Tianjin Mazu Folk Culture Pavilion Based On Narrative Space Theory Research On The Design Of Folk Culture Exhibition Hall

Mazu is also known as "Tianfei" and "Queen of Heaven",Mazu culture is the representative of Chinese marine culture,it originated in the Song Dynasty,and spread to Tianjin in the Yuan Dynasty due to the rise of Caoyun.Mazu became the local protector from the original sea god in Tianjin,which had an important impact on Tianjin’s fertility customs,clothing customs,commercial economy and other aspects of daily life,and also derived a large number of material and intangible cultural heritage.Now,with the weakening of the role of shipping,the poor inheritance of Mazu culture,especially in terms of folk culture,has gradually weakened.The folk culture exhibition hall plays an important role in the display of regional culture,the inheritance of folk memory and the expansion of educational functions through the display of scientific and cultural knowledge,the organization of mass cultural activities and social publicity.At present,China’s folk culture exhibition space has accumulated some accumulation in quantity,but there is a lack of in-depth research in professional theory and design strategy,which leads to the traditional museum design method still being used when designing the folk culture exhibition hall,and there are many unreasonable places,such as the outdated exhibition form,which cannot highlight the charm of the intangible culture in folk culture,and cannot fully reflect its unique cultural connotation.Therefore,the research on the professional theory and design strategy of folk culture exhibition halls needs to be further summarized and improved.Based on this,this paper focuses on the study of Tianjin Mazu culture and builds the Tianjin Mazu Folk Culture Exhibition Hall with the help of narrative space theory.Foreign research on narratology is relatively early,and the penetration of narrative methods in museum interior design has long been traced,and related research has gradually entered the best situation.However,in China,it is still rare to see research focusing on spatial dimension,and in China,narrative theory intervenes in exhibition space,which is usually presented in three forms: first,focusing on the needs of tourists and showing the humanistic spirit;Second,create a series narrative that uses culture as a clue to connect the exhibition content;Third,a variety of means are used to increase the way of exhibition and shorten the distance between the exhibition space and visitors.The author first analyzes the shift from narrative theory to space,discusses the combination of narrative space theory and exhibition space,and finally summarizes the narrative strategy in the folk culture exhibition hall,and combines the design practice of Tianjin Mazu folk culture exhibition hall to improve the design effect of the folk culture exhibition hall from three aspects: narrative subject,framework and technique,so as to provide better strategies for the design and research of other folk culture exhibition halls.