Lying stele
The base of the monument covers an area of 17.8 square meters, and the height of the monument is 13.5 meters. The front of the monument is engraved with 15 Chinese characters "Monument to the Martyrs of Panjiadaizhuang, War of Resistance against Japanese Aggression". Another monument pavilion was built with inscriptions on it. A monument wall stands between the left and right doors, and the monument wall is engraved with nine running script characters: "Panjiadaizhuang Massacre Memorial Hall" (Yi Ren Liu
Yong Gangshu).
On the inner side of the monument wall, the inscription on the memorial of Panjiadaizhuang tragedy is engraved on black marble. The inscription describes in detail the construction process of the memorial hall of Panjiadaizhuang tragedy and the appalling Panjiadaizhuang tragedy created by Japanese puppet troops on December 5, 1942.
to the north of the monument wall is the memorial square. In the center of the north side of the square, there is a white marble tablet inscribed with nine Chinese characters of "Panjiadaizhuang Massacre Monument" inscribed by Xiao Ke, commander of Jidong Military Region. Two striking figures "1942" and "128 people killed" are engraved on the black granite lining wall behind the tablet, which shows that people should not forget that 128 compatriots were killed here in 1942, and the staggered gap in the middle of the lining wall symbolizes the cries and complaints of the victims.
Martyrs Monument
"War of Resistance against Japanese Aggression Panjiadaizhuang Martyrs Monument" covers an area of 17.8 square meters with a height of 13.5 meters. The front of the monument is engraved with 15 Chinese characters "Monument to the Martyrs of Panjiadaizhuang, War of Resistance against Japanese Aggression". Another monument pavilion was built with inscriptions on it. According to the tragic situation, a 35.5-meter-long, 1.9-meter-wide, 6.3-meter-long and 4.3-meter-wide rectangular mass grave and a 2.1-meter-diameter circular mass grave will be built at the same time, and a wheelbarrow will be placed next to the tomb (throwing children's evidence). The monument is located in the south of the middle, and the pavilion is in the north of the middle. The whole monument covers an area of 1764 square meters. It was destroyed by a big earthquake in 1976.
Monument to the Site
The pedestal is of reinforced concrete structure. The monument is 18 meters high, and the front book is "Monument to the Martyrs of the Thousand Pits Massacre in Panjiadaizhuang". The book on the back is "Blood feud, never forget". To the north of the monument, there is a memorial screen with a height of 5 meters and a width of 4 meters. The black marble inlaid in the core of the screen is engraved with the inscription "Blood feud will never be forgotten" (using the inscription of the 1952 memorial tower). The front of the Preface Hall is a huge computer spray painting with a width of 14 meters and a height of 3.4 meters. The whole picture is combined with the real cultural relics by using the film montage technique. The main body of the picture is a half-length photo of Zhou Shu 'en, a survivor of the tragedy, who testified in the special military court that year. Behind him are pages of accusations, written by survivors, witnesses and families of the victims, detailing the tragedy. The accusations are full of villagers' fingerprints, bright red as blood and shocking. At the bottom of the picture is a real shot taken from the documentary film "Hard Evidence". An old woman who survived is crying for the ground in the face of many bones, and she is heartbroken. In the lower right corner of the picture, there is a photo of Suzuki Keiku, the mastermind of the tragedy and a Japanese war criminal, who kneels and apologizes when he is tried. Behind him is the trial record, which records his criminal process, and in front of him is his confession. On both sides, on the west side, there is a picture of the people mourning the victims, and on the east side, there is a huge photo of the Japanese delegation coming here to apologize. In the center of the hall, there is a pebble trough and a lying tablet, and the preface is engraved, so the space division is reasonable. The whole preface hall is magnificent, the information is true, and the combination is ingenious, which directly cuts into the theme and opens the prelude to the exhibition.
The first exhibition room displays a large number of physical materials about the Japanese invaders' three-light policy.
