The Design Of The Yiner Rock Art Ruins Museum Of Geer OBO Gou Under The Concept Of Symbiosis

With the entry of Yinshan Rock Paintings into the world cultural heritage reserve list,Yinshan rock paintings have attracted more and more attention as the historical and economic value of cultural heritage.In recent years,with the development of tourism,tourists hope to understand rock paintings,understand rock paintings,and explore the environment of rock paintings.But in the museum where the rock painting is located,the rock painting relics are placed in the showcase in isolation,losing the natural environment on which they live,discounting the popularity of the knowledge of the rock paintings,both visually and from the knowledge of rock paintings,greatly reducing the audience’s perception of the rock painting information.Therefore,it is a good way to improve the cognition of the rock painting in order to let the audience see the rock paintings,feel the environment of the Yinshan Rock Painting,taste the nomadic life and understand the development track of the original art.For this reason,the author proposes the idea of establishing a museum of rock paintings in the remains of rock paintings.The Yinshan Rock Art of gal OBO gully is a very representative rock painting community in Yinshan area.It is located in the Yinshan Mountain area about 60 kilometers northwest of Dengkou County,Bayannaoer.At present,the problems of the gal OBO gagu Yinshan Rock Painting are: traffic is inconvenient and lack of service facilities;the rock painting sites are scattered and badly damaged;tourists lack knowledge of rock painting,and the visitors are not interested in understanding;there are herdsmen living in the site.How to solve these problems has become the motive of this study.During the inspection,I repeatedly lodge the local herdsmen’s home and sprout the idea of establishing a museum of rock paintings based on the herdsmen ’folk houses.The author finds that there are generally some folk houses near the rock paintings,and the folk houses and rock paintings aresymbiotic in the mountains.The location of the houses is situated on the flat land surrounded by three sides and gathered in the wind to the sun.Primitive ancestors carved rock paintings were also selected on three sides,surrounded by mountains and gathered in the wind to the sun.It is the ideal place for the establishment of a site museum.The architectural form in thinking is a new building on the basis of the original residence,which can reduce the interference and destruction to the site environment as much as possible,creating an original environment for the spread of the heritage culture.The main object of this paper is the design of the Museum of the gal OBO Yinshan Rock Painting site.It is a museum of rock paintings built on the basis of the original residence in the site of the site.It is divided into six groups,which is guided by the moving line,and the sequence of the Museum of the Yinshan Rock Painting site.The Museum of the rock painting art museum at the entrance of gel OBO gully is the preface,the first exhibition hall is the solid view area of the Shen Quan,the second exhibition hall is the Museum of rock painting in the core area of the gal obao Gago rock painting area.The Museum of the nomadic family of the gel obao gully is the exhibition hall.The Museum of rock painting in the core area of the meryhnu gagu core area is the fourth exhibition hall.The Museum of the protection of Merle tru is the fifth exhibition hall.At the same time,there are ancillary facilities,including the visitor reception center at the gate of the ruins,the rest stop of the scenic spots and the ferry station.The local tourism resources are packaged and integrated to allow visitors to enjoy the rock paintings and to feel the natural and humanistic environment of the rock paintings,and provide a platform for the overall perception of rock paintings.The concept of site museum studied in this paper focuses on the study of "symbiosis".The "symbiosis" here includes how the ruins museums coexist with the site environment,how to symbiosis with rock paintings,and how to co-exist with the Aboriginal people.The main indigenous inhabitants in this area are Mongolian farmers and herdsmen.Their ancestors silently guarded rock paintings,which made outstanding contributions to rock paintings fromtheft and destruction.Therefore,I think that the original residents can not move out,but also have a better life,and continue to be the guardian of the rock painting remains and the administrator of the Ruins Museum.We should explore a new model for the development of the cultural heritage of rock paintings,and provide a train of thought for the utilization of rock culture heritage.