Summary: The article describes various cultural and commercial activities across China on the fifth day of the Lunar New Year, including traditional folk performances, temple visits, and the reopening of businesses. In Henan, blacksmiths performed the traditional "iron flower" display, while in Fujian, historical districts featured parades and cultural events. Across the country, businesses reopened with expectations of a prosperous year, and local governments promoted tourism by creating new experiences catering to the preferences of young people and elders alike. The article highlights a nationwide sense of optimism and industriousness as people return to work and plan for the year ahead.
Summary: An official from the city of Xingren in Guizhou province reported that the local government is reducing bureaucracy to focus on serving the people, citing a halving of meetings and a 40% reduction in paperwork. This initiative allowed them to organize a combined job fair and "village cultural performance" (村晚) in Donghu community, aimed at providing employment opportunities for returning migrant workers. The job fair, featuring 7 local companies, successfully filled 150 positions, with over half taken by those returning from working in other provinces. Another official, Gong Daxue, noted the ability to bring recruitment events directly to the people and that training programs have improved to ensure immediate employment after completion. In the future, the local government plans to host a larger recruitment event with over 5,000 positions offered by companies from other provinces and within Guizhou.
Summary: This article reports on the conditions and duties of People's Armed Police (PAP) soldiers stationed at the "Cloud Outpost" near the Kunlun Mountain Tunnel on the Qinghai-Tibet Railway. The PAP unit is responsible for guarding the railway, assisting travelers on the nearby highway, and rescuing wildlife and people in the surrounding area. Soldiers face challenges related to the high altitude and harsh climate, which the unit addresses through acclimatization training and activities to combat boredom. The outpost has been maintained for nearly 20 years since the railway opened. The article does not mention the United States or U.S.-China relations.
Summary: During the first 20 days of the 2026 Spring Festival travel season (chunyun), cross-regional population flow reached 5.08 billion, a record high. On February 21st alone, cross-regional movement is expected to exceed 360 million people, marking three consecutive days of peak traffic volume. Railway passenger trips are predicted to reach 16.8 million on February 21st. Highway passenger flow is predicted to be over 339 million people, with highway traffic flow to exceed 65 million vehicles.
Summary: Chongli is transforming Winter Olympic legacy into high-quality development, increasing tourism and hosting numerous sporting events at venues like "Snow Ruyi." The area leverages the Beijing-Tianjin-Hebei coordinated development strategy, with improved transportation links facilitating tourism from Beijing. Chongli focuses on its "ice and snow" advantage, promoting winter sports and related industries, and investing in both infrastructure and human capital. Local initiatives include cultural tourism and incentives to improve tourist experiences and cultivate a local winter sports culture. According to Cao Dongxiao, head of Chongli district, "Ice and snow is a key to opening Chongli, but what really drives the development is the new practice of Chongli people under the guidance of new ideas."
Summary: During the Spring Festival holiday, various regions featured diverse activities where people enjoyed a cultural feast blending folk customs and technology.
Summary: The article reports on foreign tourists experiencing Chinese New Year traditions and boosted consumption in China. Tourists from countries like Spain, Portugal, and Brazil participated in cultural activities in Beijing, such as making dumplings and calligraphy. In Guangzhou, Canadian tourists utilized the departure tax refund policy at Guangzhou Baiyun International Airport, which has expanded its international flight network. French tourists traveled from Hong Kong to Guangzhou via high-speed rail, highlighting the ease of travel within the Greater Bay Area. Finally, Shenzhen's Huaqiangbei electronics district saw increased sales of "China-made" tech products like AI glasses and smart wearables to foreign visitors.
Summary: Designer Xie Min, an American who has lived in Hainan for over 20 years, is working to promote traditional Li brocade through her shop. She incorporates traditional Li weaving techniques into her art and is inspired by China's increasing emphasis on cultural preservation and innovation. Her shop also features designs from friends from the US, Russia, and South Africa. Xie views her shop as a place of international exchange, facilitating dialogue between the East and West.
Summary: Kenyan businessman Peter, who has been doing business in Yiwu for over seven years, discusses his experiences and perspectives on China-Africa trade. He highlights the popularity of Chinese goods in Africa due to their quality and affordability, noting China's zero-tariff policy for 53 African countries will further boost trade. Peter emphasizes the benefits of the Belt and Road Initiative in Kenya and expresses optimism about deepening cultural exchanges between Africa and China, especially with the upcoming "China-Africa People-to-People Exchange Year" in 2026. He also noted the convenience of living and working in Yiwu. He hopes to expand the availability of Chinese products to more Africans.
Summary: Hanna, an Ethiopian woman who married a Chinese businessman, has spent the last seven years living in Beiyu Village, Xixia County, Henan, fully integrating into local rural life by participating in traditional Spring Festival activities. Initially documenting her life online, she transitioned to livestreaming to promote local agricultural products like kiwi fruit, honey, and mushrooms. In 2023, Hanna facilitated a direct sales channel connecting farmers to consumers, generating over 600,000 yuan in sales and helping local farmers sell their products outside of the mountains. With government support in technology and logistics, she and her husband plan to expand their operations by building local storage facilities.
Summary: A delegation of 38 American students and 7 teachers participated in the 3rd China-U.S. Youth Pickleball Friendship Tournament in Shangyou County, Jiangxi Province. The event included planting a "China-U.S. Youth Friendship Forest," fostering cultural exchange through sports. The director of Montgomery County Public Schools' athletic department, Sullivan, emphasized the importance of building lasting connections between students from both countries. Shangyou County has embraced pickleball as a key part of its development, fostering a growing industry around the sport. The county Party Secretary, Liu Hongmei, highlighted pickleball as a bridge connecting friendship across mountains and seas through U.S. cultural exchange.
Summary: The article focuses on the transformation of Zhongwei, Ningxia, a city on the edge of the Tengger Desert, into a data center hub under the "Eastern Data, Western Computing" initiative. It highlights the emergence of new jobs in satellite communication, data center operations, and electricity supply management. These positions are being filled by local young people, reflecting the area's industrial transition. The piece points to the significant growth in computational power and data storage capacity in Zhongwei, with plans for further expansion. One commercial aerospace company chose to establish a base in Zhongwei, due to the lower data storage costs available in the area.
Summary: A hospital in Shijiazhuang, Hebei province is using drones to transport medical samples between its branches, reducing transport time by over 60%. The drones operate on pre-approved fixed routes and are controlled by an intelligent dispatch system, allowing for remote take-off and landing. The hospital has established a 24-hour response mechanism to ensure continuous service, even during the Spring Festival. The hospital hopes to expand the system, allowing it to quickly deliver emergency medicine in the future.
Summary: The article highlights the contributions of approximately 1,500 Chinese volunteers at the 2026 Milan-Cortina Winter Olympics, who constitute one of the largest and most active volunteer groups. These volunteers serve in various roles, including language interpretation, cultural exchange, and logistical support, contributing to the smooth operation of the games. One volunteer, Wang Yujuan, acted as a "cultural ambassador," sharing Chinese New Year traditions with international colleagues. Another volunteer, Zhai Qi, supported the freestyle skiing events and aided athletes like Xu Mengtao. An IOC spokesperson praised the volunteers' dedication, emphasizing their role in embodying the Olympic spirit of unity.
Summary: At the Milan Winter Olympics, the Chinese team, consisting of Xu Mengtao, Wang Xindi, and Li Tianma, won the bronze medal in the freestyle skiing aerials mixed team final with a total score of 279.68. The United States team secured the gold medal, retaining their title in this event. The Chinese team initially ranked second in the first round but faced challenges in the final round with landing errors. China concluded the freestyle skiing aerials competition with a total of two gold and three bronze medals.
Summary: Hong Kong's government announced a plan to acquire the 1,736 units in the seven affected blocks (A-G) of the Tai Po Hung Fuk Estate, offering either cash or a "flat-for-flat" exchange. Deputy Financial Secretary Michael Wong stated the affected buildings would be demolished and the site repurposed for a park or community facilities. Secretary for Housing Winnie Ho explained the "flat-for-flat" scheme would issue vouchers equivalent to the original property value, redeemable within a special sales program of 3,900 units, with cash rebates or additional payments depending on the new unit's size. Preliminary survey data indicated that 74% of the 1,975 households submitting opinions would "consider accepting" the government's acquisition proposal. The article does not reference the United States or U.S.-China relations.
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Summary: Several world leaders and heads of international organizations sent greetings to Xi Jinping for the Lunar New Year. Leaders including those of Germany, Pakistan, Kazakhstan, and others, expressed wishes for China's prosperity and offered praise for China's achievements. Pakistan's President Zardari specifically highlighted China's global initiatives and the upcoming 75th anniversary of bilateral ties, while others noted the strengthening of bilateral relations with China. International Olympic Committee representatives noted the spirit of athletes in Milan, as well as the symbolism of the year of the Horse. No mention was made of the United States or U.S.-China relations.
Summary: A Yutong bus factory in Kazakhstan is operating at full capacity during the Chinese New Year holiday to fulfill an order of 110 buses for the Almaty bus group. Chinese manager Li Xuanzhen emphasized the importance of maintaining production to meet customer trust, while Chinese technicians have trained local Kazakh workers to independently handle production tasks. Road tests are conducted to ensure the buses are adapted to local conditions, and Kazakh employees expressed pride in contributing to the production of new buses for their country. Chinese and Kazakh employees celebrated the holiday together, sharing a New Year's Eve dinner. The article does not mention the United States or U.S.-China relations.
Summary: A Chinese company, China Power Construction Municipal Construction Group Co., Ltd., designed and constructed a 23km section of Poland's S6 expressway, the Koszalin-Slupsk LOT2 section, which recently opened. The project adhered to Polish and EU standards, incorporating environmentally friendly measures like wildlife crossings and pollution control. The project team was invited to local holiday gatherings, and Polish and Chinese staff celebrated each other's traditional holidays. The project exemplifies cooperation and cultural understanding between China and Poland.
Summary: Chinese workers on the China Railway 20th Bureau Group (CR20) Moroccan high-speed rail project celebrated the Chinese New Year on site, demonstrating dedication and enthusiasm for the "Belt and Road" initiative. Despite missing their families, the workers expressed pride in contributing to Morocco's infrastructure and facilitating transportation for its people. The project site was decorated with traditional Chinese New Year decorations, fostering a sense of community and shared experience among the Chinese and Moroccan staff. Workers connected with their families back home via screens on New Year's Eve. The article makes no mention of the U.S. or U.S.-China relations.
Summary: Chongli, co-host of the 2022 Winter Olympics, is transforming Olympic legacies into development by focusing on facility reuse, integrating with the Beijing-Tianjin-Hebei coordinated development strategy, and promoting "ice and snow+" tourism. The area has seen a significant increase in tourism and revenue, with efforts made to improve infrastructure, services, and cultivate a local winter sports culture. During a visit to Zhangjiakou, Xi Jinping emphasized the need to leverage the Olympics to boost development in all aspects. The local government has taken steps to provide preferential policies to encourage more students to engage in ice and snow activities.
Summary: The article discusses the increasing global influence of the Chinese Spring Festival (春节) and its successful inscription on the UNESCO list of Intangible Cultural Heritage. It highlights the values embedded in the festival, such as respect for nature, family ties, and harmony, aligning with the Global Civilization Initiative. UNESCO Director-General Audrey Azoulay noted the significance of the Year of the Horse, symbolizing courage and progress in the face of challenges, and expressed the organization's desire for further cooperation with China. China is actively participating in international cooperation within the UNESCO framework, sharing its experiences in cultural heritage protection and sustainable development. The article emphasizes the role of cultural exchange in promoting dialogue and peace in a world facing instability and uncertainty.
Summary: Recent Chinese New Year celebrations in Laos, Serbia, and Mexico featured temple fairs, food, and cultural activities designed to promote Chinese culture. In Laos, the events included food stalls, cultural demonstrations like calligraphy and paper cutting, and AI robots explaining Chinese traditions. Serbian celebrations in Belgrade included lantern displays, light shows on landmarks, and fireworks. Mexico City hosted a "Year of the Horse" parade and decoration contest blending Chinese and Mexican cultural elements. The article does not mention the United States or U.S.-China relations.
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Summary: During the Spring Festival holiday, the Ministry of Commerce, along with other departments and local governments, organized the "Happy Shopping New Year" event focused on six aspects of consumption: food, accommodation, travel, tourism, shopping, and entertainment. The event aimed to stimulate domestic demand and stabilize growth by enriching people's cultural lives and showcasing the resilience and vitality of China's consumer market. The initiative integrated traditional customs with modern trends to offer diverse experiences. The article makes no mention of the United States or U.S.-China relations.
Summary: Please provide the article you would like me to summarize. I need the text of the article to create the summary. Once you provide the article, I will create a five-sentence (or less) summary tailored for professional analysts of Chinese politics, focusing on key statements, actors, and mentions of the United States or U.S.-China relations.
Summary: The articles describe local Spring Festival celebrations featuring traditional folk arts in different regions of China. In Ningxia's Longde County, the "Gao Tai Ma Shehuo" combines elevated platforms with horse-riding figures, a unique art form innovated by Zhang Guoqin. In Hebei's Yongnian district, the "Yongnian Tai Hua Zhuo" involves carrying elaborately decorated flower tables, a practice dating back to the Tang Dynasty and now revitalized with modern elements under the guidance of Pei Baolin. Shaanxi's Longxian County, known as the "Home of Shehuo Culture," showcases the "Longxian Shehuo," with artists like Zhao Minjun and Wang Qiming dedicated to preserving and innovating this ancient art form, integrating themes of rural revitalization. The articles make no mention of the United States or U.S.-China relations.
Summary: This article discusses "Shehuo," a traditional Chinese New Year community performance and ritual deeply rooted in agricultural society, emphasizing its role in fostering community bonds and praying for a prosperous year. Shehuo involves elaborate performances with costumes, music, and storytelling, serving as a collective expression of hope and a source of motivation for the coming year. The article highlights the tradition's evolution, blending historical roots with contemporary elements and expanding from rural villages to urban areas. The author advocates preserving traditional aspects while embracing innovation to ensure Shehuo's continued vitality. The article does not discuss the United States or U.S.-China relations.
Summary: Please provide the article you would like me to summarize. I need the text of the article to provide an accurate and concise summary for professional analysts of Chinese politics.
Summary: The recently opened Kuqa (龟兹) Museum in Xinjiang utilizes digital technology to showcase the history and culture of the ancient Kizil (克孜尔) region, a key point on the Silk Road. The museum features exhibits on Kizil music and dance, as well as digitized recreations of murals from the Kizil Caves. The museum also emphasizes cultural and creative products based on Kizil motifs, aiming to integrate the culture into daily life. Since opening, the museum has received over 300,000 visitors, with cultural product sales exceeding 650,000 yuan. The museum aims to preserve and promote a crucial aspect of traditional Chinese culture.
Summary: This article describes a portable bronze lamp from the Warring States period, unearthed in Gansu Province. The lamp, shaped like a "ding" (鼎), features a sophisticated design that allows it to transform between a sealed oil container and a functional lamp via a rotating lid and support mechanism. The design highlights the advanced manufacturing and standardization of the time, as well as the integration of practicality and aesthetics. The article notes that the design principles found in the lamp continue to influence modern portable lighting. There is no discussion of U.S.-China relations or statements by officials.
