Jinxi County, Jiangxi Province, has 7 famous historical and cultural towns and villages in China, 57 traditional Chinese villages, and 11600 ancient buildings from the Ming and Qing dynasties that have been revitalized; Jiang County, Shanxi Province, blends sculpture, architecture, and landscape, creating a unique charm through the collision of historical heritage and modern vitality; In Changsha, Hunan Province, the rich historical, cultural, and natural resources between the mountains, waters, and islands are dazzling... In recent years, more and more "museums without walls" have emerged, breaking the spatial constraints of traditional museums and extending cultural tentacles to a wider world. A museum without walls "may refer to a village, neighborhood, or even an entire city, incorporating natural environment, architectural style, and folk life into the category of" exhibits ". Here, a long civilization is not limited to display cabinets. Every brick, every tile, every blade of grass, every song, and every dance has become a vibrant and boundless carrier of culture; Here, history and culture are integrated into daily life, audible and perceptible in the initial context of existence. It can be said that the "museum without walls" is a high-dimensional expansion of cultural exhibition space and a profound change in enriching the "way culture is opened up". Traditional museums often rely on fixed time and space, and their exhibition content, form, and effects are inevitably constrained. In the 'museum without walls', more diverse cultural factors are released in a more intuitive, vivid, and infectious way, unleashing ample charm. For example, at the Jinxiu Ao Yao Ecological Museum in Jinxiu Yao Autonomous County, Guangxi, people can wear ethnic costumes and walk along winding stone roads, open the century old village gate, and appreciate the scattered and unique dwellings; You can also listen to the gentle sound of a single stringed qin swaying in the wind, marveling at the skill of stilt fishing. This immersive experience is a deep dialogue between culture and the soul, as well as a wonderful resonance between tradition and modernity. This immersive cultural experience is also reshaping the way people engage in dialogue with history. In many traditional villages, elderly people sit under century old trees to talk about the changes in the village, children gather around craftsmen to learn traditional skills, and tourists touch the imprints of time in the patterns of the earthen walls. There are no warning signs saying 'Do not touch' here, but there is a reverence for culture everywhere; Without a guide, everyone becomes an "observer" of history and a "mouthpiece" of culture. When history changes from lead letters in books to warmth in the palm of one's hand, from silence in display cabinets to hustle and bustle in streets and alleys, cultural inheritance has vivid footnotes, and the continuation of civilization has a solid foundation. A museum without walls "unleashes numerous derivative values of" without walls ". So, when bookstores, cafes, and handicraft studios moved into the old hutongs, Yangmei Zhuxie Street in Beijing continued the hustle and bustle of the market, and "grew" a new cultural and artistic ecology; When cultural resources seamlessly integrate with tourism experiences, driving the development of industries such as catering, accommodation, and retail, the timeless "cultural power" is transformed into strong "economic power" on Zhongshan Road in Quanzhou, Fujian; When one becomes the guardian, narrator, and inheritor of cultural heritage at their doorstep, cultural confidence and identity arise in the hearts of villagers in Zhenshan Village, Guizhou Province. These values without walls seep into the urban and rural fabric like capillaries, becoming living nutrients that nourish the social organism. 'No walls' is not' disorder ', openness still needs to be guarded. The sustainable and healthy development of "museums without walls" requires the establishment of a scientific protection mechanism, fine management of pedestrian flow, and monitoring of cultural relics, in order to achieve the "dual unity" of inheritance and development. When introducing market vitality, it is also necessary to guard the cultural "moat" and prevent excessive commercial development from eroding the heritage texture and historical atmosphere. In addition, it is necessary to improve the participation mechanism of "co construction and sharing", fully mobilize the enthusiasm of social forces and professional institutions, and guide indigenous people to establish a sense of "cultural ownership", so that they can showcase their strengths and gain something from each other. As the walls of the museum quietly disappear, a deeper and more three-dimensional cultural force gradually emerges. A museum without walls is not only a transformation of physical spatial form, but also a practice of cultural inheritance and innovative development. More and more cultural heritage is crossing walls, entering into daily life, and integrating into the tide of the times, becoming the lifeblood of cultural continuity. Museums without walls roll out scrolls on the earth, just like the sparkling stars in the sky, illuminating people's spiritual world and gathering deep forward strength. (New Society)