Yan Chenyu was a very interesting girl. After sending Koala away, she hummed and interrogated Yunluo. When she heard that Yunluo and Koala had gone to Yangzhou to play, she also wanted to go out to play. Yunluo could only obey Yan Chenyu's thoughts. Xiang Chu Chunzi didn't want to go, so she stayed in Sihai City to take care of Hongshu Tangtang.

They returned to Yangzhou quietly. Yunluo brought Yan Chenyu to the museums in Yangzhou. The unique architectural style of the two museums and the lotus leaf shape of their exterior blend into the adjacent lakeside geographical environment, fully reflecting the design concept of harmony between man and nature and the integration of architecture and nature.

The naturally smooth and non-angular lines of the building's exterior abstractly reflect the properties of water. They are a distillation of Yangzhou's local cultural spirit and embody the design concept of harmony between man and nature, and the integration of architecture and the environment.

The predecessor of the two museums is Yangzhou Museum. The history of Yangzhou Museum can be traced back to the establishment of Yangzhou "Cultural Relics Museum" and the "Northern Jiangsu Museum" planned in the same year. After more than 50 years of development, Yangzhou Museum has become a comprehensive museum with rich collections, complete functions and distinctive local characteristics that is quite influential both domestically and internationally.

The two museums cover a total area of ​​more than 50,000 square meters, with a total construction area of ​​more than 22,000 square meters. They are divided into two buildings, the main building and the annex. The main building has a construction area of ​​20,000 square meters, and the annex in the north reservoir area has a construction area of ​​more than 10,000 square meters. The main building is 22.4 meters high, with a three-story frame structure and some four-story buildings.

The main building is divided into three parts. The eastern part is Yangzhou Huaguo Woodblock Printing Museum, and the western part is Yangzhou Museum. The shared atrium space organically combines the two museums. The exhibition area of ​​the two museums is 10,000 square meters. In the square outside the two museums, there are many stone carvings and sculptures of famous historical figures related to Yangzhou history.

Liu Bi (215-540 BC) was granted the title of King of Wu in the early Han Dynasty. He made Guangling his capital and governed three counties and 53 cities. He dug canals in his fiefdom, "cast coins from the mountains and boiled the sea for salt", which promoted the rapid development of the local economy. He instigated the "Rebellion of the Seven Kingdoms", but was eventually defeated and killed.

Fu Chai (? - 473 BC) was the king of Wu during the Spring and Autumn Period. In order to establish a base for development to the north, he built the "Han City" at the end of Shugang, Yangzhou, and dug the Han Canal connecting the Yangtze River and the Huai River, marking the beginning of the city of Yangzhou.

Ruan Yuan (1764-1849), courtesy name Boyuan and pseudonym Yuntai, was a native of Yangzhou. He was a leader in the literary world in the mid-Qing Dynasty and a famous official. He presided over the compilation and proofreading of a large number of ancient books, and actively supported the publication of the academic achievements of the Yangzhou School. In his later years, he devoted himself to the restoration of cultural relics and historical sites.

Ouyang Xiu (1007-1072), courtesy name Yongshu, also known as Zui Weng and Liuyi Jushi in his later years, was a leader of the ancient prose movement in the Northern Song Dynasty and one of the Eight Great Masters of the Tang and Song Dynasties. He served as the governor of Yangzhou. During his tenure, he built the "Pingshan Hall", repaired scenic spots and historical sites, and launched cultural movements, which had a far-reaching influence.

Dong Zhongshu (179-104 BC) was the governor of Jiangdu in the Western Han Dynasty. He was a thinker, philosopher, and the most important promoter and disseminator of Confucian culture. His theory of "rectifying righteousness and clarifying the truth" was respected by Emperor Wu of Han and later rulers.

Jianzhen (688-763), also known as Chunyu, was a Buddhist monk of the Tang Dynasty. In his later years, he was invited by Japanese monks to travel east to spread Buddhist law. He went through many dangers and difficulties and became blind. He finally arrived in Nara. He made great historical contributions to the spread of Buddhism and the culture of the heyday of the Tang Dynasty.

Shi Kefa, also known by his courtesy name Xianzhi and Daolin, was a famous general and national hero who fought against the Qing Dynasty in the late Ming Dynasty. He passed the imperial examination and entered the official career. Later, he helped to suppress rebellions in various places. After the fall of the capital, Shi Kefa supported the Ming Fu Wang (Emperor Hongguang) and continued to fight against the Qing army. The Qing army launched a large-scale siege on Yangzhou City, and Shi Kefa died when the city was captured.