Summary: The article discusses the Western Han Dynasty painted bronze goose-fish lamp, a national-level cultural relic excavated in Shanxi Province. This lamp, created over 2,000 years ago, features a design that filters smoke through water, demonstrating ancient Chinese mastery of thermal convection principles. Its structure has inspired modern applications, such as environmentally friendly boilers used for heating in rural areas. The article does not mention the United States or U.S.-China relations.
Summary: This article describes a painted pottery lamp from the Eastern Han dynasty, called the "Hundred-Flower Lamp," excavated in Luoyang in 1972. The lamp is constructed from a base representing the Kunlun Mountains, a pillar symbolizing a divine ladder, and a lamp cup in the shape of a red bird signifying paradise, representing the interconnectedness of heaven, earth, humanity, and the divine. The lamp features adjustable oil controls that allow for varying brightness levels in its multiple tiers of lamps, creating the illusion of blooming flowers when lit. The lamp was found alongside figurines and tableware, suggesting a scene of feasting and entertainment under its light.
Summary: The article discusses Emperor Huizong of Song's painting *Auspicious Cranes*, a masterpiece renowned for its integration of poetry, calligraphy, and painting, which is now a treasure of the Liaoning Provincial Museum. The painting depicts cranes hovering over the capital city, an auspicious omen according to the emperor, and features Huizong's unique "slender gold" calligraphy style. The article highlights the painting's composition, realistic depiction of the cranes, and the historical significance of Huizong's artistic innovations. The painting is now regarded as a shining pearl in China's cultural history.
Summary: Please provide the article you would like me to summarize. I need the text of the article to provide an accurate and concise summary for professional analysts of Chinese politics. Once you provide the article, I will follow your instructions regarding length, focus, and inclusion of information about the United States or U.S.-China relations.
Summary: 丰du is transforming its tourism industry by focusing on cultural experiences and historical sites, aiming to shift from quick visits to longer, immersive stays. The city is revitalizing its night economy with food and cultural events like the "Fu" culture banquet and the You Fengdu City project. By upgrading transportation and facilities, Fendu aims to provide an all-encompassing tourism experience, linking various attractions and rural sites. The city is collaborating with neighboring districts to integrate into a broader cultural and tourism development plan. There is no mention of United States or U.S. - China relations in this article.
Summary: This article discusses a rare and well-preserved Southern Song Dynasty lacquered cosmetic box ("qiangjin" lacquerware) housed at the Changzhou Museum. The box is significant because it demonstrates that the "qiangjin" technique (engraving and inlaying gold leaf) was more advanced during the Southern Song Dynasty than previously believed. The cosmetic box is decorated with detailed figures and floral patterns, showcasing the artistry of the period and providing insight into Song Dynasty life, including the use of folding fans. Due to its delicate nature, the museum rarely exhibits the box but has created digital displays and cultural products inspired by it. The museum has also created a refrigerator magnet of the box called "a hundred years of harmony" which symbolizes the box's elegance and good fortune.
Summary: The article discusses the effects of heating fruit on its nutritional content. While Vitamin C content may decrease, minerals and some other compounds like dietary fiber and antioxidants can become more accessible. Certain fruits, like pears, hawthorns, red dates, citrus fruits, and apples, benefit particularly from heating, enhancing their health benefits. The article suggests gentle heating methods to preserve nutrients and recommends pairings like apple with cinnamon or pear with white fungus to enhance the effect.
Summary: This article discusses the increasing popularity and evolution of *tanghulu*, a traditional Chinese candied fruit snack. It details the traditional preparation methods, emphasizing the importance of fruit selection and sugar-coating techniques. The piece also notes the historical origins of *tanghulu* in the Qing Dynasty. It further cautions that *tanghulu* is not suitable for all consumers, particularly those with digestive issues, young children, and individuals with diabetes due to its high sugar content. Finally, it warns against using overly watery or sugary fruits.
Summary: Please provide the article you would like me to summarize. I need the text of the article to generate the summary for professional analysts of Chinese politics.
Summary: This article discusses the cultural significance of the "Year of the Horse" in China, exploring its historical roots and modern interpretations through various cultural and artistic expressions. It highlights the popularity of horse-themed cultural and creative products, attributing it to the collective memory and aspiration for progress embedded in Chinese culture. The article also touches on the use of these cultural products to promote Chinese culture internationally through events like the "Silk Road Week." It does not mention the United States or U.S.-China relations.
Summary: Please provide the article you would like me to summarize. I need the text of the article to create the summary for professional analysts of Chinese politics, adhering to your specifications regarding length, focus on official statements and companions, and inclusion of US/China relations if present.
By: 本报记者
February 21st marked the fifth day of the first lunar month, featuring activities like thorough cleaning, eating dumplings, reopening businesses, and welcoming fortune and auspiciousness, all reflecting people's aspirations for a better life.
Amidst these colorful activities, people experienced the revitalized charm of traditional New Year customs and savored the joyous atmosphere of the human world. At the same time, with the holiday nearing its end, people began planning for the new year, ready to spur their horses forward with the spirit of the dragon and horse, 龙马精神 (lóng mǎ jīng shén - "dragon horse spirit," energetic and vigorous spirit), and create a better future with their own hands.
Culture Gathers Popularity, The New Year's Flavor is Especially Rich
Various regions combined intangible cultural heritage skills and traditional folk customs to hold various activities, creating a joyful and peaceful atmosphere, making the Spring Festival not only flavorful but also rich in cultural essence.
In Queshan County (确山县), Henan (河南) Province, Yang Jianjun (杨建军), a representative inheritor of the national intangible cultural heritage Queshan Iron Smelting Fireworks, sat around the table with his family, enjoying the steaming "Po Wu" dumplings.
Taking a bite of a dumpling, Yang Jianjun, who is nearly eighty years old, instructed his son Yang Bo (杨勃): "Today, we'll do a thorough cleaning in the morning, eat dumplings at noon, and create a sky full of stars for the tourists in the evening!"
At 7 p.m., at the Lao Le Mountain Scenic Area (老乐山景区) in Queshan County (确山县). As tourists eagerly awaited, Yang Jianjun's (杨建军) disciples, wearing gourd ladles on their heads, held the iron-filled upper stick in their left hands and vigorously struck with the lower stick in their right hands, causing the scalding iron water to scatter and explode, transforming into a sky full of sparks.
"The sparks fall to the ground, everywhere is golden, the heat rushes to the face, it's so shocking," said Zhou Tao (周涛), a tourist from Anhui (安徽).
Under the command and coordination of Yang Bo (杨勃), eight craftsmen struck up a fiery tree of silver flowers, eliciting cheers. "The implication of iron smelting fireworks is national peace and prosperity, wealth and auspiciousness. In the new year, we must guard our roots and add new fuel, so that intangible cultural heritage skills are loved by more young people," Yang Bo (杨勃) said with anticipation.
As night fell, in the Shangxiahang Historical and Cultural Block (上下杭历史文化街区) in Fuzhou (福州), Fujian (福建) Province, the lights illuminated the saddle-shaped walls, complementing the "Fu" character and ingot-shaped decorations, and actors in traditional costumes paraded and performed along the streets.
Lion dances, abacus dances, interactive wedding performances... Citizen Chen Shimin (陈诗敏) and her friends walked and filmed videos. "It's as if I'm seeing the prosperous scene of Shangxiahang (上下杭) commerce in history books," Chen Shimin (陈诗敏) said, adding that the performance and the atmosphere of the fifth day of the lunar new year were very fitting.
Shangxiahang (上下杭) is known as the "Fuzhou Traditional Commercial Museum (福州传统商业博物馆)". During the Spring Festival holiday, the local area launched activities such as merchant parades and interactive short plays, and held a New Year's fair, bringing together intangible cultural heritage displays such as wood carving, allowing citizens and tourists to experience the charm of culture. "Eating Fuzhou fish balls, experiencing making New Year cakes, writing Spring Festival couplets, it's delicious and fun," Chen Shimin (陈诗敏) said.
Around the Spring Festival, Fujian Province (福建省) is expected to launch more than 1,500 activities and more than 120 preferential measures, providing a cultural and tourism feast that integrates tradition and trends.
Creating New Scenarios, Experiencing New Year Customs
Focusing on the new needs of groups such as young people and the elderly, various regions use new scenarios to display "New Year customs," allowing the general public to have fun while playing.
"This route understands us young people too well!" On the fifth day of the lunar new year, Bi Jingdan (毕瀞丹) and her friends, who traveled from Shanxi (山西) to Yinchuan (银川) City, Ningxia (宁夏) to play, watched the sunrise and patrolled the mountains at Gunzhongkou (滚钟口) in Helan Mountain (贺兰山). "When the first ray of sunlight shines on the top of the mountain, we pray for a step-by-step rise in the new year," Bi Jingdan (毕瀞丹) said, adding that they also went to the Western Xia Mausoleums (西夏陵) to ride bicycles and watch the sunset over the Gobi Desert, and encountered ice and rime at the Helan Mountain National Forest Park (贺兰山国家森林公园)... Next, they plan to visit Huaiyuan Night Market (怀远夜市).
This route that "plants grass" for young tourists is the "Helan Mountain East Foothill Outdoor Sports Boutique Route" launched by Xixia District (西夏区), Yinchuan (银川) during the Spring Festival holiday, with a total length of 111 kilometers and a 4-day itinerary. Ma Haibo (马海波), Director of the Culture, Tourism, Sports, Radio and Television Bureau of Xixia District (西夏区文化旅游体育广电局), introduced that the route integrates cultural landmarks such as the Western Xia Mausoleums (西夏陵) and Helan Mountain Rock Paintings (贺兰山岩画), and develops immersive gameplay such as progressive performances and fun challenges. Since the Spring Festival holiday, the Manpu Town (漫葡小镇) along the route has received more than 70,000 tourists, and tens of thousands of tourists have climbed to Gunzhongkou (滚钟口), with young tourists accounting for nearly 70% of the scenic spots along the route.
Climbing the island to receive blessing incense and make New Year wishes... On February 21, Changshou Island (长寿岛) in Bama Yao Autonomous County (巴马瑶族自治县), Guangxi (广西), was very lively. Aunt Jin (靳阿姨), who is over 60 years old, participated in special activities on the spot, "Experiencing the local customs of respecting the elderly on the fifth day of the lunar new year, I hope for good fortune and health in the new year."
"The sun shines on the sea of flowers, there is no cold wind, and people are swimming in the painting." Aunt Jin (靳阿姨) praised the travel experience. This year, she and her wife came to Bama (巴马) from Hubei (湖北) to celebrate the New Year, "The scenery is very good, and the food is less oily and salty, which suits the taste of our elderly people."
Bama County (巴马县) takes "longevity and health preservation" as the starting point to develop the cultural tourism industry. In the route design, it fully considers the needs of the elderly, and the facilities along the way are also specifically transformed.
Consumption is Vigorous, The New Year is Full of Enthusiasm
On the fifth day of the first lunar month, business districts in various regions are booming, and merchants look forward to a prosperous business in the new year.
Sweeping the floor, wiping windows, tidying up guest rooms... Before dawn, Sun Binfei (孙宾飞), the operator of Xiankelai Homestay (鲜客来民宿) in Hala New Village (哈拉新村), Meris Daur District (梅里斯达斡尔族区), Qiqihar (齐齐哈尔) City, Heilongjiang (黑龙江) Province, was busy preparing for the opening.
"Opening the business after sweeping away the dust on the fifth day of the lunar new year is to ask for a good omen of accepting blessings. Today's orders are already full," Sun Binfei (孙宾飞) said with a smile, "We want to let tourists feel the warmth of our Northeast."
Outside the homestay courtyard, folk experience activities kicked off lively, and tourists were making Daur Hanika (达斡尔族哈尼卡), cutting out human figures with colored paper and piecing together traditional costumes. In the heated kang room, tourists sat cross-legged around the table, and special delicacies such as hand-held meat, willow wormwood dumplings, and Nenjiang fish (嫩江鱼) were placed on the table. "Not only can you feel the New Year's flavor of the Northeast, but you can also experience the culture of ethnic minorities. This trip is too worthwhile," said Wang Suhua (王素华), a family from Shenzhen (深圳市), Guangdong (广东) Province.
Talking about the New Year's plan, Sun Binfei (孙宾飞) is full of enthusiasm: "This year, we will upgrade and transform several guest rooms and launch a small folk experience class."
As of the fourth day of the first lunar month, Hala New Village (哈拉新村) received more than 4,500 tourists during the Spring Festival holiday, mainly for one-day tours; after all the merchants in the village opened their doors to welcome guests on the fifth day of the lunar new year, the proportion of in-depth tours increased. E Xiaodong (鄂小东), secretary of the village party branch, said: "This year, we will further integrate resources, string folk experiences into boutique tourist routes, and improve the entire chain of services for eating, living, traveling, shopping, and entertainment, so that the villagers' lives will become more and more prosperous."
In the south, homestays, hotels, and scenic spots in Kaihua County (开化县), Quzhou (衢州), Zhejiang (浙江) also ushered in a peak in business.
The Qianjiangyuan National Forest Park (钱江源国家森林公园) is shrouded in clouds and mist, and white-walled and black-tiled houses are dotted among the verdant mountains and forests. Red lanterns are hung on the eaves, and the aroma of bacon stewed with bamboo shoots wafts in the air. The homestay run by Lu Yongzhi (陆永芝), a villager in Xiayu Village (下淤村), is almost fully booked every day during the Spring Festival holiday. The service team of State Grid Quzhou Power Supply Company (国网衢州供电公司) rushed to the front line to inspect the power facilities of the homestay one by one to ensure safety. During the Spring Festival holiday, 189,000 employees of the State Grid (国家电网) stuck to the front line of operation and maintenance to ensure power supply, coordinating the electricity needs of major project construction, cultural tourism consumption, green travel, and people's livelihood security, and building a solid line of defense for power supply security.
At 11 a.m. on the fifth day of the lunar new year, in the Sanxia Square business district (三峡广场商圈) in Shapingba District (沙坪坝区), Chongqing (重庆), a wisp of burnt aroma floated in the air - the "Hongrui Chestnut" fried goods store (宏瑞栗) that has been open for 26 years, lined up again.
A few days ago, the phones of the shop assistants kept ringing - all old customers were asking when they would open. "Everyone is urging us to 'get rich immediately'!" said Fan Bangli (范邦莉), the store manager.
The shelves are filled with crystal clear candied haws, plump pistachios, and freshly baked melon seeds and chestnuts. Behind the counter, 5 employees skillfully packed bags, collected money, and moved goods out of the warehouse in batches.
"Our nut gift boxes are loved by everyone to visit relatives and friends," said Fan Bangli (范邦莉), "and many customers take our amber walnut kernels and Xuehong fruit for outings and spring outings."
