus pod is painted, and two peach shaped lotus petals are symmetrically extended, with four petals in each layer. At the gap of the tip of the lotus petal, there are some vague Fu and fish, which symbolize the lotus pond. Lotus color is gorgeous, painted black on the bottom of brick, red and white lotus petals, black lines of Fu and fish outline, red and white color inside. The whole effect is strong contrast, which has high appreciation value and research value. The caisson brick with the pattern of lotus is usually placed on the top of the central part of the tomb, which symbolizes the loftiness of the heaven. It is mainly used to decorate the tomb, making the top of the tomb feel high and profound. At the same time, the algae and aquatic plants such as lotus are painted on the caisson bricks, hoping to subdue the fire devil and protect the safety of the tomb. In addition, lotus, as a symbol of Buddhism, can be said that lotus is Buddha and Buddha is lotus, representing "pure land", symbolizing "purity", implying "auspiciousness", and reposing the good wishes of the tomb owner's soul to enter the Buddhist kingdom after his death.

Two ear frog pattern pottery pot

In Majiayao culture, the two eared frog pattern painted pottery pot and the frogman pattern mostly go to the trunk, leaving only the limbs unfolded in a zigzag shape, such as "W" or "m". At the corners of each end, the frogman pattern is still embellished with the characteristics of frogs. In addition, the male genitalia is described as "between the legs, with the trunk extending downward", so it is called "abstract frogman pattern". It expresses the ancients' totem worship of frogs and male reproduction worship, as well as their desire for agricultural harvest, praying for more children and reproduction.

Copper lamp

In the Eastern Han Dynasty, tonglianzhi lamp was unearthed in Jiuquan, Gansu Province, with a height of 71.5 cm. The lamp holder is in the shape of a covered bowl, and the arc surface is decorated with a continuous hollowed out pattern of round coins with square holes, so it is also called the cash tree lamp. There is a lamp post in the middle, which is divided into two sections, thin in the top and thick in the bottom. A round lamp is placed at the top, and three peach leaf shaped leaves are decorated on the top. The middle part is decorated with two layers of lamp branches which are not overlapped with each other and are arranged at random. Each layer has three S-shaped hollowed out carved leaves. A lamp is placed on each leaf. A peach leaf shaped leaf is decorated along the mouth of the lamp. Two leaves are decorated on the pole under each layer of lamp branches, and each of the two leaves on the upper side is decorated with a round coin pattern. The whole lamp looks like a tree. The stem, branch, leaf and lamp are cast separately. There are mortise and tenon between them. This tree shaped lamp is exquisitely cast, unique in shape, delicate and exquisite in shape, with high artistry, and also reflects the unique aesthetic image of Han Dynasty.

Sanshan mirror

Warring States period, three string button, round button seat, diameter 10.1 cm, thickness 0.2 cm. The ground pattern is a fine cloud and thunder pattern, the main pattern is three "mountain" characters, leaning to the left, very eye-catching, "mountain" shaped short vertical road inward hook, sharp angle shape, mirror edge flat, appears thin. The mirror is rusty and has few silvery spots. It can still shine on people. It is famous for its elegant shape, gorgeous decoration and unique shape, giving people a strong three-dimensional sense.

Four auspicious beast grape mirror

Tang, four auspicious animal grape mirror, diameter 9.5 cm, thickness 1 cm. The back of the mirror is divided into three areas: inner, middle and outer. The four auspicious beasts in the inner area are ferocious, and they are surrounded by the animal buttons. The two auspicious beasts running diagonally on the bottom of the grape pattern have the same direction, one pair is outward, the other is inward. In the middle area, there are six birds in different shapes around the grapes and branches, and the grapes and birds alternate with each other. In the outer area, there are continuous patterns of rolled grass flowers. The surface of the mirror is silvery white, and the overall appearance is thick and heavy. This mirror is made of semi relief, which not only has a three-dimensional sense, but also has a high historical and artistic value. It fully reflects the political and economic strength of the Tang Empire and the influence of culture and diplomacy, showing the image of openness, compatibility, magnanimity and stability of the Tang Dynasty. It is a typical utensil with Chinese and Western artistic styles, known as "the mirror of Eurasian civilization".

Organization

There are office, propaganda and education department, security department, exhibition department and storage department.

Important events

On September 11, 2016, sponsored by 188 Art Warehouse and organized by Jiuquan Museum, "the third" left West, right east "exhibition of Chinese and American excellent art works" was solemnly opened in Jiuquan Museum. There are 23 Works of art created by American artists and 98 works of art created by domestic artists on display. Mr. Yan Zhuping, the famous independent curator, the doctoral supervisor and young scholar of the Academy of fine arts of Northwest University for nationalities

Chinese PinYin : Jiu Quan Bo Wu Guan