hua qiao cheng huan le hui

"Oriental Wisdom and Beauty" National Treasure Digital Experience Exhibition Cultural relics are the footnotes of the times. A piece of cultural relic reflects the world. Spanning the long river of history of five thousand years, among the vast national treasures, there are the civilization genes and historical roots of the Chinese land. Based on the IP of "National Treasure", a new immersive cultural project, "Oriental Wisdom and Beauty" National Treasure Digital Experience Exhibition, created by CCTV Documentary, Jinan OCT, Junkan Culture, CCTV "National Treasure" Visual Team and the Central Academy of Fine Arts New Media Creation Team, was officially opened at the Jinan OCT Happy Club Cultural Center. "National Treasure" inherits the creation of the ancients, opens the new era, and creatively realizes "making cultural relics alive". On December 3, 2017, once the program was broadcast, it ignited the screen overnight, made a number of once silent cultural resources popular, and had a far-reaching impact. Many unpopular cultural relics have become stars watched by the audience, and ignited the cultural confidence of all the audience, who have expressed that "there is no regret in entering China in this life". "Oriental Wisdom and Beauty" National Treasure Digital Experience Exhibition The "Oriental Wisdom and Beauty" National Treasure Digital Experience Exhibition extracts nine national treasures from traditional culture that represent oriental wisdom and aesthetics. Through the current trendy immersive interaction, digital art and installation art, the cultural relics are interpreted in a modern way to create a paradise-like super-time and space cultural museum. Five thousand years are condensed in cultural relics, appealing to contemporary spiritual life, bursting out the shock of time accumulation, and bringing it to a newer and higher cultural height. The entire exhibition covers an area of ​​more than 2,000 square meters, including four parts: immersive experience field, national treasure box, national treasure courtyard and national treasure cultural creation. Each piece of cultural relic that has experienced the migration of time reflects the changes in life and spiritual dimensions over thousands of years. The audience can travel between the past and the present, feel, gaze, listen, and have detailed conversations with different civilizations, explore the unchanging wisdom and aesthetics in the long river of time, and let traditional culture and modern civilization communicate across the air at the moment. The immersive space of "A Thousand Miles of Rivers and Mountains" is the beginning of the entire exhibition. The production team digitally translated "A Thousand Miles of Rivers and Mountains" with a magnificent and shocking visual narrative. From interpreting the complex painting process of the original painting layer by layer, to creating an immersive experience of traveling in the world of the painting, and extracting the aesthetic elements in the painting, abstractly interpreting its color and light and shadow mysteries, with the gradual change of the image content, a multi-dimensional interpretation of "A Thousand Miles of Rivers and Mountains" from a macro perspective to an immersive perspective and a micro perspective is formed, thus opening up the poetic expression of the oriental "wisdom" and "beauty" of the entire exhibition. Then the eight national treasure boxes are cross-staggered and appear in turn, interpreting the national treasure group portraits in a vast manner, constructing more interesting interactive experiences, and feeling the visual charm of national treasures in a real and illusory scene. The digital glazing interaction of the flowing light and color, the virtual and real coexist, experience the Chinese glaze color skills and beauty. In comparison, people are more willing to call it "porcelain mother" for various glaze color large bottles of Qing Qianlong. "Official kiln porcelain firing was resumed in the reign of Emperor Kangxi of the Qing Dynasty, carried forward in the reign of Emperor Yongzheng, and reached its peak in the reign of Emperor Qianlong. The peak must have a flag flying, and the 'mother of porcelain' is this flying flag." National Treasure Box - Qing Qianlong Various Glazes Large Bottle It combines 17 high and low temperature glazes, including gold color, enamel color, doucai, blue and white, imitation Ge glaze, imitation official glaze, imitation Ru glaze, kiln-changed glaze, turquoise green glaze, powder green glaze, imperial blue glaze, and sauce glaze, etc. It is a peak representative of the superb porcelain making technology in ancient China. In this exhibition, the glaze large bottle real device is enlarged and placed in the center of the space, with four giant ancient windows on both sides. The audience can experience the complicated and interesting glazing process through the interactive games on the interactive table, and the glaze changes and firing process are then presented on the bottle body and the window pane, giving the national treasure itself a sense