"Sanxia Square (三峡广场) has convenient transportation and a good location, and the business district is constantly 'updating', so our business will definitely be more prosperous." At 3 p.m., the flow of people gradually became denser. While staring at the delivery, Fan Bangli (范邦莉) was planning for the new year, "We must spur our horses and work hard, and open a 400-square-meter flagship store in Sanxia Square (三峡广场)."
(Reporters Zhang Wenhao (张文豪), Shi Yu (施钰), Li Weijun (李维俊), Jiao Siyu (焦思雨), Guo Xiaolong (郭晓龙), Wang Xinyue (王欣悦), Zheng Haiou (郑海鸥), Hu Anqi (胡安琪), Lü Li (吕莉), Zhang Anyu (张安宇) of this newspaper)
Return to TopBy: 本报记者 苏 滨
On the fifth day of the first lunar month, the sun was just right, and the warmth was pleasant. At 3 p.m., on the square of Donghu Community (东湖社区), Xingren City (兴仁市), Qianxinan Buyi and Miao Autonomous Prefecture (黔西南布依族苗族自治州), Guizhou Province (贵州省), a job fair and a "village evening" were held simultaneously.
"How many hours a day, how much is the salary?" Stepping on the dense drumbeats, Li Qingying (李青英), who returned home from working outside, stopped in front of the booth of a local property company.
"8 hours a day, 3,500 yuan in hand."
"Is it credible?" Li Qingying (李青英) felt the position was good, but a little uneasy.
"There can be no falsehood, the community and the Municipal Human Resources and Social Security Bureau (市人社局) are in charge!" The person in charge of the company guaranteed that there was no problem. The drum sound gradually subsided, the dragon dance took a break, Li Qingying (李青英) turned around, took the registration form, and filled in the information.
Using the "village evening" to drive the job fair, and using the job fair to help the "village evening." Looking at the bustling crowd, Ao Chao (敖超), secretary of the general party branch of Donghu Community (东湖社区), was full of energy.
"Continuing to rectify formalism to reduce the burden on the grassroots and empower them allows us to have more energy to serve the masses and solve problems." Ao Chao (敖超) did statistics, since reducing the burden on the grassroots and empowering them, various meetings have been reduced by half, and material reports have been reduced by 40%, and there is more time to walk out of the office, "Holding these two activities simultaneously is the idea obtained during the visits."
"Working outside, I can't take care of my family. It would be great if I could work at my doorstep." Li Qingying (李青英) believes that if she participates in skills training and obtains a skills certificate, the choice will be wider.
"Coming from the masses, going to the masses, this working magic weapon is indeed effective," Ao Chao (敖超) said.
Reducing the burden does not reduce responsibility, and loosening the ties does not reduce effort. In recent years, Xingren City (兴仁市) has continued to rectify formalism, streamline documents and meetings, strictly control the number of documents issued, cancel unnecessary traces, and improve the effectiveness of grassroots governance.
Donghu Community (东湖社区) has a permanent population of 41,200 people and a labor force of 15,220 people. Before the Spring Festival, residents returned home one after another, and community cadres were divided into 3 groups to visit households and solicit public opinion.
"Residents who work outside want to come back, we must increase the opportunities for nearby employment and help the comprehensive revitalization of the countryside." Combining the information he had, Ao Chao (敖超) contacted the Municipal Human Resources and Social Security Bureau (市人社局) to jointly screen local enterprises and determine recruitment positions. "The job fair has a threshold, and enterprises must employ people in good faith and not damage the trust of the masses."
At 5 p.m., the "village evening" was coming to an end, and 7 local enterprises and 150 positions had been filled, more than half of whom were returning laborers.
"Streamline meetings to grasp implementation, and go directly to the scene to see the results." At the job fair, flipping through the job application forms, Gong Daxue (龚达学), deputy director of the Xingren Municipal Human Resources and Social Security Bureau (兴仁市人社局), was very emotional, "We now have the energy to open the job fair at the doorstep of the masses, accurately serve the masses, and solve problems for the people."
Xingren City (兴仁市) is an important labor export base in Guizhou (贵州). The city has 190,000 laborers, and more than 100,000 people work outside the province. It is necessary to expand local and nearby employment, and also to stabilize the basic situation of working outside.
Before the Spring Festival, taking advantage of the return of migrant workers, the Xingren Municipal Human Resources and Social Security Bureau (兴仁市人社局) held job fairs in 4 villages, solving the employment of thousands of people.
"The service objects are at the grassroots level, which determines that we must sink to the grassroots level, send services to the grassroots level, and resolve problems at the grassroots level." Gong Daxue (龚达学) found that as corporate employment becomes more standardized, the demand for training from the masses is also increasing. "The previous training solved the problem of 'whether or not', and now it is to solve the problem of skills improvement and improve the employment rate. The number of training sessions may be reduced, but the quality of training has been significantly improved, and basically employment is achieved upon graduation."
On the twelfth day of the first lunar month, nearly 40 enterprises from Jiangsu (江苏), Zhejiang (浙江), and Guangdong (广东), together with more than 20 enterprises in Guizhou Province (贵州省), will go to Xingren (兴仁) for recruitment.
"There are more than 5,000 positions, and the local human resources and social security department will lead the team to participate." Gong Daxue (龚达学) said, "According to the needs of the positions, skills training will be organized in due course to allow the masses to work with certificates and have higher and more stable incomes."
Return to TopBy: 本报记者 龚仕建 江 萌
Before dawn, at the Kunlun Mountain Pass (昆仑山口), the biting wind chills to the bone.
Beside the Kunlun Mountain Tunnel (昆仑山隧道) on the Golmud-Lhasa section of the Qinghai-Tibet Railway, the sign reading "Cloud Outpost" glows white. The outpost is built on the mountainside, requiring a climb of 110 steps. The reporter gripped the railing with her right hand, feeling for the next step with her left, using both hands and feet. At an altitude of 4,868 meters, each step is a challenge.
"How long does it take to climb these steps?"
"Ordinary people would take several minutes even on the plains," came the voice of Chen Luozhen (陈罗真), deputy captain of the 7th Company of the Haixi Detachment of the Qinghai Armed Police Corps, from ahead. "Our company's fastest record is 37 seconds."
Reaching the outpost, the sky had already brightened. As far as the eye could see, everything was a vast expanse of white. "The Kunlun Mountain Pass (昆仑山口) is snow-covered year-round, and the coldest it gets is minus 38 degrees Celsius," said Chen Luozhen (陈罗真).
"The Kunlun Mountain Tunnel (昆仑山隧道) is the number one control project on the entire Qinghai-Tibet Railway and is the 'throat' of the Qinghai-Tibet Railway." Chen Luozhen (陈罗真) pointed behind him, "The officers and soldiers have been guarding this place for nearly 20 years since the Qinghai-Tibet Railway opened to traffic."
"Besides guarding the railway, what else do you do?"
"Below the outpost is National Highway 109 (109国道), which has steep slopes, sharp turns, and frequent traffic accidents. We have set up nine armed police rescue point signs along the 100-plus-kilometer dangerous section, published our contact telephone number, and provide assistance 24 hours a day," said Chen Luozhen (陈罗真). "To the south of the outpost is the Kekexili (可可西里) no-man's-land, where wild yaks and Tibetan antelopes often stray onto the railway. A few days ago, we also rescued a railway worker who was injured by a wild yak."
On the sentry post, the sentry stood ramrod straight, staring intently at the tunnel exit through the large glass window. "Each time a train passes, it honks its horn, which is a silent understanding. The soldiers often guess where the passing train is going," said instructor Jin Shenglin (靳盛林).
On the second floor of the outpost, there is a glass greenhouse. "In the past, plants struggled to survive here," said Chen Luozhen (陈罗真). "Now that we have a greenhouse, we can grow some greenery and fruits and vegetables, which is full of vitality."
In the greenhouse, the reporter met Peng Wenmin (彭文敏), a new recruit born after 2005. "For the first six months after joining the company, I really couldn't adapt," Peng Wenmin (彭文敏) recalled. "I had altitude sickness and couldn't sleep at night because of headaches."
Company commander Liu Shiyu (刘世玉) explained: "On the one hand, we alleviate altitude sickness through oxygen and medication; on the other hand, in response to the high-altitude and oxygen-deficient environment, the company has explored a progressive adaptive training method of 'oxygen inhalation, oxygen reduction, and oxygen deprivation.' Through scientific training, new recruits can basically adapt in three months."
In addition to the physical challenges, there are also psychological tests. "Altitude sickness is temporary, but the long-term monotonous and boring life is the real test," Jin Shenglin (靳盛林) added. "To enrich the soldiers' lives, we hold a variety of activities. The current post-00s soldiers have very active minds and are all thinking about what they can do for the company."
"What is the greatest significance of guarding this place year after year?"
Jin Shenglin (靳盛林) thought for a moment and said, "We are like the railings beside the ladder to heaven. If there were no railings, would you dare to come up?"
At the other end of the Kunlun Mountain Tunnel (昆仑山隧道), on the hillside at the entrance of the 7th Company barracks at an altitude of 4,772 meters, the outline of the map of China and two slogans are pieced together with red pebbles: "Guarding the heavenly road every day, verifying responsibility step by step." "Every batch of new recruits participates in the piecing together," said Liu Shiyu (刘世玉).
(Wei Shan (魏山) participated in the writing)
Return to TopBeijing, February 21st (Reported by Li Xinping (李心萍) and Han Xin (韩鑫)) The 2026 Spring Festival travel season is halfway through. In the first 20 days of the Spring Festival travel season, the total cross-regional movement of people in the whole society is expected to reach 5.08 billion, with an average daily volume of 250 million, a record high for the same period in history.
On February 21st, the total cross-regional movement of people in the whole society is expected to exceed 360 million. Since the 19th, the scale of passenger flow has exceeded the single-day peak of the same period in history for three consecutive days.
On the 21st, the return passenger flow increased in various places. The national railway is expected to transport 16.8 million passengers.
The flow of people on highways is expected to exceed 339 million, and the traffic flow on expressways is expected to exceed 65 million vehicles.
The volume of civil aviation passenger traffic is expected to be 2.63 million, and the volume of waterway passenger traffic is expected to be 1.81 million.
Return to TopBy: 本报记者 张腾扬
"Swoosh—" At the Milan Winter Olympics, Chinese athletes soared and spun... Thousands of miles away in Chongli District (崇礼区), Zhangjiakou (张家口), Hebei (河北) Province, the National Ski Jumping Center "Snow Ruyi (雪如意)" was filled with ski enthusiasts watching the big screen, erupting in cheers.
The small city of Chongli nestled among mountain folds is transforming the Winter Olympics legacy into new momentum for high-quality development: In 2015, Beijing (北京) and Zhangjiakou jointly won the right to host the 2022 Winter Olympics. At that time, Chongli's annual tourist reception was only more than 2 million, but in 2025, it has exceeded 10 million.
General Secretary Xi Jinping (习近平) emphasized during his inspection in Zhangjiakou: "Closely integrate with the promotion of coordinated development of Beijing-Tianjin-Hebei (京津冀), drive construction in all aspects through the preparation of the Beijing Winter Olympics, and strive to deliver two excellent answers for the preparation of the Winter Olympics and local development." Chongli keeps its mission in mind, explores solutions to the global issue of post-Olympic venue utilization, and strives to host a successful event and enhance the city.
Beginning: Normalized Venue Utilization, Coordinated Development as "One Chessboard"
Walking into "Snow Ruyi," it has been transformed into a complex integrating competition hosting, conferences and exhibitions, and tourism. Inside the sightseeing hall, exhibits such as "Bing Dwen Dwen (冰墩墩)" are still popular; on one side of the hall, athletes are training in the fitness area, and study groups are listening to explanations of the ski jump structure.
For post-competition utilization, Chongli focuses on three keywords: "repeated, comprehensive, and sustained." Repeated: using events to "light up" the venues, with various professional competitions held throughout the year; Comprehensive: using renovations to add functions, with more than 30 new business formats such as study tours entering the venues; Sustained: using operations to realize revenue, with the 1,500+ rooms in the Winter Olympics Village in high demand recently.
Behind the keywords is the systematic support of coordinated development of Beijing-Tianjin-Hebei. The Beijing-Zhangjiakou High-speed Railway (京张高铁) and the Beijing-Chongli Expressway (京礼高速) connect, bringing Chongli into the "one-hour traffic circle" of the capital. High-speed rail station shuttle buses and ski resort bus loops are densely operated, allowing tourists to "get on the bus upon exiting the station and get off the bus at the ski resort."
Resource sharing and route promotion. "After visiting Beijing, visit Chongli. After visiting the 'Ice Cube (冰立方),' the two places seem to have agreed to smoothly bring tourists to 'Snow Ruyi,'" said Zhang Hong (张虹), a tourist from the south. Beijing and Zhangjiakou integrate resources and jointly launch tourism routes such as "Travel with the Games," and have continuously held five Beijing-Zhangjiakou All-Season Sports Tourism Carnivals, with the integration of culture, sports, and tourism deepening.
With coordinated development as "one chessboard," Chongli magnifies the value of Winter Olympics resources and transforms the potential energy of national strategy into development momentum: In 2025, 239 sports events were held, and the Winter Olympics venues achieved revenue of 169 million yuan, an increase of 24.26% year-on-year.
Development: Adhering to Adapting to Local Conditions, Anchoring the "Ice and Snow +" Positioning
As early as the preparation for the Winter Olympics, Chongli hired a professional team to formulate a development plan: not seeking excessive ambition, but accurately positioning itself as a "ski tourism destination" and strengthening its ice and snow advantages.
The "Ice and Snow Market" reveals the truth. In the Fulong Ski Resort (富龙滑雪场), non-heritage paper-cutting cuts out Winter Olympics elements, "Chengyu Coffee" latte art presents curling patterns, and snowfield electronic music shows take turns. "It is named a market because it has cultural flavor and fun, anchoring the development of the entire industrial chain of ice and snow culture and ice and snow tourism," said Han Xiaoyu (韩晓玉), Deputy Director of the Chongli District Culture, Radio, Television, Tourism and Sports Bureau.
This snow season, Chongli is laying out "all-age, all-scenario, and all-time" to enrich and expand the "Ice and Snow +" consumption scenarios, driving the upgrading of the entire chain of "eating, living, traveling, shopping, and entertainment." Liu Chun (刘春), a tourist from Beijing, and his family felt it most directly: he galloped on the professional track of the Wanlong Ski Resort (万龙雪场), his wife chased after the "Hanfu Ski Show" to take pictures, and his children played in the parent-child snow play area. "The ski resort can ski, and also watch performances and打树花 (dǎ shù huā - "beating tree flowers," a folk art performance where molten iron is thrown against cold walls to create sparks), which is full of fireworks," said Liu Chun.
As of now, since the snow season started in November 2025, Chongli has received more than 4 million tourists, an increase of more than 10% year-on-year.
Conclusion: Close Integration of Investing in Things and Investing in People
The transformation of the Winter Olympics legacy cannot be separated from the continuous improvement of infrastructure and operational capabilities. Chongli has built 9 international-standard ski resorts such as Genting (云顶) and Fulong, with 219 ski runs totaling 178 kilometers. "Some time ago, various ski resorts upgraded their hardware and software to provide tourists with diverse experiences," said Wu Yan (武岩), Deputy District Mayor of Chongli District.
