A suitcase, telling the story of a young man's journey and ideals from Zhejiang to Yan'an; A print titled 'Roar, China' depicts the indomitable backbone of a nation. Nowadays, more and more young people are entering revolutionary memorial venues to have conversations with revolutionary cultural relics. On the first day of the National Day Mid Autumn Festival holiday in Beijing, more than 30 groups of families walked into the Red Mansion area of the CPC's Early Beijing Revolutionary Activities Memorial Hall to open the research activity of "Li Dazhao and the spread of Marxism in early China"; In Yan'an, 19 revolutionary museums and memorial halls are scattered throughout, and tourists from all over the country visit red landmarks to appreciate the new appearance of revolutionary old areas. Previously, at a press conference held by the State Council Information Office, Sun Deli, Deputy Director of the National Cutural Heritage Administration, said that more than 3000 revolution, construction and reform themed exhibitions were held annually, and 600 million people visited revolutionary sites and memorial venues. 471 revolutionary sites and memorial venues have been included in the national patriotic education demonstration base, and 95 revolutionary cultural relics themed trails have been released in 26 provincial-level administrative regions. Nowadays, more and more people, especially teenagers, have close contact with revolutionary cultural relics, deeply look back on history, feel the great spirit, and draw strength for progress. ”Sun Deli said. Sun Deli stated that since the 14th Five Year Plan, the protection and utilization of revolutionary cultural relics across the country have made significant progress on the existing foundation, presenting a new outlook. The resources of revolutionary cultural relics have been basically identified, with over 42000 immovable revolutionary cultural relics and more than 1.5 million pieces/sets of revolutionary cultural relics in state-owned collections across the country. How to tell the story of cultural relics well after understanding the background of cultural relics? The Memorial Hall of the Eighth Route Army Xi'an Office is a small and medium-sized revolutionary memorial hall. Wang Huan, the secretary of the party branch and deputy director of the museum, told reporters from China Youth Daily and China Youth Net that the memorial hall uses the theme exhibition "I Want to Go to Yan'an" as an "experimental field" to try to create a "youthful" narrative of anti Japanese war cultural relics. Why inject "youthfulness" into the cultural relics of the Anti Japanese War? The Memorial Hall of the Eighth Route Army Xi'an Office has a deep connection with young people, both in terms of historical origins and collection resources. Especially during the Anti Japanese War, more than 20000 patriotic youth rushed to Yan'an through here. There are many vivid stories and the fiery spirit of the Anti Japanese War here. We have a responsibility to connect with the present and face the future, "said Wang Huan. At the beginning of the exhibition planning, the memorial hall conducted a sampling survey of visitors aged 18-35. The statistical results show that 62% of people believe that there is a distance between the spirit of the Anti Japanese War and contemporary life, and 77% of people say that the stories behind cultural relics are more touching than the relics themselves. These important data make us realize that traditional exhibitions that mainly focus on 'event history' and 'macro narratives' may obscure the individual choices and emotional experiences of young people. To bring revolutionary cultural relics to life, it is necessary to break the 'intergenerational temperature difference'; To pass on the spirit of the War of Resistance Against Japan, it is necessary to find an emotional connection with the youth. ”Wang Huan said. To this end, after further sorting and in-depth research on the collection resources, the museum conducted targeted visits and collections, and ultimately focused on cultural relics - especially those "youthful objects" with emotional warmth. We have changed our perspective, not only saying 'how great Yan'an is', but also' how brave the youth are '; not only saying' how precious cultural relics are ', but also' how vivid the stories behind them are ', "said Wang Huan. For example, the suitcase carried by Liu Mengtian, former dean of Xi'an Academy of Fine Arts, when he went to Yan'an was previously exhibited as an explanatory sign; Now, with the suitcase as the core and connecting geography through time and space, tell a flesh and blood story - how he set off from his hometown in Zhejiang, encountered hardships such as stolen tolls on the way, but still persisted in his ideals and walked to Yan'an. The theme exhibition 'I Want to Go to Yan'an' has also handed over the stage to young people: collaborating with