Against the backdrop of the deepening of the rural revitalization strategy, the proposal and practice of the concept of "art endows beautiful countryside" provide clear guidance for the deep integration of modern art and rural culture, and also make "how to truly root art in rural areas and nourish rural areas" an important issue in promoting rural development. Rural art museums, as the core practice carrier of "art endows beautiful countryside", are not only the "container" that carries rural cultural memories, but also the "bridge" that connects artistic resources and rural needs. Their functional positioning, content presentation, and value orientation must break through the traditional cognitive framework of urban art museums, truly fit the actual production and life of rural areas, serve the improvement and long-term development of rural people's livelihoods, and integrate the beauty of art into every corner of rural areas. From a functional perspective, rural art museums are not a "scaled down version" of urban professional art museums, but rather a "multifunctional spatial complex" that meets the needs of rural areas. Unlike urban professional venues that focus on art exhibitions as their core function, rural art museums must first meet the practical needs of rural production, life, and cultural activities. Taking some cultural auditoriums in southern China as an example, they have gradually become idle due to their single function, which warns us that rural art museums need to balance their "artistic attributes" and "rural attributes". It should not only undertake the basic function of displaying art works, but also become a gathering place for rural customs and folk activities. At the same time, it should also be a "storage container" for rural memories. Through the exhibition of village history, presentation of audio-visual records, and digital display, villagers and tourists can perceive the historical context of the countryside. From physical space to functional design, rural art museums should become concrete manifestations of "Chinese rural culture containers", allowing art spaces to truly integrate into rural daily life. In terms of content creation, rural art museums need to break through the limitations of "traditional art monopoly" and build a diverse content system with modernity, publicness, and locality. The traditional folk themes of "National Oil Plate Carving" and "Big Peony and Big Rooster" have cultural value, but the inheritance and development of rural culture require injecting vitality into the times. With the popularization of agricultural mechanization and intelligence, traditional rural forms are gradually evolving, and the concept of "rural areas can be very contemporary and artistic" urgently needs to be implemented. On the one hand, art museums should pay attention to the expression of contemporary art, and through forms such as installation art and visual art, convey a new cultural atmosphere to villagers, leaving a footnote to the development of rural culture - this is not only the social responsibility of artists, but also the "answer sheet" to rural history. On the other hand, it is necessary to strengthen the intervention of public art and guide villagers to transform from "bystanders" to "participants". For example, organizing villagers to jointly create public art works, transforming private courtyards and public spaces, so that art is no longer a "lofty and white snow", but a part of life that villagers can touch and participate in. This kind of content innovation is essentially a reshaping of rural cultural views - rural culture should not be a static "nostalgic specimen", but a dynamic and contemporary living culture. The core value of rural art museums should ultimately focus on empowering the comprehensive revitalization of rural areas with art, and achieving the unity of cultural and social values. Art is not a goal here, but a "lever" to serve the countryside - through art intervention in the integration of agriculture, culture, and tourism, it ultimately points to the core of comprehensive rural revitalization: people. For villagers, artistic practice can bring multiple changes: participating in public art creation and receiving professional recognition and awards can stimulate their sense of pride, identity, and value; Creating a check-in area and developing cultural and creative products around the art museum can transform local culture into economic benefits, allowing villagers to "earn money and enrich their spirit"; More importantly, this participatory practice can tap into the intrinsic motivation of villagers, shifting from 'I want to revitalize' to 'I want to revitalize'. For the government, artistic means provide a new path for comprehensive rural governance - unlike top-down administrative orders, artistic activities build communication bridges and enable villagers to actively participate in environmental beautification and public affairs. For artists, rural areas are the "new soil" for artistic creation. In the process of participating in rural construction, they can not only express their personal artistic views, but also enable their works of art to carry the practical significance of solving social problems, avoiding the disconnection between "artistic self pleasure" and rural areas. The three goals converge and each takes what they need, forming a joint force for comprehensive rural revitalization. It is worth noting that the intervention of art in rural areas should adhere to clear principles and bottom lines. The primary prerequisite is to clarify the target motivation and avoid two extremes: one is the government's administrative command style "one size fits all" approach, which ignores the real needs of villagers; The second is the artist's detachment from the reality of the countryside in their "self interested creation", which leads to a "two-tier skin" between art and the countryside. Whether it is the construction of rural art museums or the development of artistic activities, they should be based on the locality of rural areas - respecting the historical traditions, living habits, and villagers' wishes of rural areas. Even if avant-garde artistic concepts are introduced, they should be adapted to the rural context. For example, Fanjiawan in Wangdian Town, Xiaochang County, Hubei Province, not only conveyed the concept of ecological protection through the art installation of "knitting sweaters for stones", but also gained recognition from villagers due to its friendly form, ultimately becoming a highlight of rural brand promotion. This "small yet beautiful" practice proves that the key to effective artistic intervention lies in being "down-to-earth, able to land, and effective". The exploration of rural art museums essentially answers the question of "how art serves the countryside". It is not only a physical space, but also a pivot for the revival of rural culture, a bond for the spiritual cohesion of villagers, and a window for dialogue between rural areas and the outside world. In the context of comprehensive rural revitalization, such exploration requires more practitioners to break free from the inertia of "urban experience" thinking, truly rooted in rural areas, understand rural areas, let the light of art illuminate the path of comprehensive rural revitalization, and let rural areas not only retain "nostalgia", but also embrace the "future". (New Press) (Authors: Chen Jiong and Jiang Fan, professors and doctoral students respectively from Renmin University of China)