Investing in things brings about changes in development. "Spring outing, summer heat avoidance, autumn scenery, and winter skiing" has become a new calling card for Chongli. Relying on mountain resources and venue operation experience, after 2024, the number of summer tourists in the local area exceeded the number of winter tourists again in 2025, gradually changing the phenomenon of "one season supporting three seasons."
The more important focus is on investing in people. During his recent trip to Chongli, Li Haibin (李海滨), a tourist from Beijing, experienced an ice and snow trip that he could take at any time: departing by high-speed rail, with ski equipment sent to the hotel in advance; arriving and taking a shuttle bus to the ski resort in 15 minutes; buying a package online, with discounts for dining...
Chongli issued cultural and tourism consumption coupons covering skiing and accommodation, and launched one-stop ski equipment delivery and other services to continuously optimize the tourist experience.
Investing in people also lies in cultivating the ice and snow population. Wei Yuxuan (魏羽萱), a 12-year-old local skier, sped on the advanced track. The ice and snow sports "entering campus" activity accompanied her growth. "The school has formed a ski team, and I have a group of small ski friends," said Wei Yuxuan.
This snow season, the "Snow Ruyi" Youth Ski Training and Competition Center was put into use; the Winter Olympics venues launched preferential policies to attract students to study and exchange.
**久久为功** (jiǔ jiǔ wéi gōng - "achieve success through persistent effort," persistent effort leads to success), it is not easy. "Take the ice and snow sports 'entering campus, entering enterprises, and entering government agencies' as an example, investing real money and silver, anchoring the potential achievements of 'laying the foundation, increasing stamina, and benefiting the long-term,'" said Han Xiaoyu.
The return is reflected in people's livelihood and industry: In 2025, Chongli's per capita regional GDP reached 48,000 yuan, an increase of 45.5% compared with the end of the "13th Five-Year Plan"; about 1/4 of the population is making a living from "ice and snow." "Ice and snow is a key to opening Chongli, but what really pushes open the door to development is the new practice of Chongli people under the guidance of new ideas," said Cao Dongxiao (曹东晓), District Mayor of Chongli District.
In the evening, street lights light up along the mountain, and Chinese and English signs are reflected on the snow. Accents from all over the world are intertwined in restaurants and ski equipment stores. Chongli's "post-Winter Olympics era" is accelerating forward.
Return to TopDuring the Spring Festival holiday, various regions held a wide range of activities, and people enjoyed a cultural feast blending folk customs and technology.
Return to TopBy: 本报记者 施 芳 欧阳洁 李 刚
In the morning, the Beijing Intangible Cultural Heritage Experience Center, located in Shajing Hutong (沙井胡同), Dongcheng District (东城区), Beijing (北京), was filled with laughter. Tourists from countries such as Spain, Portugal, and Brazil entered the courtyard and took photos in front of the themed screen wall integrating Tu'er Ye (兔儿爷), calligraphy, and Fu (福) culture. They experienced making dumplings, writing the character "Fu," blowing sugar figurines, and playing the Guqin, immersing themselves in the unique charm of the Spring Festival, a human intangible cultural heritage.
"Dumplings are a traditional Chinese delicacy." At the experience site, a professional chef demonstrated the making process while explaining the origin of dumplings. Carmen, a tourist from Peru, rolled out the dough, filled it with stuffing, and pinched the pleats, learning to make dumplings with great interest. "This is my first time in China, and my family and I are very surprised to be able to experience traditional Chinese culture," said Carmen.
Other intangible cultural heritage experience projects also made foreign tourists eager to try. In the calligraphy experience area, everyone dipped their brushes in ink and wrote the character "Fu" and interesting English Spring Festival couplets. In the cloisonné enamel filling experience, foreign tourists personally filled the copper wire patterns with glaze. At the Beijing Clay Figure Zhang (北京泥人张) experience site, everyone followed the representative inheritor of intangible cultural heritage to create adorable clay sculptures of little horses, reading the New Year's blessings of "immediate success" and "immediate prosperity" through the cultural symbol of the "horse."
"During this trip to China, I bought my favorite new sports camera and other goods." At the departure tax refund declaration counter in Terminal 2 of Guangzhou Baiyun International Airport (广州白云国际机场) in Guangdong (广东), Mu Yaming (穆亚明), a Canadian passenger who was processing his departure tax refund, showed his departure tax refund application form. The application form stated the name, unit price, and tax amount of the goods he purchased, with a tax refund rate of 11% and a tax refund of approximately 2,800 RMB.
"Convenient customs clearance experience and a continuously dense route network attract more and more foreign tourists to spend the New Year in Guangzhou (广州)." According to the relevant person in charge of Guangzhou Customs, Guangzhou Baiyun International Airport has built a route network covering 105 major cities around the world, further activating the two-way flow of commerce and tourism.
Relying on the convenient visa-free policy and the convenient travel methods of the Greater Bay Area, during the Spring Festival holiday, Lucy, a French tourist, and her friends traveled from Hong Kong West Kowloon (香港西九龙) to Guangzhou (广州) by Guangzhou-Shenzhen-Hong Kong High-Speed Railway (广深港高铁). Following the online "guide," they went to Chimelong Tourist Resort (长隆旅游度假区) to play, and the Chimelong International Circus (长隆大马戏), which brings together performers from many countries, impressed her deeply.
"Customs relies on information systems to optimize the processing flow and dispatches foreign language-speaking staff to the port site to ensure that foreign passengers can efficiently complete their business," introduced Feng Ruilin (冯瑞林), Chief of the Third Inspection Section of the Second Inspection Division of Guangzhou Baiyun Airport Customs.
In Shenzhen (深圳市), Guangdong (广东), the "First Street of Chinese Electronics" Huaqiangbei (华强北) is experiencing a simultaneous increase in New Year's flavor and technological sense. "Our AI glasses and smart wearable products are sold out, and the number of foreign tourists coming to purchase them is significantly higher than in previous years," introduced He Youfang (何有方), General Manager of Shenzhen Xiaocheng Times Technology Co., Ltd. AI glasses, smart wearables, translation equipment and other "Chinese-made" products are selling well, becoming a bright spot in the New Year's consumer market.
Return to TopBy: 本报记者 董泽扬
In a small shop located in Baishamen Park (白沙门公园) in Haikou City (海口市), Hainan (海南), Xie Min (谢敏) is painting a horse totem on a small piece of coconut shell.
"Hey, this 'horse' is really interesting!" A blond-haired, blue-eyed tourist approached the counter and picked up a coconut shell craft to examine it carefully.
"You have a good eye. These lines and patterns are all traditional elements from Li brocade." Xie Min (谢敏), a designer from the United States, looked up and smiled, her brush still moving. In this small shop called "Island Fun," Xie Min (谢敏), who traveled across the ocean, is working hard to be a "translator" for the thousand-year-old Li brocade.
The spring sunshine shone through the glass window, spilling onto the various handicrafts in the small shop. Hairpins, earrings, refrigerator magnets... objects full of life are adorned with colorful colors. Tourists either stop to admire or pick them up to play with. This small and exquisite space often echoes with curious inquiries and hearty laughter.
"In Li culture, the horse means strength. I hope to use trendy 'translations' and creations to make Li brocade more vibrant." Her fluent Chinese often makes people forget Xie Min's (谢敏) "foreigner" status.
Having lived in Hainan (海南) for more than 20 years, Xie Min (谢敏) became connected with Li brocade and also opened a small shop there. She still remembers the first time she saw Li brocade, which was a gift from a friend. An open cultural week event gave Xie Min (谢敏) a wealth of Li brocade materials. The diverse patterns, rich meanings, and inherited stories captivated her. She began to visit mountain villages, "learning from masters," integrating the traditional Li ethnic group's spinning, dyeing, weaving, and embroidery techniques into her creations.
"China is paying more and more attention to cultural inheritance and innovation, which has given me many opportunities and inspirations." Xie Min (谢敏) said that personally participating in the creative transformation and innovative development of outstanding traditional Chinese culture has brought her a lot of gains.
The small shop doesn't just sell Li brocade. Notebooks designed by American friends, paintings by Russian friends, and small bags made by South African artists are all displayed on the counter, showcasing their respective design concepts. With the higher level of opening up of the Hainan Free Trade Port (海南自贸港), more and more inbound tourists are coming here, and the small shop has become a new place for international exchange. People from afar often buy souvenirs here and share the sentiments from Hainan (海南).
"So this is considered a special creation for the Year of the Horse?" a tourist asked.
"It's the Year of the Horse, but it's not just the Year of the Horse." Xie Min (谢敏) picked up the completed coconut shell craft, "There are both traditional patterns and modern expressions here. There is both Chinese culture and global understanding." The vibrant Chinese New Year and the harmonious small shop allow for more dialogue between East and West.
Return to TopBy: 本报记者 刘军国
"Chinese tea is delicious and has a sweet aftertaste."
Peter (皮特), a Kenyan businessman, skillfully took out two teacups, brewed tea, and his technique was very authentic.
Outside the window, the streets and alleys of Yiwu (义乌), Jinhua (金华), Zhejiang (浙江) were full of red lanterns, and the atmosphere of the New Year was strong. While sipping tea, 38-year-old Peter talked about his "China connection."
"When I was a child, I heard that the Chinese helped us build roads, and I wondered what this country was like?" After graduating from high school, he came to China. He studied for his bachelor's and master's degrees in Jinhua (金华), during which he traveled to Yiwu (义乌) time and time again. As he traveled, he developed a business path: he and his friends founded a company to sell Chinese products to Kenya.
"Chinese goods are of good quality and affordable, and they are very popular in African countries, including Kenya," Peter (皮特) said, adding that he chose the right business path.
In a blink of an eye, he has been doing business in Yiwu (义乌) for more than 7 years.
"What are your feelings about being in Yiwu (义乌) these years?" the reporter asked.
"In Yiwu (义乌), it's like being at home." Peter (皮特) pulled out his social security card from his wallet and shook it. "Work and life are very convenient."
As he was talking, his phone rang. A freight forwarding company called to communicate with him about shipping goods after the New Year. "I have received many new orders during this period and am busy preparing the goods." Peter (皮特) said that China is Africa's largest trading partner, and China's zero-tariff measures for 53 African countries that have diplomatic relations with China, which took full effect on May 1 this year, will further enhance economic and trade exchanges between the two sides. "This year will definitely have a good 'financial outlook'."
Peter (皮特) is spending the New Year in Yiwu (义乌) this year, and his family has also prepared a lot of New Year goods. "For us foreigners, the Spring Festival is a good opportunity to understand Chinese culture." Peter (皮特) not only experiences rich Chinese folk customs through various on-site activities, but also learns about Chinese culture through television and online programs.
2026 is the "China-Africa Year of Cultural Exchange." "More and more African youths are choosing to study in China." Peter (皮特) said with emotion, looking forward to Africa and China continuing to deepen cultural exchanges and continuously consolidate the foundation of trade cooperation.
As a businessman, Peter (皮特) also pays close attention to the diplomatic policies of the two countries. "In Kenya, everyone is a beneficiary of the joint construction of the 'Belt and Road' initiative." Peter (皮特) said that the joint construction of the "Belt and Road" initiative has blossomed and borne fruit in Kenya, continuously enhancing the sense of gain of the local people.
Talking about his wishes for the Year of the Horse, Peter (皮特) said with a smile, "I hope to 快马加鞭 (kuài mǎ jiā biān - "spur the horse," to work harder; to speed things up) so that more African compatriots can use good Chinese products."
Return to TopBy: 本报记者 朱佩娴
Frying beltfish, slaughtering New Year pigs, making dumplings, pasting Spring Festival couplets... In Beiyu Village (北峪村), Xixia County (西峡县), Nanyang City (南阳市), Henan Province (河南), an African daughter-in-law is extremely busy, "This is my seventh Spring Festival in Xixia (西峡), I am familiar with what to do for the New Year!" This African daughter-in-law is named Hanna (汉娜), from Ethiopia. In 2016, she met and fell in love with Feng Zheng (冯政), her husband who is engaged in Sino-African trade, overseas. In 2019, she returned to her husband's hometown in Xixia (西峡) to live.
"In Xixia (西峡), I am just an ordinary local villager, and I feel that life is both practical and fulfilling." Hanna (汉娜) summarizes her seven years in this way. When she first arrived, she couldn't speak the language and didn't understand the customs. But with the help of her family and villagers, her Chinese proficiency improved greatly, and she quickly integrated into rural life.
Initially, Hanna (汉娜) only wanted to use her mobile phone to record her daily life in China. Unexpectedly, after posting it online, everyone loved to watch it. As she gained more and more fans, some villagers came to her with their own kiwis and shiitake mushrooms, hoping that she could "help everyone sell agricultural products out of the mountains."
In 2023, Hanna (汉娜) transformed into a live-streaming host, mainly promoting Xixia (西峡) specialties such as kiwis, honey, and shiitake mushrooms. "Xixia (西峡) kiwi fruit is sweet to the heart, it is the best!" This is the sentence Hanna (汉娜) says most often in front of the screen. She insists on an original ecological live broadcast style, presenting the vivid real scenes of mountains, rivers, and fields to netizens. "Some netizens left messages saying that they previously thought Henan (河南) was all plains, but they didn't expect there to be such beautiful high mountains and flowing water."
As her attention increased, Hanna (汉娜) realized: "Traffic not only means higher income, but also means a heavy responsibility." In 2025, she built a direct connection channel of "farmers - anchors - consumers," with a live-streaming sales volume of more than 600,000 yuan, driving the agricultural products of her village and surrounding villages out of the mountains. After several years of operation, she already has a group of stable fans. Every time it is the harvest season for kiwis, honey, and shiitake mushrooms, fans will ask and order in advance.
"The Chinese countryside is my home, and I feel very happy here." Hanna (汉娜) believes that the Chinese countryside is a very promising place, "A mobile phone can connect to the national market, and technology gives farmers more choices and more opportunities." With the support of the government in planting technology, logistics docking, e-commerce training, and other aspects, she and her husband plan to build warehousing facilities locally to extend the sales cycle of agricultural products and make the road of live-streaming wider and more stable.
Return to TopBy: 本报记者 杨 义
The Gan Nan region in February is filled with budding spring. "Thump... thump..." Crisp sounds of paddles hitting balls echoed from the pickleball court at the Wenti Center in Shangyou County, Jiangxi Province.
On the morning of February 18th, the third China-U.S. Youth Pickleball Friendship Tournament was held here. The day before, the "2026 U.S. Youth Pickleball Cultural Exchange China Spring Festival Trip" came to this scenic small city in Gan Nan (赣南). A delegation of 38 American youths and 7 teachers began a Spring Festival journey of sports and cultural integration here. Before the competition, the Chinese and American youths jointly completed a special ceremony - planting a "China-U.S. Youth Friendship Forest" on the open space next to the Shangyou County Ecological Pickleball Sports Center.
On the court, men's doubles, women's doubles, and mixed doubles events took turns, with Chinese and American youths playing together and striving hard. Every smash and every save won rounds of applause.