of flowing life, allowing the audience to gain a visual shock of the beauty of the national treasure in an interactive experience that combines education with entertainment. The ritual of cups and cups is hidden in the floating copper tableware, interpreting the "food culture" inherited for 5,000 years. The national treasure box of the Warring States copper tableware has been developed since ancient times. The development of Chinese civilization can be said to be in step with "food". "Food" is not only about what to eat, but also about how to eat. "The Book of Rites: Quli" records in detail the procedures and norms of the ancient people's banquets, from Complimentary and seeing off guests, the etiquette of sitting at the table, the display of tableware, to eating meat and drinking soup, there are detailed regulations. We tried to project the "food culture" that is indispensable in Chinese civilization into the abstract interpretation of the copper tableware of the Warring States Period. The copper tableware of the Warring States Period consists of ear cups, small plates, plates, boxes, bowls, etc., plus a jar-shaped tableware shell, a total of 60 pieces, which can be neatly stacked in order according to size and can all be put into the copper pot. The nesting is exquisite and fine, which is very rare in the history of archaeological excavations. In the exhibition hall, a long table winding forward in the shape of "winding water flowing wine cups" runs through the entire space. Dozens of copper tableware are arranged in a staggered manner, "floating" on the long river of history. The plates tell the Chinese food civilization from the source of food, cooking, to the use of tableware and banquet etiquette in the form of animated images. Ancient treasures, pieces of feathers, and good light, immerse in the ancient life scene, explore the aesthetic mystery of painted pottery patterns. The national treasure box, a human head-shaped painted pottery bottle with a mouth, is a representative of the earliest painted pottery in China. It was born 8,000 years ago. Its unique patterns are imbued with the observation and perception of beauty in human childhood. The shape combines abstract lines with human heads, and the decoration is composed of sculptures and colored decorations, just like a beautiful girl in flowery clothes. Judging from the hairstyle of the portrait, it is the style of the ancient Qiang people to wear their hair loose. Therefore, this human-shaped painted pottery bottle with a mouth has precious historical and artistic value. The exhibition hall uses animated images covering the walls and the ground to bring the audience back to the ancient times. Painted pottery bottles of various sizes and shapes are scattered among them, and are "unreasonably" magnified, presenting a unique sense of form and time travel. The patterns on the painted pottery bottles gradually transform into natural elements such as birds, fish, and water, full of the rhythm of "not knowing where to start and where to end". The audience can perceive the ancient wisdom of mankind and the aesthetic interests of the ancestors of Dadiwan in a "wandering" bird's-eye view. Five stars gather to walk in the universe. See the heavenly secrets in Han brocade, and the stars appear in the loom. The national treasure box is four or five stars coming out of the east to benefit China. The excavation of the "Five Stars Coming Out of the East to Benefit China" brocade arm guard is hailed as one of the great discoveries of Chinese archaeology in the 20th century. The patterns and characters on the brocade are designed according to the widely popular Five Elements Theory in the Eastern Han Dynasty. The five colors of blue, green, red, yellow, and white represent the five planets of gold, wood, water, fire, and earth, respectively, which contains the cosmic wisdom of the ancients who benefited from the sky. The giant loom device standing on one side of the space is combined with the dynamic images of the brocade pouring down, presenting the beauty of brocade craftsmanship with a shocking visual experience. The overwhelming starry sky wraps the entire space, and the five stars gather in the sky, making people feel as if they are in the center of the universe. The twenty-eight constellations that change in real time with the audience's footsteps create a mysterious and dreamy feeling of walking in the universe. The hermits in the mountains and forests are indifferent to the world and have clear ambitions. The restoration of the lost brick painting part shows the spirit of the hermits. The national treasure box of the Seven Sages of the Bamboo Grove and the brick painting of Rong Qiqi. The Seven Sages of the Bamboo Grove and the brick painting of Rong Qiqi were unearthed from the Gongshan Tomb in Xishanqiao, Nanjing. They bring together the Seven Sages of the Bamboo Grove during the Wei and Jin Dynasties and the hermit Rong Qiqi during the Spring and Autumn Period, presenting a group of sages who survived the earliest. The Seven Sages of the Bamboo Grove and Rong Qiqi brick paintings, which are made