Shanxi Museum Exhibition Art Design Shanxi is one of the important birthplaces of Chinese civilization. The endless Yellow River moistens the yellow land of this northern country and accumulates profound Sanjin civilization.

Around the theme of "Jin Soul", the exhibition art scheme of Shanxi Museum has dedicated a long history of Sanjin culture and countless gorgeous historical scrolls to the audience.

In the overall design, the typical cultural relics in the collection are selected, highlighting the cultural atmosphere of Jin Dynasty, reflecting the distinctive regional characteristics of Shanxi Museum, focusing on cultural relics, and displaying cultural relics with the help of auxiliary exhibits such as scene restoration, display cabinets, booths and niches, reflecting the interaction of prehistoric culture, Xia culture, Shang culture, Jin culture, Northern Dynasties culture, Shanxi Tang, Song, Yuan, Ming and Qing dynasties and northern tribal culture in different historical periods.

According to the exhibition system and content framework, the design is balanced, focused and changeable from the whole to the part. Tourists visit the route smoothly and the safe passage is smooth. Through the use of symbols, meanings and rich display language, the internal relationship between content and exhibits is established, which plays a role in sublimating the exhibition theme and enhancing artistic appeal. With the new development trend of world museums, "green exhibition" and the new concept of sustainable development, exhibition design is not only highly academic and artistic.

The preface hall adds profound cultural connotation to the space with the simple impression of Jin culture.

The entrance pillar is decorated with bronze, which is in contrast with the three gold bronze decorations in the courtyard.

White marble pillars with the word "gold" as the source run through all layers. At the top of the hall, a spring water gushed from the source of the word "gold", overflowed from the top, flowed through the columns carved with cultural relics of different periods, and flowed into the "Shuanglong Yuhuan" pool in the center through the column base.

Dragon, the symbol of China, symbolizes the accumulation of China culture; Ring, which means aggregation, embodies the blending and unity of all ethnic groups in China.

The mirror-like pool surface in the center of the hall reflects the inner hall, echoing the overlapping water surface outside the hall.

The preface hall inspires people to understand the long history of Jin culture from a deeper level in the form of dynamic and static combination.

A magnificent symphony "Golden Soul" was played from here. ...

The exhibition hall of the cradle of civilization on the second floor breaks through the cultural layers accumulated in different periods, and sees the model of Shanxi's topography and landforms, which indicates the life of ancestors who first gathered for fishing and hunting in chaos.

It reflects the dawn of Chinese civilization from the original rock paintings and scene restoration.

All the cultural relics are displayed in a combination of background, model, cultural relics and auxiliary exhibits, so that the audience can understand the cultural relics more intuitively and reaffirm that this place is the root and cradle of the Chinese nation.

The lobby on the second floor adopts a three-dimensional shape that echoes the hegemony of the Jin State, and highlights the unique symbols of the Jin State culture in the middle. The left and right walls symbolize the contents of the two exhibition halls connected by the hall with stone age rock paintings and dragon plaques in summer.

The sequence of the exhibition hall on the second floor of Xia and Shang Dynasties is "?" Based on this symbol, it marks that gold entered the bronze age in Xia and Shang Dynasties. The moment I left Fan Tao.

This scene is composed of Fan Tao and the background Ssangyong relief pattern, which highlights the achievements of Shaanxi bronze craft, forms a bright spot and points out the theme.

Display the Xia and Shang cultural sites in the dynamic form of electronic display screen and sand table.

The showcase displays the bronze combination in the form of glass floor cover, which is convenient for the combination of auxiliary exhibits and cultural relics.

The preface to the exhibition hall of the hegemony of Jin State on the second floor is based on the establishment of the hegemony of Jin State-the battle of Chengpu, using high-tech digital virtual theater and phantom imaging technology, combined with sand table model, to reproduce the historical scene of the hegemony of Wen Gong, the alliance of land, the demise of hegemony, the nine princes and the establishment of hegemony of Jin State in the Spring and Autumn Period.

It is not only a sequence scene, but also a part of Chen Zhan in the second unit "Spring and Autumn Hot Land", which plays a dual role.

On the floor of the exhibition hall, two huge maps reproduce the glorious momentum of the golden hegemony in history.

The theme of each unit in the exhibition hall is the Western Zhou Dynasty and the Hou Dynasty, the hegemony of the State of Jin, and the division of the three ethnic groups into Jin. The restoration of the tomb of the marquis of Jin Dynasty, the prototype of Zhao Qing's tomb, the special display of oven kiln and exhibition hall, and the optical fiber lighting are the key points, which reproduce the peaceful and prosperous times of the state of Jin, in which officials and people are rich and wealth is scarce.

The design emphasis of the temporary exhibition hall on the first floor is that the exhibition hall equipment can be adjusted according to the needs of Chen Zhan theme, the space in the exhibition hall can be divided at will, and the display wall can be disassembled vertically and horizontally according to the top rail.

The mirror hanging lines in the booth, showcase and showcase are all designed according to the modulus and can be combined at will.

The "light leakage" device of artificial light and natural light is designed for the lighting of the exhibition hall, which fully considers energy saving, and all equipment and facilities are highly utilized, economical and safe.

The first interactive world highlights interaction and participation, with tenon riveting as the sequence of traditional interactive elements in China.

Interaction in the exhibition hall is a practical way for the audience to participate in and popularize scientific archaeological knowledge.

The exhibition hall is designed as an archaeological site, with a soft ceiling at the top and archaeological pits from the Stone Age to the Song and Yuan Dynasties on the ground, where visitors can dig out replicas of cultural relics as souvenirs.

Participants use their hands and brains to increase their knowledge and interest.