American student William had just finished a match, partnered with Guo Junhua (郭军华), a student from Shangyou County (上犹县). Although language communication was not smooth, the two cooperated very well on the court. "Pickleball is like a universal language." William wiped the sweat from his forehead and said with a smile, "The paddle is the best communication tool."
Guo Junhua (郭军华) also deeply felt this: "He plays very well, so it was easy for us to win."
On the sidelines, Sullivan (沙利文), Director of the Department of Physical Education for the Montgomery County Public School System in Maryland, USA, and head of the visiting delegation, watched everything on the court intently. He said, "Students from the United States and China come together to exchange cultures through pickleball, and the connections and friendships they build will last."
"Pickleball may be small, but it is like building a bridge." Huang Guanqun (黄冠群), director of the Shangyou County (上犹县) Sports Event Development Service Center, said with great emotion as he watched the Chinese and American youths sweating profusely. This sport, which originated in the United States, has now taken root in this small city in Gan Nan (赣南) and become an emotional bond connecting the youths of the two countries.
Shangyou County's (上犹县) relationship with pickleball began three years ago. This scenic small city with a permanent population of 260,000 keenly captured the potential of this emerging sport and made it a key part of its national fitness strategy, incorporating it into the county's development plan. Today, more than 300 pickleball courts have been built throughout the county, and 36 primary and secondary schools have made pickleball a compulsory part of their physical education curriculum.
In recent years, Shangyou County (上犹县) has actively practiced the concept of green development, using the sports event economy as a breakthrough to promote the integrated development of "sports + tourism," with the localization of pickleball equipment manufacturing, the professionalization of event operations, and the systematization of training services - a complete industrial chain is gradually taking shape.
"We hope to use pickleball as a link and Spring Festival culture as a bridge to allow the spirit of sports and humanistic feelings to resonate, and to allow Chinese and American teachers and students to truly feel the warmth and depth of Chinese civilization while tasting Hakka customs," said Liu Hongmei (刘洪梅), Secretary of the Shangyou County (上犹县) Party Committee. "Pickleball connects friendships that cross mountains and seas."
Return to TopBy: 本报记者 王云杉 张 文
On the edge of the Tengger Desert (腾格里沙漠), in the Western Cloud Base of Shapotou District (沙坡头区), Zhongwei City (中卫市), Ningxia (宁夏), tower cranes stand tall as data centers are under construction.
General Secretary Xi Jinping (习近平) pointed out that it is necessary to adhere to the development of distinctive and advantageous industries as the main direction, develop emerging industries in accordance with local conditions, and accelerate the industrial transformation and upgrading of the western region.
In recent years, this small desert city, which is constantly eroded by wind and sand, has taken advantage of the "Eastern Data, Western Computing" initiative, accelerated its transformation based on its own advantages, and new industries and new business forms have emerged one after another, changing the trajectory of many people's lives.
Position 1: Satellite Telemetry and Control Communication Engineer
Inside the Aerospace Dongfanghong Zhongwei Telemetry and Control Station (航天驭星中卫测控站) in the Western Cloud Base, engineer Lu Jiayang (陆佳阳) is intently watching the screen, "Whenever a satellite enters the telemetry and control range, we quickly establish a space-to-earth communication link to receive data transmitted back from the satellite."
Lu Jiayang (陆佳阳) is a native of Zhongwei (中卫). After graduating from university in 2023, he directly joined the telemetry and control station. Lin Lixin (林立新), Director of the Comprehensive Management Center of Aerospace Dongfanghong Zhongwei Telemetry and Control Station, introduced that more than 70% of the nearly 20 engineers in the station are local young people.
Why did a commercial aerospace company settle in Zhongwei (中卫)? Lin Lixin (林立新) explained that the company serves more than 400 satellites, and the amount of data transmitted back from space every day is close to 4TB (terabytes). Zhongwei's (中卫) data center aggregation has obvious storage cost advantages.
Position 2: Data Center Operations and Maintenance Manager
Across the street from the Aerospace Dongfanghong Zhongwei Telemetry and Control Station (航天驭星中卫测控站) is the China Unicom Ningxia Zhongwei Cloud Data Center (中国联通宁夏中卫云数据中心). Operations and Maintenance Manager Wang Le (王乐) is leading his team through the dense rows of server racks, troubleshooting faults, and organizing cables to ensure the stable operation of the servers.
Wang Le (王乐) joined the company last year and is responsible for the operations and maintenance support of Building 4. "The company has already put 5 server room buildings into use in the park. Building 4 alone has more than 1,200 server racks and tens of thousands of servers."
Yin Xiaohui (殷晓辉), Deputy General Manager of China Unicom Ningxia Zhongwei Cloud Data Center (中国联通宁夏中卫云数据中心), introduced that Zhongwei's (中卫) computing power industry is showing a "blowout" trend. For Unicom alone, the planned computing power scale is expected to double by 2026. "By the end of the year, the shortage of operations and maintenance personnel in the entire Western Cloud Base may exceed 1,000."
Position 3: Electricity-Computing Coordination Team Customer Manager
On the desk of Zhang Chaowei (张晁玮), a customer manager at the State Grid Zhongwei Power Supply Company (国网中卫供电公司), there is a special "electricity bill" that densely records the monthly electricity consumption of each data center in the jurisdiction. In the second half of last year, the State Grid Zhongwei Power Supply Company (国网中卫供电公司) established a special team for electricity-computing coordinated development, and Zhang Chaowei (张晁玮) became a member of the team, dedicated to serving local computing power companies.
"Data centers are all 'big consumers' of electricity. My job is to research and formulate personalized power supply plans and electricity price strategies for enterprises to help them reduce costs and stabilize supply," said Zhang Chaowei (张晁玮). "According to calculations, Zhongwei's (中卫) data center electricity consumption will increase by more than 60% in 2026. We will continue to optimize services to ensure a stable, good, and adequate power supply."
From a land of wind and sand to a computing power oasis, Zhongwei's (中卫) "newness" and "change" are condensed in one digital and intelligent new position after another.
Return to TopBy: 健康时报记者 王振雅
"The total weight of the samples transported this time is 4.4 kilograms." In Shijiazhuang (石家庄市), Hebei Province (河北省), Liu Jing (刘静), a nurse at the outpatient department of the Second Hospital of Hebei Medical University (河北医科大学第二医院) (Luquan Branch (鹿泉院区)), placed the transfer box containing the test samples into the cargo hold, carefully locked the buckle, and completed the preparations before takeoff.
"Ready for takeoff, please be aware of surrounding personnel." The drone issued a prompt.
"Buzz--" The motor sounded softly, and the drone took off smoothly, executing an aerial transport mission of approximately 17 kilometers along a predetermined route. On the large screen of the Shijiazhuang (石家庄市) Drone Air Traffic Control Center, the flight trajectory was displayed in real time.
Unlike consumer-grade drones that rely on pilots, this transport was driven by an intelligent dispatch system throughout the entire process—relying on approved fixed routes, the drone achieved remote one-button takeoff and landing.
Twenty minutes later, the drone landed on the rooftop of the Second Hospital of Hebei Medical University (河北医科大学第二医院) (Main Campus (本部)), and Hu Huixin (胡惠欣), a nurse at the outpatient department, received the samples immediately and sent them directly to the laboratory department.
"In the past, it took a day for the report to come out after sending the samples for testing. Now, blood can be drawn in the morning at the branch and the results can be obtained in the afternoon," said Mr. Zhang (张先生), a patient living in Luquan District (鹿泉区), Shijiazhuang (石家庄市). Liu Jing (刘静) introduced that compared with traditional transportation methods, drones reduce sample transfer time by more than 60%.
"Currently, drones mainly undertake the transfer of blood samples, blood products, and other materials. Our hospital has opened multiple low-altitude routes covering the main hospital and various branches," Hu Huixin (胡惠欣) introduced. The outpatient department, in conjunction with the laboratory department, has established a 24-hour response mechanism to ensure that flights continue during the Spring Festival and services are not interrupted.
From the transfer of routine test samples and blood products to the emergency delivery of first-aid medicines and public health materials in the future; from single route operation to the construction of a "20-minute aerial medical circle"—the low-altitude medical transportation system is not only a "fast track" for daily services but also a "lifeline" for emergency treatment.
During the Spring Festival, when families are reunited, drones and frontline medical staff work together, sticking to their posts and weaving an aerial lifeline to protect health.
By: 本报记者 孙龙飞 曾华锋 巩育华
The 2026 Milan-Cortina Winter Olympics are drawing to a close. On the field, ice and snow athletes are working hard and striving for the first place, and their repeated self-transcendence is inspiring; off the field, volunteers in blue uniforms greet participants from all parties with sincere smiles and professional services, becoming a bright spot of warmth in this winter.
The data released by the Organizing Committee of this Winter Olympics shows that 18,000 volunteers from all over the world participated in the service guarantee of this event. Among them, about 1,500 Chinese volunteers are one of the largest and most active volunteer groups. They fought in competition venues, the Olympic Village, and various operation and support positions, becoming an important force supporting the smooth operation of the event.
In the mixed media zone of the Milan Ice Rink, you can often see Wang Yujuan (王雨娟), a Chinese volunteer, busy. She studied in Milan and is proficient in English, Italian and other languages. In her volunteer service, she uses professional and accurate translation to build a bridge for communication between athletes and the media.
During the Lunar Year of the Horse Spring Festival, Wang Yujuan took the initiative to act as a "cultural ambassador," teaching foreign colleagues to say auspicious greetings such as "Happy New Year," inviting Chinese and foreign friends to make dumplings together on the first day of the Lunar New Year, and introducing the Chinese zodiac and other allusions to foreign volunteers around her. Wang Yujuan said: "Foreign friends think Chinese Spring Festival culture is very warm and interesting. At the Winter Olympics, they remembered this festival in a special way."
In Wang Yujuan's view, volunteer work is a two-way rush. She and her partners from all over the world work side by side, and feel the exchange and integration of different cultures in an atmosphere of tolerance and respect. "I not only made friends, but also saw a bigger world."
Eileen Mercato, head of the volunteer project of the Milan Winter Olympics Organizing Committee, said that the selection of volunteers for this Winter Olympics values language skills, time guarantee, and Olympic enthusiasm. "It is this pure love that makes volunteer service full of power."
The ski town of Livigno is more than 1,800 meters above sea level, and some snow events of this Winter Olympics are held here. Recently, the local area has been experiencing wind and snow, and dealing with the severe cold has become a major challenge. Zhai Qi (翟琦), a volunteer from Tangshan (唐山), Hebei (河北) Province, is a ski enthusiast. She climbs the snow-capped mountains every day to work.
On February 18, Xu Mengtao (徐梦桃) successfully defended her title in the women's aerial skills freestyle skiing at the Livigno Aerial Skills and Snow Skills Park. This is the venue where Zhai Qi serves. After the excitement, she quickly calmed down and carefully guided Xu Mengtao to accept interviews with reporters and maintain order at the scene. "The mission of volunteers is to do every little thing seriously and leave our kindness and warmth," said Zhai Qi.
"Athletes show their competitive level, while volunteers reflect the temperature of the event." In Zhai Qi's eyes, the Winter Olympics is like a miniature "global village," where everyone competes, works, and lives together. "I hope to use professional services and a good attitude to let more people see the good image of Chinese volunteers."
"Volunteers are the first faces athletes see when they arrive on the Olympic stage. Their warmth and companionship can relieve the tension and inject courage into the athletes. This power is irreplaceable." Diana Bianchedi, Director of Strategic Planning and Legacy Affairs of the Milan Winter Olympics Organizing Committee, thanked all volunteers for their efforts.
On the first day of the Lunar New Year, Feng Youyan (冯宥焱), a Chinese student, maintained order in the audience of the Milan Ice Rink. When the Chinese figure skating pair Sui Wenjing (隋文静) / Han Cong (韩聪) won applause from the audience with "Only Green Here," she was extremely excited.
Dai Feier (戴菲儿), a Chinese student studying at the Catholic University of the Sacred Heart in Milan, served as the flag bearer for the sports delegation of the Republic of North Macedonia at the opening ceremony of this Winter Olympics. After many rehearsals and repeated polishing, she walked out with confidence on the world-renowned stage.
Qian Yang (钱杨), a volunteer from Shanghai (上海), is on duty at the Milan Speed Skating Hall, mainly serving photographers, solving technical needs, and ensuring that the wonderful moments of the event can be transmitted to all parts of the world.
In ordinary positions, touching stories happen every day. Mark Adams, a spokesman for the International Olympic Committee, said at a press conference that volunteers have made the Olympic Games a success. The atmosphere and spiritual values they bring cannot be replaced by commercial services. Their selfless dedication is a vivid interpretation of the Olympic spirit of "more unity."
Return to TopThis newspaper's report from Livigno, Italy, February 21st (Reporters Kong Qingyuan (孔庆元) and Chen Chenxi (陈晨曦)) On local time February 21st, the Milano Cortina Winter Olympics freestyle skiing aerials mixed team final concluded at the Livigno Aerials and Moguls Park. The Chinese team, composed of Xu Mengtao (徐梦桃), Wang Xindi (王心迪), and Li Tianma (李天马), ultimately secured the bronze medal with a total score of 279.68 points. The United States team successfully defended its gold medal in the event, while the Swiss team took home the silver medal.
The final was conducted over two rounds. The Chinese team performed steadily in the first round, ranking second among the seven participating teams with a score of 315.02 points. The top four teams from the first round then proceeded to compete for the medals. Xu Mengtao (徐梦桃), the first to compete for the Chinese team, performed exceptionally well, earning a score of 96.59 points. Subsequently, Wang Xindi (王心迪) and Li Tianma (李天马) both attempted maneuvers with a difficulty coefficient of 5.1, but both made mistakes upon landing, receiving scores of 87.72 points and 95.37 points, respectively.
With this, all freestyle skiing aerials events at the Milano Cortina Winter Olympics have concluded. The Chinese team has won a total of 2 gold medals and 3 bronze medals.
Return to TopThis newspaper reported from Hong Kong on February 21st (Reporter Feng Xuezhi (冯学知)) The Hong Kong Special Administrative Region (香港特区) government held a press conference on the afternoon of the 21st to announce a long-term residential arrangement plan for Wang Fuk Court (宏福苑) in Tai Po (大埔), proposing to acquire property rights through cash or "flat-for-flat" exchanges.
Deputy Financial Secretary of the SAR government, Michael Wong Wai-lun (黄伟纶), stated that the government will propose to acquire the property rights of all 1,736 units in the seven affected blocks, Blocks A to G, of Wang Fuk Court (宏福苑). The seven affected blocks of Wang Fuk Court (宏福苑) will be demolished, and the government will not rebuild residential buildings on the original site, planning to convert it into a park or community facilities.
Secretary for Housing of the SAR government, Winnie Ho Wing-yin (何永贤), stated that if owners choose the "flat-for-flat" exchange method, they will be issued a "flat exchange voucher" with a value equivalent to the value of their original property in Wang Fuk Court (宏福苑). The government will launch a "special sales plan" covering 3,900 residential units, and owners can use the voucher to purchase units in this plan. If they choose a smaller unit, the balance will be refunded in cash; if they choose a larger unit, they will need to make up the difference themselves.