of 294 bricks from ancient tombs, are reproduced in the exhibition hall in the form of a three-dimensional puzzle installation. The audience can activate and light up the eight sages in turn by restoring the bricks to the corresponding positions. From physical installations to dynamic images, from static to dynamic, the audience is guided to directly experience the structural form and production process of brick paintings in their own participation, and at the same time feel the life rhythm in the oriental context. The sound of the Tang Dynasty is endless. Enjoy the rhythm of Sanyue and see the splendor of Yuefu. The six-color Sanyue relief of the National Treasure Box shows the lively scene of the band's performance. The 12 performers are all women, wearing narrow-sleeved blouses and long skirts that drag on the ground. They are divided into two rows, front and back. The instruments they hold include konghou, zheng, pipa, clappers, seat drums, sheng, square horns, bixiao, and transverse flutes. The prosperous Tang style is only seen in China. We tried to interpret this national treasure in the form of an interactive ensemble game. The audience triggered the corresponding instruments through different instrument sensing points on the ground. At the same time, the relief figures on the wall were lit up in the form of images, creating a sensory experience that brings ancient history closer to the eyes. The band played and the phoenix spread its wings in the middle, playing "Drunk in Peace" together, a elegy for the prosperous times. It makes people feel as if they are in the Five Dynasties period, and they start a cross-time and space ensemble and resonance with the characters in the painting in the interactive experience. The ritual of heaven and earth is the eight directions of the earth, and the gods, humans and beasts tell the beliefs of prehistoric ancestors. The jade cong is a cylindrical jade artifact with a round inside and a square outside. It is a ritual vessel used by ancient people to worship gods. The jade cong of Liangzhu culture is particularly developed, and a large number of them have been unearthed and handed down. National Treasure Box 7 The Liangzhu Jade Cong Exhibition Hall uses a round inner and square outer structure to symbolize the Liangzhu Jade Cong itself. When the audience walks into the space, it is like entering the Jade Cong. They can see the dynamic images of Liangzhu life presented by the curved walls around, from the Liangzhu life scenes such as jade making and farming during the day to the gods and beasts and emblems flashing in the starry sky at night. Although the Jade Cong is small, the Liangzhu ancestors infused it with society and faith, and used it to show the long-standing and unchanging cultural gene of Chinese civilization - power. Because of this, although the encounter with the Liangzhu Jade Cong spans five thousand years, we can still appreciate the intimacy and enlightenment of "the past is the present" when we gaze at it. The joys and sorrows between paper and ink Ten family letters describe the evolution of the calligraphy style of the family of the Saint of Calligraphy National Treasure Box 8 Wansui Tongtian Tie Wansui Tongtian Tie is a copy of the calligraphy of Wang Xizhi's family handed down from the Tang Dynasty, and it is also a calligraphy treasure close to Wang Xizhi's original work. The content is ten letters and notes from Wang Xizhi and others. Because Wang Fangqing signed the year "Wansui Tongtian" in regular script at the end of the scroll, it is called "Wansui Tongtian Tie". As the audience triggers the various sensing areas of the long case, the dynamic letters being written appear on the gauze curtain one after another, showing the beauty of calligraphy art of the family of the Saint of Calligraphy across four dynasties and multiple scripts in a grand scale. At the same time, the animated images on the long case desktop humorously restore the situation in the letter and narrow the distance between the ancient and the present. The above eight national treasure boxes are connected by the national treasure courtyard, using perspective windows, corridors and other elements to express the naturalness, harmony and layers of oriental aesthetics in details. The audience moves to different scenes and can glimpse the landscape of another box, harvesting the hidden and endless beauty of interest, and the feeling of walking in the garden, making the browsing method more aesthetic and interesting. Throughout the exhibition, the nine national treasures acted as the narrators of each era, bringing out different aspects of history. The civilizations were connected to each other and became a line, allowing people to see the context behind and re-ask, what is the relationship between cultural relics and today and ourselves? As the witnesses, witnesses and survivors of civilization, national treasures contain infinite wisdom and beauty. They connect the oriental dream in time and space. When we look up at the stars, when we stop and look, when we travel thousands of miles, every civilization is at our feet.