The double museum building is a three-story frame structure, divided into two major areas: the east area is the Yangzhou Huaguo Woodblock Printing Museum, the west area is the new Yangzhou Museum, and the shared hall in the middle organically connects the two museums, making the entire building integrated.

Entering the gate of the Shuang Museum, you will see the Shuang Museum's logo - the statue of Fuxi and Nuwa, which immediately brings your thoughts to the ancient times when our ancestors lived. Yunluo and Yan Chenyu turned left and entered the preface hall, which is a large temporary exhibition hall that can accommodate various exhibits, where you can see temporary exhibitions with different characteristics.

Walking up the stairs from the exhibition hall, you will arrive at the special exhibition hall of Yangzhou Museum, which has the "National Treasure Hall" displaying the "treasure of the museum" - Yuan Dynasty blue-glazed plum vase with white dragon pattern, and the "Yangzhou Sculpture Art Exhibition Hall" displaying Yangzhou's unique sculpture art.

To commemorate the 320th anniversary of Zheng Banqiao's birth, the Municipal Museum selected 34 pieces (sets) of Zheng Banqiao's calligraphy and painting masterpieces from its collection and held the "Peerless Charm - Exhibition of Zheng Banqiao's Calligraphy and Paintings from Yangzhou Museum" in the Ming and Qing Dynasty Calligraphy and Painting Hall on the second floor of the museum. It is reported that this is the first time that Yangzhou Museum has exhibited all of Zheng Banqiao's calligraphy and painting masterpieces in its collection.

"Peerless Charm - Exhibition of Zheng Banqiao's Calligraphy and Paintings from the Yangzhou Museum" covers Zheng Banqiao's works from different periods, with distinct themes and diverse forms. There are representative vertical scrolls of orchids, bamboo, stones, etc., as well as numerous albums and hand scrolls in Banqiao's cursive and running scripts, all of which are well preserved.

Among the exhibits, some of Zheng Banqiao's fine calligraphy and paintings are on display for the first time, including a six-foot-long painting of Orchid, Bamboo and Rock, which is the largest work of Zheng Banqiao in the museum's collection. The mountains and rocks are outlined with light ink, and the orchids and bamboos are painted with thick ink. Banqiao paintings of this size are rare in the country.

There are also two works in which Zheng Banqiao wrote poems for his contemporary painter Luo Yuxi, the father of Luo Ping, the youngest painter of the "Eight Eccentrics of Yangzhou". These two works provide data for studying the interactions between the Eight Eccentrics of Yangzhou.

Zheng Banqiao, a Han Chinese, was born in Xinghua, Jiangsu Province, and his ancestral home was Suzhou. He was a famous painter and calligrapher in the Qing Dynasty. His original name was Zheng Xie, his courtesy name was Kerou, his pseudonyms were Li'an, and Banqiao. He was also known as Mr. Banqiao, or Zheng Banqiao.

Zheng Banqiao is an outstanding artist in Chinese history, the main representative of the "Eight Eccentrics of Yangzhou", a calligrapher, painter and writer known for his three unique skills: poetry, calligraphy and painting. His life can be divided into five stages: "studying and teaching", selling paintings in Yangzhou, "passing the imperial examinations and becoming a Jinshi", official travel, working as an official and selling paintings in Yangzhou again.

Zheng Banqiao was born on November 22, 1693 and died on January 22, 1765 at the age of 73. He passed the imperial examinations and became a scholar in the reign of Emperor Kangxi, a juren in the tenth year of Emperor Yongzheng, and a jinshi in the first year of Emperor Qianlong (1736). He was a county magistrate and was known for "asking for relief for the people due to famine, which offended the senior officials, so he asked for leave due to illness."

Before and after he became an official, he lived in Yangzhou and made a living by painting and calligraphy. He was good at poetry and lyrics, calligraphy and painting. He disdained idioms in poetry and lyrics. He was good at painting flowers, trees and rocks, especially orchids and bamboos. He used burnt ink to paint the orchid leaves, using the vertical strokes in cursive script and long strokes. He did not mess up when there were too many strokes and did not sparse when there were too few strokes. He was free from the habits of the time and his paintings were extremely elegant and vigorous.