According to the preliminary intention data collected from previous questionnaires, among the 1,975 Wang Fuk Court (宏福苑) households who submitted opinions, 74% indicated that they would "consider accepting" the government's property rights acquisition plan.
Return to TopXinhua News Agency, Beijing, February 21st - Recently, many state leaders and heads of international organizations have sent messages or letters to Xi Jinping (习近平), General Secretary of the CPC Central Committee and President of the People's Republic of China, to congratulate the Chinese people on the joyous occasion of the Lunar New Year of the Horse.
German Chancellor Merz posted on social media to wish everyone a happy Spring Festival, expressing his hope that the Year of the Horse would inject strength and new impetus into German-Chinese relations.
Pakistani President Zardari wished China peace, tranquility, prosperity, and strength, and that the great cause of the rejuvenation of the Chinese nation would continue to advance. He stated that Pakistan sincerely admires China's extraordinary achievements in economic transformation, technological progress, poverty alleviation, and modernization. The four major global initiatives proposed by China demonstrate China's spirit of being **锐意进取** (ruì yì jìn qǔ - "determined to forge ahead," showing determination to make progress), pioneering and innovative, and united. This year marks the 75th anniversary of the establishment of diplomatic relations between Pakistan and China, and he believes that under the visionary and outstanding leadership of President Xi Jinping (习近平), the two countries will surely usher in a new chapter of closer cooperation in the future.
Kazakh President Tokayev said that the Spring Festival symbolizes the renewal of everything and represents joy and reunion. He sincerely wished China prosperity and development and its people peace and contentment in the new year. Under the wise decisions and strong leadership of President Xi Jinping (习近平), China's comprehensive strength has continued to increase, and the Chinese nation is steadily moving towards great rejuvenation. He is very pleased to see the unprecedented rapid development of bilateral relations and cooperation in various fields based on the friendship from generation to generation and mutually beneficial cooperation. He is willing to work with China to consolidate Kazakhstan-China mutual support, strengthen international cooperation, and further deepen bilateral relations.
Turkmen President Berdymukhamedov said that the Spring Festival brings good wishes for peace, harmony, and prosperity, and promotes affinity among the people. The Turkmenistan-China comprehensive strategic partnership has become even stronger over time, and he is willing to continue to deepen cooperation to benefit the people of both countries.
Tajik President Rahmon said that China has made remarkable achievements in its path of economic and social development, and its international prestige has continued to increase, which is worthy of praise. Tajikistan-China relations are based on good-neighborliness, friendship, mutual understanding, mutual respect, mutual trust, and support principles, and have reached a new height of comprehensive strategic partnership. He is willing to work together to enrich the mutually beneficial and win-win cooperation between the two countries with new content. He wished friendly and great China peace, tranquility, and prosperity.
Belarusian President Lukashenko wished China peace and prosperity and said that the past year was of great significance for the development of the Belarus-China all-weather comprehensive strategic partnership. He believes that this year, both sides will surely take advantage of the momentum and inject new impetus into bilateral relations and local exchanges.
President Tshisekedi of the Democratic Republic of the Congo (DRC) extended his warmest New Year greetings to President Xi Jinping (习近平), reiterating his willingness to work with China to continue to develop and deepen the friendship between the DRC and China and pragmatic cooperation in various fields.
Gambian President Barrow said that Gambia is firmly committed to deepening friendship based on mutual respect and strengthening fruitful cooperation. He believes that the spirit of the Year of the Horse will continue to inspire the people of both countries to work together and share success.
Malian Transitional President Goita wished the Chinese people peace and prosperity in the new year, and expressed his willingness to work with China to continuously consolidate and develop the strategic partnership of solidarity, friendship, and cooperation between Mali and China.
President Simina of the Federated States of Micronesia said that Micronesia will work with China, upholding the spirit of not fearing long distances or dangers, and moving forward with courage, wisdom, trust, and perseverance to promote the continuous and in-depth development of bilateral partnerships.
Solomon Islands Prime Minister Manele said that the Chinese Lunar Year of the Horse is of great significance to the Solomon Islands. The Solomon Islands gained independence in 1978, which happened to be the Year of the Horse. The horse symbolizes strength, power, and speed. The Solomon Islands is willing to continuously strengthen Solomon Islands-China relations with faster speed and greater strides.
International Olympic Committee President Coventry said that the Year of the Horse symbolizes vitality, determination, and courage, which perfectly matches the spirit of the athletes competing in the Milan Winter Olympics. The outstanding performance of Chinese athletes at the Italian Winter Olympics has brought great pride and joy to Chinese people at home and abroad, making this festival even more meaningful. He firmly believes that the close cooperation between the two sides will continue to deepen in the future.
Philippine President Marcos, Moldovan President Sandu, Ukrainian President Zelensky, Georgian President Kavelashvili, Palestinian President Abbas, Venezuelan Acting President Rodriguez, Cambodian Prime Minister Hun Manet, Armenian Prime Minister Pashinyan, Grenadian Prime Minister Mitchell, and International Olympic Committee Honorary President Bach also sent messages or letters to President Xi Jinping (习近平) to express their New Year blessings, wishing the Chinese people happiness and well-being, and the country prosperity and progress.
Return to TopBy: 本报记者 李 强
Red lanterns hang at the entrance of the factory, and the windows are decorated with the Chinese character "福" (fú - "good fortune") and traditional Chinese paper-cuts. Inside the workshop, machines roar, creating a busy scene... Inside the Yutong factory in Saran City (萨兰市), Karaganda Region (卡拉干达州), Kazakhstan (哈萨克斯坦), assembly lines operate in an orderly manner, and Chinese and Kazakh employees at their work stations are busy and focused.
"Today is Lunar New Year's Eve, I wish everyone a happy Spring Festival! Thank you for continuing to stick to your posts during the holiday and safeguarding the safe production of every bus," said Li Xuanzhen (李炫臻), production manager of the Yutong factory in Kazakhstan (哈萨克斯坦宇通工厂), at the morning meeting. This is his first time spending the Spring Festival abroad. Facing the order for 110 buses from the Almaty Bus Group (阿拉木图公交集团), he realizes that he bears an important production responsibility. "The trust of our customers is our greatest motivation."
In the production workshop, welding sparks dance, and workers skillfully perform component installation and harness inspection. A new energy bus that has just completed debugging drives off the production line. Wang Jinming (王金明), a Chinese technical backbone in the final assembly workshop, introduced that the Kazakh workers have mastered the technical essentials and can fully implement the technical requirements of each production link. "We have trained a group of mature technical backbones locally and can confidently hand over the production tasks to them."
"Every bus that rolls off the line must complete 30 kilometers of road testing." Qiao Jianqiang (乔建强), a road test inspector, told reporters that in order to adapt to local road and climate conditions, the factory has carried out targeted optimizations in component matching, cold resistance performance testing, and vehicle calibration. The final road test is an important guarantee for the safety of new cars. "We must ensure that every bus can withstand the test, run stably, and last for a long time."
This year is the second year that Asimguli (阿西姆古丽), a Kazakh employee, has worked at the factory. Seeing her Chinese colleagues, she greeted them with a smile in Chinese: "Happy New Year!" "The Yutong factory has allowed us to witness Chinese speed firsthand. I am very proud to be involved in manufacturing new buses for Kazakhstan (哈萨克斯坦)," said Asimguli (阿西姆古丽).
After work, the Chinese employees invited several Kazakh friends to prepare the New Year's Eve dinner together. Everyone sat around together, exchanging blessings and chatting about their families. Some people raised their mobile phones to record the warm moments abroad, and others posted photos of themselves working at the Yutong factory on their WeChat Moments, writing a special commemoration of "Spending the Spring Festival in Kazakhstan (哈萨克斯坦)."
After finishing a busy day of work, Li Xuanzhen (李炫臻) had a video call with his parents in China. When he said, "Mom and Dad, Happy Spring Festival," his eyes were already wet with tears.
Return to TopBy: 本报记者 禹丽敏
The wide and smooth black asphalt road stretches forward, with woodlands and villages appearing and disappearing on both sides... Early in the morning, a group of reporters drove along the LOT2 section of the S6 expressway from Koszalin to Slupsk in Poland. This road, designed and constructed by a Chinese company, was officially opened to traffic recently, becoming the first section among several concurrent sections to be put into operation on schedule, which will play a positive role in improving traffic conditions in northern Poland.
The S6 expressway is an important part of the Polish national highway network. The LOT2 section, undertaken by PowerChina Municipal Construction Group Co., Ltd. (中国电建市政建设集团有限公司) for design and construction, is built to a two-way four-lane standard, with a total length of approximately 23 kilometers, passing through a nature reserve. The project team followed relevant Polish and EU norms and standards and adopted a number of eco-friendly measures during construction. Project Manager Zhang Zheng (张铮) said: "In order to minimize the disturbance to the environment, we avoided large-scale surface excavation in bridge construction, and also set up ecological passages at multiple nodes to ensure that animal migration is not hindered."
From strictly implementing pollution control measures at the construction site to meticulously managing issues such as rainwater runoff and noise, environmental protection concepts are reflected in all aspects of the project construction. The project department incorporated ecological concepts into the design of the drainage system, setting up vegetation belts and ecological buffer zones around bridge and culvert structures to maintain soil and water stability and protect biodiversity.
During the Spring Festival, the local government invited the entire project team to participate in a festive gathering, where Polish dumplings and Chinese dumplings "met" on the same table. Project translator Marta (玛尔塔) said: "When Chinese colleagues celebrate the Spring Festival, we celebrate together; when it comes to Polish holidays, Chinese and Polish colleagues also gather together. This interaction allows us to deepen our understanding of each other." Project Manager Migozinski Slavomir (米戈津斯基·斯瓦沃米尔) said: "We have witnessed the cohesion of the team and experienced the warmth brought by cultural exchange."
A highway not only connects the towns in northern Poland, but also connects people from different cultures and backgrounds. For Chinese companies, this is a road paved with high-quality engineering, and also a true record of cooperation, cultural understanding and shared responsibility.
Return to TopBy: 本报记者 张志文
On the construction site of the Moroccan high-speed rail project undertaken by China Railway 20th Bureau (中铁二十局), the Chinese red color is flying, and laughter is echoing. A group of Chinese and foreign young builders are celebrating the Chinese New Year in their busy work. The festive Spring Festival decorations reflect their youthful faces, with deep concern for their families far away, but also with the enthusiasm and energy to take root in the front line overseas and build a good project.
At the Umm Errabia Bridge construction site deep in the Gobi Desert, the roar of machinery continues, and several young technicians and workers have just completed the first cast-in-place pile pouring. "With this pile successfully poured, we will return to the project department to eat dumplings and celebrate the New Year!" Technician Ban Wenming (班文明) wiped the sweat from his forehead, his tone full of pride.
Surveyor Zhang Chengrong (张程荣) held the instrument and repeatedly checked the data in the wind and sand. The wind and sand in the Gobi Desert were strong, blowing his cheeks red, but his eyes were always fixed on the measuring rod, meticulously checking the data. "Being able to participate in the joint construction of the 'Belt and Road' project, building high-speed rail for the Moroccan people, and facilitating their travel, I feel that no matter how hard I work, it is worth it!" Zhang Chengrong (张程荣) said that he was a little worried about not being able to accompany his wife and children during the New Year, but the project department is like a big family, and colleagues share weal and woe and take care of each other, making him feel fulfilled, and his homesickness is much less.
At the project department驻地, strings of red lanterns are hung up, and the Spring Festival couplets on the gate, "The Silk Road builds bridges to connect China and Morocco, and ingenuity builds dreams to connect the future" are particularly eye-catching. In the cafeteria, the atmosphere of the New Year is even stronger. "Hold the skin with your left hand, don't put too much filling in your right hand, pinch slowly from the side to the middle, and the force should be even to make it look good." Office Director Pan Ting (潘婷) demonstrated while teaching the local translator Ni Aima (尼阿玛) how to make dumplings. Chinese and Moroccan young employees gathered together, talking and laughing, with the sounds of conversation and laughter intertwined.
In the conference room, everyone moved tables and chairs, hung colored lights, and pasted window decorations to arrange the venue for the Spring Festival Gala. Office clerk Song Chaoyang (宋朝阳) picked up a window decoration and said: "These New Year decorative garlands were specially ordered from a Chinese supermarket a month in advance, just to let everyone feel the strong Chinese New Year atmosphere overseas."
After the projector was debugged, snacks and fruits were placed on the table. On New Year's Eve, this small screen connected the motherland, sending reunion and longing from thousands of miles away to everyone's eyes. "Although people are overseas, the Spring Festival Gala must be arranged!" Song Chaoyang (宋朝阳) said.
(Chen Hui (陈辉) and Pan Ting (潘婷) also contributed to this article)
Layout design: Zhang Danfeng (张丹峰)
Return to TopBy: 本报记者 张腾扬
"Swoosh—" At the Milan Winter Olympics, Chinese athletes soar and spin... Thousands of miles away in Chongli District (崇礼区), Zhangjiakou (张家口), Hebei (河北) Province, at the National Ski Jumping Center "Snow Ruyi (雪如意)," ski enthusiasts stop to watch the big screen, cheers erupting.
The small city of Chongli (崇礼), nestled among mountain folds, is transforming the Winter Olympics legacy into new momentum for high-quality development: In 2015, Beijing (北京) and Zhangjiakou (张家口) jointly won the right to host the 2022 Winter Olympics. At that time, Chongli's annual tourist reception was only more than 2 million, but in 2025, it has exceeded 10 million.
General Secretary Xi Jinping (习近平) emphasized during his inspection in Zhangjiakou (张家口): "Closely integrate with the promotion of the coordinated development of Beijing-Tianjin-Hebei (京津冀), drive construction in all aspects through the preparation of the Beijing Winter Olympics, and strive to deliver two excellent answers for the preparation of the Winter Olympics and local development." Chongli (崇礼) keeps its mandate firmly in mind, explores solutions to the global issue of post-Olympic venue utilization, and strives to host a successful event and enhance the city.
Beginning: Normalized Venue Utilization, Coordinated Development as "One Chessboard"
Walking into "Snow Ruyi (雪如意)," it has been transformed into a complex integrating competition hosting, conferences and exhibitions, tourism, and sightseeing. Inside the sightseeing hall, exhibits such as "Bing Dwen Dwen (冰墩墩)" are still very popular; on one side of the hall, athletes are training in the fitness area, and study tour groups are listening to explanations of the ski jump structure.
For post-competition utilization, Chongli (崇礼) focuses on three keywords: "repeated, comprehensive, and sustainable." Repeated: using events to "light up" the venues, with various professional competitions held year-round; Comprehensive: using renovations to add functions, with more than 30 new business formats such as study tours entering the venues; Sustainable: using operations to realize revenue, with the 1,500+ rooms in the Winter Olympics Village in high demand recently.