The second exhibition room is about "just trial" and "alarm bells ringing".
the third exhibition room is a live display. Show some tragic scenes excavated by provincial, municipal and county cultural relics departments. In the excavated 17.6-meter-long pit of the tragedy, the bones of 21 tragic victims are in terrible shape, and some of these bones are separated from each other. Some relatives embrace each other; Some are fetuses atrophied in the placenta; Some are children's heads smashed by blunt objects; There is a big mouth like shouting, like shouting, like accusing.
The fourth exhibition room is the unexplored part of the long pit, but four more skeletons were found during the construction and were protected on the spot.
Chen Zhan's content is closely related to the theme, and the proper use of materials is the main feature of the auxiliary exhibition. The auxiliary exhibition consists of two exhibition halls, East and West. The first part of the exhibition hall on the west side is "Crazy Aggression". With detailed pictures and written materials, it reveals the barbaric atrocities of the Japanese invaders who carried out the "Three Lights Policy" in China, Jidong and other areas in Luannan after the "September 18th Incident". The second part is "Three-Light Hard Evidence", which introduces the whole story of the "Thousand Pits" massacre in Panjiadaizhuang to the audience in Chen Zhan languages such as models, objects and pictures, making people feel as if they were in the scene, which is shocking. The front section of the East Exhibition Hall is the third part "Justice Trial", which mainly reflects the victory of revenge fighting in Zhuangzi, Cui Xin, the fall of Japanese and puppet agents who participated in the Panjiadaizhuang tragedy after liberation and the trial in Suzuki Keiku in 1956. The fourth part, "the alarm bell is ringing", briefly introduces the construction of towers, monuments, museums and patriotic education by using the tragic sites, as well as the situation of people at home and abroad mourning. The four parts are all organized around the tragedy, with distinct themes and compact connection.
The second floor is an auxiliary display, which integrates tragedy, site and commemoration. The shape of the central roof truss at the top is reminiscent of the ruins of Panjiadaizhuang after being burned by a fire for three days and three nights. The big iron bell hanging high at both ends warns people not to forget national humiliation. The gray cornice, white wall and rough mushroom stone on the front of the main hall give people a sense of heaviness, grief and permanent commemoration. The first part of the exhibition hall on the west side is "Crazy Aggression", which reveals the brutal atrocities of Japanese invaders in China, Jidong and other areas in Luannan after the "September 18th Incident" with detailed pictures and written materials. The second part, "Bloody Suppression", introduces the whole story of the "Thousand Pits" massacre in Panjiadaizhuang to the audience with models, objects, pictures and other Chen Zhan languages, which makes people feel as if they were in the scene, shocking.
The front section of the east exhibition hall is the third part "Justice Trial", which mainly reflects the great victory of revenge fighting in Zhuangzi, Cui Xin. After liberation, Japanese and puppet agents who participated in the tragedy of Panjiadaizhuang fell into the French Open and Suzuki Keiku was tried in 1956. The fourth part is "the alarm bell is ringing", which briefly introduces the construction of towers, monuments, museums and patriotic education by using the tragic sites, as well as the situation of people at home and abroad mourning. The wall of ghosts, 24 meters high and 168 meters wide, is a gap in the middle of the platform, which symbolizes the cry and accusation of the victims.
On the black marble wall, the names of 1,28 villagers who died were engraved by surname, gender and age. It not only truly reproduces history, but also expresses the mourning for the victims. The main building is a two-story building with a length of 57 meters and a construction area of 1,661 square meters.
Looking up at the shape of the roof truss in the center of the main hall, we can think of the ruins of Panjiadaizhuang after three days and three nights of fire, and the big iron bells hanging at both ends symbolize the ever-ringing alarm bell to educate future generations not to forget national humiliation. The striking characters of 1942 and 128 carved on the black granite wall of ghosts show that people should not forget that 128 compatriots were killed here in 1942.