His calligraphy is also unique, a mixture of official script and regular script, which he calls "six and a half points of calligraphy". He also uses painting techniques. His seals are simple and ancient, close to Wen and He. He was a carefree person. He was selected as a county magistrate as a Jinshi, and spent his days on poetry and wine. When he was transferred to the county, he asked for relief for the people due to famine, which offended the senior officials. He was dismissed and returned home. He lived in Yangzhou and became famous. He indulged himself in mountains and rivers, and traveled to drunken places with poets and monks.

He painted orchids and thin rocks on the walls of bars and temples, and wrote sentences casually, which made the viewers marvel. He wrote "The Complete Works of Banqiao" and engraved them by hand. The price of his paintings was widely praised. He was one of the "Eight Eccentrics of Yangzhou". His poetry, calligraphy and painting were known as the "Three Wonders". He was good at painting orchids and bamboo. Zheng Xie painted bamboo the most in his life, followed by orchids and rocks, but he also painted pine and chrysanthemum. He was a representative literati painter in the Qing Dynasty.

Zheng Banqiao was born in a scholarly family. He passed the imperial examination in the late Kangxi period, the imperial examination in the tenth year of the Yongzheng period, and the imperial examination in the first year of the Qianlong period. He worked in the county for twelve years from the age of fifty. His idea of ​​"benefiting the people with his achievements" made him take measures such as "opening warehouses to provide relief loans" and "donating to the poor to replace transportation" to help the common people who suffered from famines for many years. This caused dissatisfaction among corrupt officials and evil gentry, and he was demoted.

After that, he made a living by selling paintings. Zheng Banqiao's life was full of ups and downs, he experienced the ups and downs of life, and he saw through the fickleness of the world, and he dared to incorporate all of this into his works.

There is no mistake in the poem, post, content, and read the book on 6, 9, and bar!

By analyzing the poems inscribed on the orchid and bamboo paintings by Zheng Banqiao in different periods, we can associate Zheng Banqiao's life experience and various social phenomena in the Qing Dynasty through the limited images of the paintings, making the single picture, like a literary work or a film, tell many stories...

When he was serving as a county magistrate, he once painted a picture titled "Painting Bamboo in the Office, Presented to My Uncle Bao Dazhong Cheng Kuo", in which a poem was inscribed: "Lying in the government office, I hear the rustling of bamboos, which I suspect are the sounds of the people's suffering. As a small county official, I am concerned about every branch and leaf."

The bamboo in this painting is no longer a "reproduction" of natural bamboo, and the title of this poem is no longer an impromptu poem. Through the painting and the poem, people are reminded of Banqiao's character. As a county magistrate, he associates the rustling sound of bamboo in the government office with the sufferings of the people, which shows that he cares about the people and his emotional ties are tied to them.

At this time, the bamboo leaves in the painting have expanded their images, and the scenes of Zheng Banqiao opening warehouses to provide relief to the victims emerge in people's minds one by one. The "frozen moment" has become an infinitely continued story in the minds of the audience, just like a highly infectious novel or film, which is gripping and thought-provoking. With just a few strokes of bamboo leaves and a few concise lines of poetry, people can feel the profound thoughts and strong emotions contained in the work.

There are several more paintings that were made before and after Zheng Banqiao left the county town after being demoted. He left with three donkeys and a cart of books, with empty sleeves. One of the paintings is of bamboo and the inscription reads: "I throw away my official hat and no longer serve as an official. My pockets are empty and my sleeves are cold. I pick out a thin bamboo and a bamboo fishing rod on the river in the autumn wind." He used the bamboo to express his peaceful mentality of giving up his official position to serve the people, being indifferent to fame and fortune, and enjoying life.

The second painting, Bamboo and Rock, has a poem inscribed on it: "Holding fast to the green mountain, it never lets go. Its roots are planted in the broken rock. It remains strong despite thousands of blows. It will not hesitate to be blown by the winds from the east, west, south or north."

In the painting, three or two thin bamboos stand upright from the cracks of the rocks, tenacious and unyielding, and do not fall down in the wind. Zheng Banqiao uses bamboo to express his free and easy and open-minded mind, and expresses his character of bravely facing reality and never succumbing to setbacks. The bamboo is personified. At this time, "poetry is invisible painting, and painting is visible poetry." (To be continued..)