Behind the keywords is the systematic support of the coordinated development of Beijing-Tianjin-Hebei (京津冀). The Beijing-Zhangjiakou High-speed Railway (京张高铁) and the Beijing-Chongli Expressway (京礼高速) connect, bringing Chongli (崇礼) into the "one-hour traffic circle" of the capital. High-speed rail station shuttle buses and snow resort bus loops are densely operated, so that tourists can "get on the bus upon exiting the station and get off the bus at the snow resort."
Resource sharing and route promotion. "After touring Beijing (北京), tour Chongli (崇礼). After visiting the 'Ice Cube (冰立方),' the two places seem to have agreed to smoothly bring tourists to 'Snow Ruyi (雪如意),'" said Zhang Hong (张虹), a tourist from the south. Beijing (北京) and Zhangjiakou (张家口) integrate resources and jointly launch tourism routes such as "Travel with the Games," and have continuously held five Beijing-Zhangjiakou All-Season Sports Tourism Carnivals, with the integration of culture, sports, and tourism deepening.
With coordinated development as "one chessboard," Chongli (崇礼) magnifies the value of Winter Olympics resources and transforms the potential energy of national strategies into development momentum: In 2025, 239 sports events were held, and Winter Olympics venues achieved revenue of 169 million yuan, an increase of 24.26% year-on-year.
Development: Adhering to Adapting to Local Conditions, Anchoring the "Ice and Snow +" Positioning
As early as the preparation for the Winter Olympics, Chongli (崇礼) hired a professional team to formulate a development plan: not seeking excessive ambition, but accurately positioning itself as a "ski tourism destination" and strengthening its ice and snow advantages.
The "Ice and Snow Market" reveals the truth. In the Fulong Ski Resort (富龙滑雪场), non-heritage paper-cutting cuts out Winter Olympics elements, "Chengyu Coffee" latte art presents curling patterns, and snowfield electronic music shows take turns on stage. "It is named a market because it has cultural flavor and fun, anchoring the development of the entire industrial chain such as ice and snow culture and ice and snow tourism," said Han Xiaoyu (韩晓玉), Deputy Director of the Chongli District (崇礼区) Culture, Radio, Television, Tourism and Sports Bureau.
This snow season, Chongli (崇礼) has enriched and expanded the "ice and snow +" consumption scenarios with a layout of "all ages, all scenarios, and all time periods," driving the upgrading of the entire chain of "eating, living, traveling, shopping, and entertainment." The Liu Chun (刘春) family from Beijing (北京) has the most direct experience: he gallops on the professional track of the Wanlong Ski Resort (万龙雪场), his wife chases after the "Hanfu Ski Show" to take pictures, and his children play in the parent-child snow play area. "The ski resort can ski, watch performances, and play 'Datiehua (打树花),' which is full of fireworks," said Liu Chun (刘春).
As of now, since the snow season started in November 2025, Chongli (崇礼) has received more than 4 million tourists, an increase of more than 10% year-on-year.
Conclusion: Close Integration of Investing in Things and Investing in People
The transformation of the Winter Olympics legacy cannot be separated from the continuous improvement of infrastructure and operational capabilities. Chongli (崇礼) has built 9 international-standard ski resorts such as Genting (云顶) and Fulong (富龙), with 219 ski runs with a total length of 178 kilometers. "Some time ago, various ski resorts upgraded their hardware and software to provide tourists with a variety of experiences," said Wu Yan (武岩), Deputy District Mayor of Chongli District (崇礼区).
Investing in things brings about changes in development. "Spring outing, summer heat avoidance, autumn scenery, and winter skiing" have become new business cards of Chongli (崇礼). Relying on mountain resources and venue operation experience, after 2024, the number of summer tourists in the local area exceeded the number of winter tourists again in 2025, gradually changing the phenomenon of "one season supporting three seasons."
The more important focus is on investing in people. During a recent trip to Chongli (崇礼), Li Haibin (李海滨), a tourist from Beijing (北京), experienced an impromptu ice and snow trip: departing by high-speed rail, ski equipment was sent to the hotel in advance; after arriving, taking a shuttle bus to the ski resort in 15 minutes; buying a package ticket online, and getting discounts for dining...
Chongli (崇礼) distributes cultural and tourism consumption coupons covering skiing, accommodation, etc., and launches one-stop ski equipment delivery and other services to continuously optimize the tourist experience.
Investing in people also lies in cultivating the ice and snow population. Wei Yuxuan (魏羽萱), a 12-year-old local skier, speeds on the advanced track. The ice and snow sports "entering campus" activity accompanies her growth. "The school has formed a ski team, and I have a group of young skiers," said Wei Yuxuan (魏羽萱).
This snow season, the "Snow Ruyi (雪如意)" Youth Ski Training and Competition Center has been put into use; Winter Olympics venues have launched preferential policies to attract students for study and exchange.
It is not easy to achieve success over time. "Taking the ice and snow sports 'entering campuses, entering enterprises, and entering government agencies' as an example, we are investing real money, anchoring the potential achievements of 'laying the foundation, increasing stamina, and benefiting the long term,'" said Han Xiaoyu (韩晓玉).
The return is reflected in people's livelihood and industry: In 2025, Chongli's (崇礼) per capita regional GDP reached 48,000 yuan, an increase of 45.5% compared with the end of the "13th Five-Year Plan"; about 1/4 of the population is making a living from "ice and snow." "Ice and snow is a key to opening Chongli (崇礼), but what really pushes open the door to development is the new practice of Chongli people under the guidance of new ideas," said Cao Dongxiao (曹东晓), District Mayor of Chongli District (崇礼区).
In the evening, street lights light up along the mountain, Chinese and English signs are reflected on the snow, and accents from all over the world are intertwined in restaurants and ski equipment stores. Chongli's (崇礼) "post-Winter Olympics era" is accelerating forward.
Return to TopBy: 杨新育
The Spring Festival, as one of the most important and representative traditional festivals of the Chinese nation, carries endless historical memories and profound humanistic spirit. Currently, the Spring Festival's influence on the international stage continues to expand, and its unique role in promoting global civilization dialogue and cultural exchange and mutual learning is constantly emerging.
As an important manifestation of human creativity and collective wisdom, intangible cultural heritage is regarded as an important cultural resource for promoting civilization dialogue, maintaining cultural diversity, and serving peace and sustainable development. In December 2024, "The Spring Festival - Social Practices of Chinese People Celebrating the Traditional New Year" was successfully inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, which not only marks the international community's high recognition of the cultural value of the Spring Festival, but also opens a window for the world to understand China and perceive Chinese civilization more deeply.
The values contained in the Spring Festival, such as respecting nature, valuing family affection, pursuing harmony and common prosperity, and yearning for a harmonious world, are not only deeply rooted in the fertile soil of Chinese civilization, but also respond to the universal expectations of today's world for unity, mutual trust and common development. These concepts transcend regional and cultural differences, demonstrate distinct contemporary significance, and are in line with the spiritual core advocated by the Global Civilization Initiative. Since the successful application for the Spring Festival's inscription on the list, Spring Festival culture has been spread in various forms in many countries and regions, actively integrating into the local social and cultural context and becoming an important carrier for mutual understanding and appreciation between different civilizations. The Permanent Delegation of China to UNESCO has successively held large-scale cultural performances and Spring Festival temple fairs such as "Our Spring Festival" at the UNESCO headquarters in Paris, France, systematically showcasing the traditional Chinese cultural values carried by the Spring Festival, which has received widespread attention from the permanent delegations of member states. At the 2026 Spring Festival temple fair held recently, UNESCO Director-General Audrey Azoulay (埃纳尼) said that the Year of the Horse symbolizes courage and progress, and embodies the spirit of forging ahead in the face of challenges. The successful application for the Spring Festival's inscription on the list not only demonstrates the global influence of Chinese culture, but also injects new impetus into civilization exchange and mutual learning. In the current international environment full of uncertainties, this spirit of courageous advancement is particularly important, and UNESCO is willing to take this as an opportunity to further strengthen cooperation with China.
The successful application for the Spring Festival's inscription on the list is a new starting point for China to participate more deeply in the global intangible cultural heritage protection cause. China has always attached great importance to the systematic protection, living inheritance and rational utilization of cultural heritage. While solidly doing a good job in the protection of its own cultural heritage, it actively participates in international cooperation and experience sharing within the UNESCO framework. China was elected as a member of the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage and will host relevant meetings. China is not only an important participant in the global intangible cultural heritage protection cause, but is also participating in the construction of the international cultural governance system with a constructive attitude.
Today's world is undergoing profound and complex changes, with frequent geopolitical conflicts, continuous manifestation of value differences, and a significant increase in instability and uncertainty. How to achieve inclusiveness in diversity and enhance understanding in differences has become a contemporary issue that the international community must face. UNESCO constantly reiterates the fundamental role of culture in promoting dialogue, resolving opposition, and rebuilding trust, emphasizing that culture should become an important bridge connecting different civilizations and bridging differences.
China continues to deepen pragmatic cooperation with UNESCO in the fields of education, science and culture, relying on diverse mechanisms such as world heritage and intangible cultural heritage to systematically present the historical depth and contemporary value of Chinese civilization, share China's practical experience in ecological civilization construction, biodiversity protection and sustainable development, and actively participate in the global cultural and ecological governance process. China fulfills its international responsibilities with practical actions and contributes Chinese experience to improving global public governance.
Looking to the future, China will continue to deepen strategic cooperation with UNESCO, use culture as a bridge, continue to promote civilization exchange and mutual learning, expand dialogue space in a world of multiple coexistence, use the power of culture to build consensus, promote peace, and contribute lasting and profound spiritual strength to building a community with a shared future for mankind.
(The author is the Ambassador and Permanent Delegate of China to UNESCO)
Return to TopIn recent days, a series of Spring Festival celebrations have been launched in Laos, Serbia, and Mexico. Visiting temple fairs, tasting delicacies, appreciating intangible cultural heritage... Chinese Spring Festival celebrations not only convey the joy, blessings, and vitality of the New Year, but also allow local people to experience the charm and inclusiveness of Chinese culture up close through exchanges and interactions.
The Lao Chinese Cultural Center (老挝中国文化中心) in Vientiane (万象), the capital of Laos (老挝), is filled with festive atmosphere. A themed temple fair was held here recently. Walking into the temple fair is like being in a traditional street market: in the food exhibition area, the dumpling, spring roll, and tangyuan stalls are full of lively atmosphere; long queues have also formed in front of the Lao-flavored coconut sticky rice cake and spicy rice noodle stalls. In the cultural experience area, local people participate in rubbing New Year pictures, painting lacquer fans, and cutting window decorations; in the traditional sports area, games such as fishing, pot throwing, and ring toss attract many children; in the intangible cultural heritage exhibition area, the craftsmanship of artisans in shadow puppetry, tie-dyeing, dough modeling, and embroidery is exquisite, and the audience is full of praise.
Visava Thammawong (维萨瓦·塔玛翁), a senior student majoring in Chinese at the National University of Laos (老挝国立大学), is carefully learning to write the character "Fu" (福), which means good fortune. This is his second time participating in the "Happy Chinese New Year" series of activities. "The Spring Festival is a festival of reunion, and it also symbolizes a new beginning," he said. These experiences have allowed him to feel the charm of traditional Chinese culture.
The AI robot "Banya" (班亚), which made its debut, was surrounded by children—from the legend of the Kitchen God to the meaning of New Year pictures, from the origin of the dragon dance to the symbolism of dumplings, it knows the cultural customs of the Spring Festival like the back of its hand, opening a flowing cultural window for the audience. The event also launched the "Green Screen Travel" check-in point for the first time. Participants can choose different backgrounds on the green screen to "travel" to Chinese attractions such as the Forbidden City (北京故宫), the Great Wall (长城), and Hongyadong (洪崖洞) in Chongqing (重庆), leaving behind "check-in photos."
The Sava River (萨瓦河) in Belgrade (贝尔格莱德), the capital of Serbia (塞尔维亚), is filled with a strong Chinese New Year atmosphere. The adorable dragon and horse lanterns and the continuous red lanterns light up the riverside walkway in the winter night, creating a strong festive atmosphere for this ancient city.
The "Chinese Flavor Spring Festival Temple Fair" recently opened in Belgrade (贝尔格莱德). The lion dance team somersaulted and jumped, igniting the enthusiasm of the audience. The giant light show of "Happy Chinese New Year" and "Auspicious Year of the Horse" lit up the landmark building of Belgrade (贝尔格莱德) - Belgrade Tower (贝尔格莱德塔), and brilliant fireworks bloomed in the night sky. People on the scene took out their mobile phones to take pictures, and the applause and cheers lasted for a long time. Marina and Milica, a mother and daughter who participated in the event for the first time, said that they hope such celebrations will enter more cities in Serbia (塞尔维亚), allowing local people to experience the charm and inclusiveness of Chinese culture up close.
The drums are powerful, the golden dragon is tumbling, and the male lion is leaping. The 8th "Year of the Horse Zodiac Decoration Competition" and parade, jointly organized by the Chinese Embassy in Mexico (中国驻墨西哥大使馆), the Chinese Cultural Center in Mexico (墨西哥中国文化中心), and the Mexican Chinese Community (墨西哥墨华社团), was held in the historical center of Mexico City (墨西哥城), the capital of Mexico (墨西哥), injecting a warm spring atmosphere into Mexico City (墨西哥城).
Participants decorated themselves as "zodiac horses" with different styles based on the theme of "Year of the Horse"—some were inspired by traditional Chinese elements, and some cleverly integrated local Mexican aesthetics. There were both traditional auspicious horses wearing red and gold patterns, symbolizing auspiciousness and power, and festive flower horses with Mexican folk colors and embroidered decorations.
Local resident Rocío Pérez (罗西奥·佩雷斯) brought her 16-year-old daughter to participate in the celebration for the fifth time. She spent two weeks using recyclable materials to make a horse-themed costume for her daughter. "The horse represents vitality and energy. Our whole family is very interested in the zodiac and Spring Festival culture," Pérez (佩雷斯) said.
In the lion dance team, the leaping of one "lion" was particularly powerful—the performer was the 15-year-old daughter of local resident Martín Villanueva (马丁·比利亚努埃瓦). Villanueva (比利亚努埃瓦) made a special trip from Tlaxcala (特拉斯卡拉州), and this is the second consecutive year he has accompanied his daughter to participate in the Spring Festival celebrations. Villanueva (比利亚努埃瓦) said that Chinese culture is wonderful and unique, and his whole family likes this colorful and festive New Year celebration, and they are also happy to see more and more young people gain motivation and growth through cultural exchanges.
(Reported by Yang Yi (杨一), Xie Yahong (谢亚宏), Xie Jianing (谢佳宁), and Shen Xiaoxiao (沈小晓) from Bangkok (曼谷), Rome (罗马), Mexico City (墨西哥城), and Cairo (开罗) on February 21st, with Su Peng (苏朋) from the Asia-Pacific Center Branch participating in the writing)
Return to TopBy: 董汶鑫
Where the spring tide surges and the New Year atmosphere is strong. During the Spring Festival holiday, the Ministry of Commerce (商务部), together with relevant departments and local governments, held the 2026 "Happy Shopping for the New Year" Spring Festival special event, covering six aspects: "delicious food," "comfortable accommodation," "convenient travel," "enjoyable tourism," "pleasant shopping," and "fun entertainment," creating a Spring Festival consumption feast with all-round linkage and universal enjoyment.
