On the first day of the lunar new year, the National Museum was bustling with people. It has become a "New Year custom" for post-90s Beijing girl Li Danyang to enjoy cultural relics exhibits with her family and celebrate the new year in the museum. "The whole family are cultural and Expo lovers. They can see more than a dozen exhibitions in one breath during the Spring Festival, and they are full of harvest." She said. According to the data, by the end of 2020, the number of national record museums had reached 5788, achieving the goal of owning one museum per 250000 people on average. However, the uneven level of development is still a prominent problem. "Net red" museums are hard to get a ticket, but some minority museums are scarce. A museum is a "University". How should the museum revitalize its "family background" and give back to the audience with more wonderful exhibitions? How to "break the circle" with strength and tell Chinese stories in a more creative form? The deputies and committee members have many suggestions and opinions on this. 1. Curate the exhibition and make an article on the use of emotion The soul of a museum is a collection. Representative Wei Xuefeng, chief expert of Sichuan Museum, pointed out that the current problem of "one side for thousands of exhibitions" reflects the dilemma of insufficient renewal of cultural relics collection. "The problem of cultural relics cutoff in the museum needs to be solved urgently." Deputy Wei Xuefeng explained that since the "separation" of many museums and archaeological institutes in the 1980s, the collections of some museums have not been updated for nearly 40 years. He suggested that the State Department in charge of cultural relics solve this problem systematically, open up the blocking points in the allocation and transfer of cultural relics, and promote the timely updating of the collections of local museums. Collection is only the first step. How to present the collection more accurately and brilliantly to the audience also tests the vision and ability of museum workers. Member LV Chenglong, director of the artifacts Department of the National Palace Museum, has a deep understanding of this: "curation should be based on research, especially the identification and dating of cultural relics. If the research is not deep enough, it may mislead the audience." He said that it was a good attempt to reopen the Ceramic Museum of the Palace Museum in 2021, introduce Porcelain Appreciation knowledge through QR codes, micro videos, display boards and other forms, and excavate and display the stories behind cultural relics. When planning an exhibition loved by the audience, we should "make an article" with our hearts and feelings. The sculpture Lei Feng by Wu Weishan, member of the Standing Committee of the CPPCC National Committee and curator of the China Art Museum, was selected into the Chinese textbook Uncle Lei Feng, where are you in the people's Education Edition. On March 5 this year, on the anniversary of learning from Lei Feng, the China Art Museum held a poetry reading activity of the same name, printing the sculpture image into a card and distributing it to the audience. "We have created a 'beautiful time and beautiful carving' column, which uses more than 130000 collections to tell Chinese stories at important time points such as festival solar terms and Beijing Winter Olympic Games. Practice has proved that the popularity and reputation are very high." Member Wu Weishan introduced. 2. "Cloud Exhibition" enables more people to enjoy the beauty of art In recent years, "cloud Exhibition", "cloud punch in" and "cloud experience" have flourished, meeting the needs of visitors to visit the exhibition without leaving home, and making the exhibition "never end". The "cloud Exhibition" that impressed Guo Yuanyuan, vice president of the school of culture and communication of the Capital University of economics and trade, was the Dong Qichang calligraphy and painting art exhibition planned by the Shanghai Museum. "In addition to displaying calligraphy and painting works, the 'cloud exhibition' also uses animation, tree view and other technologies to show Dong Qichang's life track and 'circle of friends'. Wearing VR glasses, you can also get into his eight scenes of autumn prosperity to play, which forms an interesting contrast with the offline exhibition." Once it received 30000 visitors a day at the peak, but now the epidemic prevention and control is normalized, and the daily number of visitors to the China Art Museum is limited to 1800. How can more people enjoy the beauty of art? "Going to the cloud is the general trend." Wu Weishan said, "we put many large and special exhibitions from 2004 to today on the website, which not only extends the vitality of artistic works, but also makes beauty imperceptibly integrate into the gene of our cultural confidence." "Using digital technology to display cultural heritage makes it possible for museums without walls." "Cloud Exhibition" is not simply equivalent to digitization. Representative Wei Xuefeng pointed out, "at present, the presentation methods of most 'cloud exhibitions' are relatively single, and the content mining is not deep enough. In the future, with the further improvement of network information technology, the audience's demand for visual and aesthetic experience will also increase, which is a very important topic for the majority of museums." 3. Cultural innovation should focus on innovation, deep excavation and strong guidance Nowadays, cultural and Expo programs such as "Shangxin · Forbidden City" are popular, national style makeup and clothing are sought after, and archaeological blind boxes are sold out... National fashion, cultural and creative IP, cross-border cooperation and so on have brought a new atmosphere to the cultural and Expo circle. As the "top stream" of ICIF IP, cultural creation in the Forbidden City has attracted wide attention. "In the process of product research and development, we should carry forward the excellent traditional culture and not turn the dross into cultural creativity." According to member LV Chenglong, the Palace Museum has set up a special cultural and Creative Review Group, which invites professionals to participate, and holds regular meetings to review and strictly control all kinds of cultural and creative products. In the cultural and creative industry development environment of "those who get IP get the world", cultural and creative products also have problems such as homogenization and low-level imitation. "In cultural and creative research and development, we should pay attention to innovation, deep excavation and strong guidance, and create characteristic products that can not only inherit history and culture, spread cultural values, but also meet contemporary aesthetic needs." Committee member Guo Yuanyuan said that if the museum wants to develop the cultural and creative industry well, it must do a solid job in this "homework". At the same time, many museums across the country are not enthusiastic about cultural and creative work. "The reason is that most museums belong to national public welfare institutions, the funds are basically only enough to maintain normal operation, and there are few funds that can be used for cultural, creative and R & D." Representative Wei Xuefeng suggested that "we expect the state to introduce funds or support policies to encourage cultural innovation, and we can try to return the income from cross-border and cultural innovation to the museum, so as to 'cultivate culture with culture' and 'supplement culture with culture'." (outlook new era)