The main building on the first floor is semi-above ground and semi-underground structure, and the bones exhibition hall here is the museum in the museum. Buried in the ruins of Changkeng, the pit is 45.9 meters long and 5.7 to 6.1 meters wide. On the north side, there are eight running script characters inscribed by Li Yunchang, the former commander of Jidong Army Division, "Panjiadaizhuang Massacre Site". Within 13 square meters of the excavation area on the east side of the bone exhibition hall, 21 bones are displayed as they are, including 7 adult males, 2 females and 12 minors. At that time, more than 4 cultural relics, such as citizen's cards and bracelets, unearthed during the excavation were also on display. On the west side is the Changkeng Nature Reserve, which uses brick outside the original Changkeng to protect the unexplored part. Five cases of bones found in the construction were also protected and displayed on the spot. The memorial hall covers an area of 7,3 square meters, with a building area of 2,256 square meters and an exhibition area of 1,26 square meters. The overall layout is from south to north, including parking lot, green space, memorial tablet, memorial square, monument, wall of ghosts, sinking square and exhibition hall, forming a distinct spatial sequence. From east to west, there are film and television halls, reception rooms, burial pits and burial graves, with white walls and rough mushroom stones.
The main building is a two-story building with a length of 57 meters and a construction area of 1,661 square meters. The first floor covers the long pit of the tragedy and belongs to a semi-above-ground and semi-underground building. The second floor is a series exhibition of tragedies, with alarm bells 19 meters high on both sides of the roof. In the middle is a 24-meter-high cement frame, which symbolizes the broken wall of the burnt-out residual wall.
The interior exhibition room includes preface hall, main hall, tail hall and audio-visual projection hall. There are 8 first-class cultural relics, 3 second-class cultural relics and 14 third-class cultural relics in the museum. Among them are the fighting knives used by the murderous devil Sasaki Jiro, the cloth-beating stone used by the Japanese invaders to crush children, the stone-printing stone used by the sentinel newspaper, the big stone trough used by the Japanese army to kill pregnant women, and the small iron gate where bullet marks and bayonet marks are still clearly visible. According to the characteristics of the terrain, the memorial hall adopts asymmetric layout, and the main entrance is located on one side of the road. The name of Panjiayu Massacre Memorial Hall inscribed by Li Yunchang, the former commander of Jidong Military Division, is inscribed on the wall. The entrance square leads people to a semi-closed courtyard surrounded by a 6-meter-high stone wall with strong guiding steps, which forms a transformation between emotion and space and creates a desolate atmosphere. Along the steps up to the entrance, a group of monumental texts written in Chinese and English are set up, indicating the time, events and the theme of memorial building. The wall in the inner courtyard is heavy and closed, highlighting its texture and texture, showing a commemorative scale, a sense of historical heaviness, and recreating historical fragments (the wall of Panjia Courtyard, which is one foot high). The ground is paved with irregular bluestones and pebbles into an "explosive shape" with great impact. There is a dead tree sculpture in the center, and the whole courtyard gives people a sense of desolation, which is empty, silent and bleak ...
From the courtyard, it enters the preface hall of the main hall, and then from the preface hall to the lower half floor, it enters the first floor exhibition hall that shows the whole process of the tragedy. The top of the exhibition hall is painted gray, and all the exhibition halls are artificially illuminated. Under the premise of meeting the illumination of the exhibits, the illumination in the exhibition hall should be kept as low as possible, and the audience should feel horrible and depressed by means of sound, light and electricity. The exhibition hall on the second floor shows the indomitable spirit of resistance of Panjiayu people and revenge group after the tragedy until the final victory. The tail hall shows the happy new life of Panjiayu people today. The top of the exhibition hall is painted red, which forms a strong contrast with the space of the main exhibition hall on the first floor, indicating that it is moving from darkness to light. Stepping out of the exhibition hall and reaching the platform on the second floor, the audience can overlook the whole picture of Panjiayuan, the place where the tragedy happened across the river, mourn the dead compatriots, or enter the projection hall to watch the precious historical audio-visual materials preserved.