universities and students to deeply participate in cultural relic protection, exhibition design, and other work; Jointly plan and perform the live action drama 'I Want to Go to Yan'an'; Wang Huan revealed that since the opening of the exhibition more than a year ago, the memorial hall has received a total of 750000 visitors, a year-on-year increase of 136% compared to last year, including 65% of the 18-35 age group, who have participated in school tour tours and lectures, and participated in the "New Era Youth Yan'an Tour" to encourage them to create themed Vlogs. The exhibition also visited museums in Xinjiang, Inner Mongolia and more, as well as over 40 universities including North Petroleum, University of Science and Technology of China, and Rocket Force Engineering University. Wang Huan saw this message in the audience's message book: "Originally, 'firm ideals and beliefs' are not slogans, they are accumulated by spinning a spinning wheel, flipping a page of paper, and patching up a stack. The memorial hall has become a big classroom.' Let cultural relics speak, let history speak, and let culture speak. '. ”When cultural relics tell stories of the Anti Japanese War to young people, the Revolutionary Memorial Hall itself is an excellent classroom. Up to now, there are more than 3000 revolutionary memorial halls across the country, and a number of landmark revolutionary halls, such as the CPC History Exhibition Hall, the Xiangshan Revolutionary Memorial Hall, and the CPC Memorial Hall for Early Revolutionary Activities in Beijing, have been completed and opened; The reconstruction and expansion projects of the Memorial Hall of the First National Congress of the CPC and the Memorial Hall of the Chinese People's War of Resistance against Japanese Aggression were completed and opened, and the construction quality and exhibition level of the revolutionary memorial hall were significantly improved. The Memorial Hall for the Victims of the Nanjing Massacre by the Japanese Invaders was established on the site of the collective massacre at Jiangdongmen during the Nanjing Massacre, and was completed and opened on August 15, 1985. Since 2014, this place has become the venue for the National Memorial Ceremony for the victims of the Nanjing Massacre. The memorial hall has basic exhibitions such as the "Nanjing Massacre Historical Facts Exhibition", themed exhibitions such as "Justice Will Win, Peace Will Win, People Will Win - Victory of the Anti Fascist War in the Chinese Theater Command and Trial of Japanese War Criminals Historical Facts Exhibition", and a special exhibition on "Comfort Women" Victims: Sexual Slaves in World War II - The Japanese "Comfort Women" System and Its Crimes Exhibition ". The deputy director of the museum, Shi Pengcheng, introduced that the memorial hall focuses on creating "six lessons" and delivering a good "ideological and political education lesson" at the location of the national public memorial ceremony. The so-called "six lessons" refer to the enlistment lesson, the teaching lesson, the pre departure lesson, the revival lesson, the return lesson, and the onboarding lesson. Each lesson is tailored to a specific target audience, with content "customized" from different perspectives. Enlistment, education, and employment are classified according to occupation; Pre departure, revival, and return refer to specific groups. The pre departure lesson is aimed at students from ordinary high schools and vocational schools in Nanjing who are about to go abroad, educating them to become practitioners of patriotism, narrators of Chinese stories, and disseminators of peace seeds after going abroad. Since 2017, over 9000 people have attended this class. ”Shi Pengcheng said that the lesson of rejuvenation is aimed at compatriots in Hong Kong, Macao, and Taiwan, guiding them to deepen their national memory and enhance their national identity; One lesson for returning students, aimed at encouraging them to focus on "national affairs" and shoulder "national responsibilities". In Shi Pengcheng's view, the teaching of ideological and political courses in memorial halls first relies on cultural relics, historical materials, and memorial facilities, using cultural relics as "teaching materials", venues as "classrooms", and ruins as "classrooms". The remains of the victims unearthed from the collective massacre site at Zhongshan Port, the message wall left by the Japanese army at the comfort station on Changfu Street in Nanjing, and the video footage taken by John Magee... built the best classroom. On September 5th, nearly 70 students from Macau Haojiang High School Affiliated Yingcai School and Hong Kong Peiqiao High School, as well as Macau Haojiang High School and Southeast School, visited the Memorial Hall for the Victims of the Nanjing Massacre by the Japanese Invaders. Chen Shaojun, a student from Macau Haojiang Middle School, once learned about the history of the