农业学大寨是我国在上个世纪 60年代开展的一场运动，根据的是毛泽东在1963年颁布的一项指示 “工业学大庆，农业学大寨，全国人民学解放军。”其知名度之广、规模之大、政治寓意之深使大寨曾一度成为了中国政治版图上的重要标识。 如今，对于“农业学大寨”运动的研究无论是在广度与深度上已是非常全面与深入，孙启泰、熊志勇、程漱兰、光梅红等等学者从各自的专业角度对该运动都进行了详细且完整的阐释。本文立足于前辈学者的研究之上，从博物馆学视角出发，以大寨展览馆为例，通过对其展品表达、陈列方式的整体性梳理，以探讨“农业学大寨”运动在博物馆中的呈现。 对展品的研究站在博物馆学与历史学两学科交叉的基础之上，将大寨展览馆的展品分为生产工具类展品以及农民美术类展品。对生产工具类展品的研究，是希望通过物史互证的方法来分析不同年代的同属性展品所对应的史实，同时，通过史实来探讨现有展品设置的不足；而对农民美术类展品的分类，是希望通过该类展品所呈现的形式来分析大寨所特有的意象。 对展览的研究则是站在博物馆实践的角度之上，将现有展陈划分为内容与形式两个层面，其一，将研究重点放在展陈的内容设置上，在描述馆内现有的内容设置的基础上探讨其内容结构设置背后的意图以及现有结构不足。其二，将研究重点放到形式设计上来探讨其中的优缺点。 总体而言，本文试图将“农业学大寨”运动置于博物馆之中，站在博物馆学的视角对这一历史事件进行阐释。将博物馆与该运动勾连起来，以大寨展览馆为例探讨“农业学大寨”运动在博物馆的表达。

Learning from Dazhai in Agriculture is a movement launched in China in the 1960s. The movement is based on a directive issued by Mao Zedong in 1963, "Learning from Daqing in industry, Learning from Dazhai in Agriculture, the people's Liberation Army." Dazhai once became an important symbol in China's political territory because of its wide popularity, large scale and deep political implication. Nowadays, the research on the "Learning from Dazhai in Agriculture" movement has been very comprehensive and in-depth in both breadth and depth. Sun Qitai, Xiong Zhiyong, Cheng Shulan, Guang Meihong and other scholars have explained the movement in detail and completely from their own professional point of view. Based on the research of previous scholars, this study takes Dazhai Exhibition Hall as an example from the perspective of museology. By the overall carding of the expression and display of its exhibits, this study intends to explore the presentation of the "Learning from Dazhai in Agriculture" movement in the museum. The research on the exhibits is based on the intersection of museology and history. In addition, the exhibits in Dazhai Exhibition Hall are divided into production tools exhibits and peasant art exhibits. The purpose of the research on the exhibits of production tools is to analyze the corresponding historical facts of the same attribute exhibits of different ages through the method of mutual proof of material history, and to explore the shortcomings of the existing exhibits through the historical facts. However, the classification of peasant art exhibits is to analyze the unique images of Dazhai through the forms of such exhibits. The research on the exhibition divides the existing exhibition into two levels: content and form from the perspective of museum practice. On the one hand, the research focuses on the content setting of the exhibition. This study discusses the intention behind the content structure setting and the deficiency of the existing structure on the basis of describing the existing content setting in the museum. Second, the research intends to focus on the formal design to explore the advantages and disadvantages. Generally speaking, this study attempts to put the "Learning from Dazhai in Agriculture" movement in the museum and explain this historical event from the perspective of museology. In addition, it intends to connect the museum with the movement, and take the Dazhai Exhibition Hall as an example to explore the expression of the "Learning from Dazhai in Agriculture" movement in the museum.