Nanjing Massacre through history classes. This on-site visit gave her a deeper understanding. "The cultural relics in the memorial hall, the real experiences of survivors, and other historical materials are as solid as mountains of evidence. Nowadays, our country is prosperous and thriving, which is completely different from the poverty and weakness of the past. We must cherish them even more. The teachers and students also had face-to-face communication with Xia Yuan, the inheritor of the historical memory of the Nanjing Massacre. Xia Yuan's grandmother, Xia Shuqin, was a survivor of the Nanjing Massacre. Tan Xiaoming, a teacher at Peiqiao Middle School in Hong Kong, has walked into the memorial hall for the third time: "This time, after hearing the stories of survivors' descendants, students combined the textual knowledge in textbooks with the cultural relics and stories they saw on the ground, which can help them understand history more deeply and understand the process of their motherland's transition from suffering to prosperity more clearly." The on-site exhibition "Roar, China - Beijing Lu Xun Museum Collection Anti Japanese War Prints Exhibition (1931-1945)", which saw history from cultural relics, opened in late August in Beijing. It selected 132 woodcut works from the Anti Japanese War period, 13 printmaking books and publications, and 3 letters from painters, systematically presenting the powerful vitality of the simple art form of "pinching knives towards wood and carving straight down". The art of printmaking actually originated in China, formerly known as "Xiu Zi"; In the 14th century, it was introduced to Europe along the Silk Road and gradually developed into self painting, self engraving, and self printing prints by painters; In the 1930s, Lu Xun discovered that this form was particularly suitable for modern China. Low cost - one board, one carving knife, can create anytime, anywhere, and is easy to replicate and spread quickly. So, with the strong introduction of Lu Xun, the creation of printmaking returned to its homeland. On August 17, 1931, Lu Xun initiated a 6-day woodcut workshop in Shanghai, encouraging young artists to not only absorb foreign techniques, but also express the "Chinese spirit that has always existed". However, the turning point of history was unexpected. Less than a month after the end of the seminar, the September 18 Incident broke out, and artists immediately took action, working day and night to produce anti Japanese posters and woodcut flyers, and posting them on the streets and alleys, practicing Lu Xun's saying that "during the revolution, printmaking is the most widely used. Although it is extremely hasty, it can be done in an instant. Why is the exhibition called 'Roar, China'? Jiang Yixin, Deputy Director of the Lu Xun Museum in Beijing, introduced that this originated from Li Hua's classic work created in 1935. This work portrays the image of a bound and roaring giant - a blindfolded cloth cannot conceal the boiling blood, a half kneeling body like a coiled mountain, and a thick rope deeply embedded in the flesh but unable to break the straight spine. This year, we can still feel the national suffering and unyielding backbone of young artists under extremely difficult conditions from these prints. They are not just exhibits, but also the imprint of a generation's life and the collective memory of a nation. ”Jiang Yixin said. At the end of August, the special exhibition "War Changing the World - China's War of Resistance from the Perspective of the World Anti Fascist War" was opened to the public at both the CPC History Exhibition Hall and the Yan'an Revolutionary Memorial Hall. The long and extensive War of Resistance Against Japan was also a cultural war. In the exhibition, classic literary and artistic works such as "Yellow River Cantata" organize the stories of thousands of soldiers and horses fighting against Japan. Through display, storytelling, and interactive scenes, the exhibition is interconnected, making it impressive, storable, and resonating with the audience. ”Director Liu Ni of Yan'an Revolution Memorial Hall said. Liu Ni has been engaged in cultural relic work for 34 years and has collected tens of thousands of cultural relics so far: Xian Xinghai's music baton, which was brought back to Yan'an in 15 years; Zhou Enlai brought back the Italian violin from Chongqing to Yan'an in 1944 and spent more than 10 years returning to Yan'an; This year, overseas Chinese youth Wang Weizhen's hand drawn book of the War of Resistance Against Japan is a precious story of the 22 year expedition back to Yan'an... "My experience is that the collection of cultural relics is not a simple 'appropriation', not a momentary effort, but a long-term process of researching and interpreting the cultural relics behind them. The saying goes, 'Only when the heart is used, emotions are deep, and efforts are exhausted, can we let go.'