From the folk flavor of people's livelihood filled with the aroma of fireworks to the pursuit of excellence in quality, the lively scene of "Happy Shopping for the New Year" demonstrates the strong resilience and vigorous vitality of China's consumer market.
"Eating" brings a sense of happiness in the New Year, with various New Year delicacies and special festive activities blending together, filling the air with the taste of reunion; "Living" brings new experiences in the New Year, with diverse accommodation scenarios filled with warmth, enjoying new changes in living in the New Year; "Traveling" creates a nationwide consumption network, with leisure and roaming becoming a new fashion, and convenient travel helping the New Year journey; "Touring" gathers the joy of the New Year, with lantern festivals and temple fairs being lively and extraordinary, filled with laughter; "Shopping" brings new momentum to consumption, with New Year's fairs bustling with people, and the traditional New Year flavor and quality consumption empowering each other, fully demonstrating the strong momentum of consumption; "Playing" brings out new cultural charm, with folk performances and modern technology integrated, injecting cultural vitality into the New Year's cultural tourism consumption.
The six aspects complement each other, depicting a colorful picture of happiness. The flowing China is full of vitality, showing the vigorous vitality and huge potential of the domestic market. This "Happy Shopping for the New Year" feast enriches the spiritual and cultural life of the masses and injects strong momentum into expanding domestic demand and stabilizing growth.
Return to TopLayout Design Zhang Fangman (张芳曼)
Return to TopNingxia Guyuan "Longde Gaotai Mashehuo"
Under the Liupan Mountains (六盘山), spirited horses ascend the high platform.
By Jiao Siyu, reporter of this newspaper
"Once the Laba Festival arrives, the Shehuo begins." In Longde County (隆德县), Guyuan (固原), Ningxia (宁夏), performing Shehuo is the most grand and lively event of the year. Lion dances, stilt walking, flower boat rowing, bamboo horse racing... various types of Shehuo have a history of over a hundred years, but the most distinctive of these is the "Gaotai Shehuo" (高台社火, high platform Shehuo).
After nightfall, the old alley scenic area is brightly lit, and the sound of gongs and drums can be heard from afar as the Gaotai Shehuo procession comes through the streets. The performers, with painted faces and dressed in costumes, ride "horses" in formation, striding forward. The "Heavenly Official" stepping on auspicious clouds, the "Five Tiger Generals" riding spirited horses, Sun Wukong (孙悟空) standing on the tip of a several-meter-high banana leaf fan... They use the intangible cultural heritage technique of "floating" in the air, holding knives, spears, swords, and halberds, either standing or dancing, in a myriad of poses, slowly "performing" classic stories.
These lifelike "spirited horses" and exquisite props are mostly made by Zhang Guoqin (张国勤). As a national representative inheritor of the intangible cultural heritage Taige (抬阁, elevated platform) (Longde County Gaotai), Zhang Guoqin has been learning Gaotai Shehuo from his father's generation since childhood and is now 72 years old. He boldly innovated on the basis of traditional "Gaotai Shehuo" and "Ma Shehuo" (马社火, horse Shehuo), creating the unique category of "Gaotai Ma Shehuo" (高台马社火, high platform horse Shehuo), which involves "moving" the "spirited horses" onto the high platform, allowing the performers to stand on specially made "horse cores," four or five meters above the ground, appearing from a distance as if they are riding horses in the air, majestic and extraordinary.
"Our Longde's Gaotai Shehuo has always been known for the four characteristics of 'high, suspended, strange, and wonderful'," Zhang Guoqin explained. High, in terms of position, the performers stand on a several-meter-high platform, as if walking on clouds; suspended, in terms of vision, they appear to viewers to be unsupported, as if suspended in mid-air; strange, in terms of shape, a high platform is a three-dimensional opera excerpt, and any story can be performed; wonderful, in terms of craftsmanship, those seemingly impossible aerial postures are all steadily supported by the hidden iron core skeleton, which integrates mechanical ingenuity, iron art forging, and carpentry skills, all of which are handed down from generation to generation by old craftsmen.
"To create Gaotai Shehuo, you have to be proficient in 21 crafts, three more than the eighteen martial arts." Speaking of the intricacies of Gaotai Shehuo, Zhang Guoqin knows them like the back of his hand. From electric welding and forging, mechanical calculation, to face painting and drawing, sewing costumes, and being familiar with traditional cultural stories and accurately restoring the shapes of objects, each craft must be carefully polished, and it is by no means easy to achieve excellence. "This Gaotai Shehuo is a silent drama. The costumes must be in line with ancient charm, the facial makeup must capture the spirit, and the movements must grasp the soul, so that the villagers can recognize who it is at a glance and know which story it comes from." Zhang Guoqin's hands are covered with calluses and brown marks, which are the imprints left by years of dealing with iron wire, steel plates, and fabrics.
"Others see me doing art, but I am actually a 'junk collector'." He smiled and walked into his "treasure room," a room of about 40 square meters, filled with old wooden sticks, iron wires, steel frames, fabric scraps, and various tools. "The high platforms, costumes, props, and shaped horses that the villagers see are all made by us by hand, and we can't do without these tools." Zhang Guoqin pointed to the room full of "treasures" and said, "When I see things that others throw away on the street, and I think they can be used for Gaotai Shehuo, I pick them up and save them. Look at this Guan Gong (关公) broadsword, the pole is an old mop stick, and the blade is made of cardboard."
Every year before the Spring Festival, is the busiest time for Zhang Guoqin. On the day of the performance, he often gets up at 1 a.m. to prepare, and starts applying makeup and dressing the actors at 3 a.m. "It's only once or twice a year, and we must present the best to the villagers." He always says that he will do as much as he can, helping this person tie props, and helping that person paint facial makeup, until all the actors are neatly lined up and the gongs and drums sound.
For many Longde people who go out to study or work, returning home during the New Year to watch a Shehuo performance is an unavoidable homesickness and the confidence to start anew.
The lights are still on, and the gongs and drums sound again. Above the high platform, history and legends are performed time and time again, and in the eyes of the villagers looking up, they are framed into vivid Spring Festival memories in the years. Zhang Guoqin and his "spirited horses" are heading towards one spring after another.
Hebei Handan "Yongnian Taihua Zhuo"
On the land of Yan and Zhao, the beauty of the four seasons is on the shoulders.
By Shao Yuzi, reporter of this newspaper
The gongs and drums are getting tighter and tighter, and the suona is getting higher and higher. On the streets of Linmingguan Town (临洺关镇), Yongnian District (永年区), Handan (邯郸), Hebei (河北), accompanied by the sounds of gongs and drums, suona, and children's cheers, a flower table, covered with colorful flowers and weighing more than 200 pounds, is steadily lifted on the shoulders of 8 table lifters.
The table body is framed with solid wood, and thousands of simulated flowers are layered on the six-foot-high flower stand. On the vermilion railing of the flower table, the exquisitely carved dragon patterns are full of luster in the morning light. "Step by step!" The table lifters in the front row began to shout loudly, the pole steadily resting on the collarbone, and the body leaning back slightly; the people in the back row responded in unison, "Higher and higher!", pushing forward with their shoulders, and stepping forward steadily to the beat of the drums.
The flower table is gorgeous, and the crowd is crowded. The festive atmosphere of the New Year dances on the shoulders of the table lifters, permeating the streets and alleys.
The origin of "Yongnian Taihua Zhuo" (永年抬花桌, Yongnian Flower Table Lifting) can be traced back to the early Tang Dynasty. At that time, it was not a festival performance, but a solemn ritual of sacrifice and prayer, carrying the simple wishes of the people for good weather and a good harvest. After the Song, Yuan, Ming, and Qing dynasties, this ritual gradually integrated into folk festivals, forming a unique folk art form with the characteristics of Yan and Zhao, which is an indispensable bright color in local festivals and temple fairs. In 2008, Yongnian Taihua Zhuo was selected into the second batch of national intangible cultural heritage list.
The flower table is extremely exquisite. A flower table has a condensed beauty of the four seasons, and also the exquisite craftsmanship of the craftsmen. "A flower table is a miniature museum of folk art." Yang Zhenyi (杨振义), director of the Yongnian District Intangible Cultural Heritage Protection Center, said that a flower table has to go through dozens of processes such as material selection, planing, carving, painting, and flower tying, condensing the joint efforts of carpenters, painters, and flower tiers.
"In the past, the core components of the flower table were made of solid wood that was hard and durable, and the table body was made of rosewood or sandalwood, supplemented by thin bamboo strips and iron wires to tie a six-foot-high oval flower stand. The two 5-meter-long large driving poles need to be carefully selected from tough hardwood. With the development of the times, the choice of materials is becoming more diverse and practical." Pei Baolin (裴保林), a national representative inheritor of Yongnian Taihua Zhuo, introduced that now, simulated flower materials have replaced paper-cut flowers, and the shape can maintain its bright color for a long time; rubber accessories are installed at the connection of the lifting rods, which not only reduces the burden on the lifters, but also improves the stability of the movement...
Pei Baolin has been "lifting" flower tables for more than 60 years. In addition to the iteration of flower table materials, Pei Baolin has also made many innovations in the performance form of flower table lifting: in the traditional "Dou Zhuo" (斗桌, table fighting) link, new high-difficulty movements such as "Carp Leaping over the Dragon Gate" have been added - 8 table lifters simultaneously shrug their shoulders and exert force, allowing the flower table weighing more than 200 pounds to leap into the air and then fall steadily, with the flowers flying between them, showing strength and tacit understanding; the original fixed tour route is integrated into an immersive experience, and the flower table team stops to perform in intangible cultural heritage markets and cultural squares, with the lifters and the audience shouting slogans in the air, and the humorous responses of "Take a good look at a flower" and "Step by step", making the atmosphere very warm; the accompaniment music retains traditional repertoire and integrates the melodies of the times such as "Never Forget the Original Intention", with the suona and electronic organ, gongs and drums and square dance music blending together, and the ancient and modern symphony singing the joy of new life.
Yongnian Taihua Zhuo, lifts the flower table, but also a culture and an expectation.
In recent years, Yongnian District has systematically sorted out the ritual process, production process, and performance routines of flower table lifting, and constructed an intangible cultural heritage protection system of "protection-inheritance-communication-revitalization", forming an inheritance echelon, so that the thousand-year-old flower table lifting can be revitalized in the new era.
"What is lifted is happiness, but also responsibility." Pei Baolin also has his own wish, "To let more people see the happy life of our farmers."
(Zhou Jinli participated in writing)
Shaanxi Baoji "Longxian Shehuo"
On the Loess Plateau, a thousand-year-old folk custom shows vitality.
By Jia Fengfeng, reporter of this newspaper
The drum beats shake the mountains, and the gong sounds penetrate the alleys. On the Cultural Square of Longxian County (陇县), Baoji (宝鸡), Shaanxi (陕西), the gong and drum team waves their arms and raises their mallets, and the drum beats are like thunder rolling on the ground; the Shehuo members are dressed in colorful clothes and painted with oil paint on their faces, and between turning and leaping, the spirit of the thousand-year-old folk custom rushes to the face.
Zhao Minjun (赵敏军), 50 years old, is guiding the team members on how to pose and practice their steps. As a municipal representative inheritor of Longxian Shehuo, he has been associated with Shehuo for thirty-three years. He became an apprentice at the age of 17, and has been working hard on the front line without stopping. "Shehuo is a pantomime, every move is a story, and every step has its own meaning." On the training ground, while correcting the posture of the team members, he exhorted, "The eyes must be bright, the posture must be upright, we are not just performing excitement, but also the loyalty and integrity passed down by our ancestors."
Longxian was formerly known as Longzhou (陇州), located in the eastern slope of the Longshan Mountains (陇山), and has the reputation of "Hometown of Chinese Shehuo Culture". Longzhou Shehuo, which began in the Spring and Autumn Period and flourished in the Ming and Qing Dynasties, is a thousand-year-old cultural vein flowing on the Loess Plateau, carrying the local people's love for life and their expectations for a better future. After more than 2,000 years of development, Shehuo has become the most grand ritual and the most touching homesickness of the local Spring Festival. "**无社火，不春节**" (wú shè huǒ, bù chūn jié - "no Shehuo, no Spring Festival," Spring Festival is incomplete without Shehuo), a saying that expresses the Longxian people's preference and adherence to this ancient art.
In front of the makeup table, Wang Qiming (王启明), a 72-year-old facial makeup artist, is concentrating on creating. The wolf hair lightly touches, and the oil paint outlines, red for loyalty, white for treachery, gold for god, and green for chivalry. In just over ten minutes, a Guan Yu (关羽) facial makeup is lifelike, and the "seven-star mole" on the left cheek is particularly vivid. "To paint facial makeup, you must first understand people's hearts; to play Shehuo, you must first respect tradition." Wang Qiming's fingertips are stained with oil paint, and his tone is firm, "Every stroke must not be messed up, and every color has its own meaning. This is the old rule, and it is also our root." For more than 50 years, he has painted countless facial makeups. Before and after the Spring Festival, he starts work before dawn every day, just to let every Shehuo member take the stage with "spirit".
The scene is lively, and the scene is warm. Young team members repeatedly polish their movements with the old artists, and children surround the makeup table, watching intently, and occasionally reaching out to touch the colorful headdresses; several old people bring small stools, watching the rehearsal while humming familiar tunes, their faces full of comfort. "When I was a child, I used to play Shehuo with adults. Now that I can't play anymore, I'm relieved to see my grandchildren take the stage!" Li Fuming (李福明), a 68-year-old villager, said with a smile that when Shehuo is lively, the New Year's flavor is full, and life is more promising.
Today's Shehuo has both old flavors and new vitality. "We explore the style of the times and innovate the performance form. For example, we integrate 'Che Shehuo' (车社火, cart Shehuo) into the traditional Shehuo, and the scene of 'turning agricultural areas into scenic spots and green mountains into golden mountains' is vividly presented, integrating the new changes of the comprehensive revitalization of the countryside into the folk exhibition, which has both traditional charm and the atmosphere of the times." Zhao Minjun introduced that the team also established a cultural media company to deeply integrate Shehuo with historical culture, so that this ancient art can go out of the countryside and onto a broader stage.
The cultural vein continues, and the torch is passed on. In recent years, Longxian County has attached great importance to the inheritance of Shehuo culture. More than 200 administrative villages in the county have more than 300 "Shehuo Associations", and more than 100,000 people participate in Shehuo performances every year, accounting for more than half of the total population. The local government not only holds Shehuo parade competitions, but also establishes Shehuo inheritance centers, invites old artists to carry out inheritance training, cultivates young inheritors, and also excavates and sorts out intangible cultural heritage resources such as Shehuo facial makeups, costumes, and props, so that the thousand-year-old Shehuo can be inherited in protection and developed in innovation.
In a few days, it will be the Lantern Festival. "At that time, Ma Shehuo, Gao Xin Shehuo (高芯社火, high core Shehuo), and Tai Shehuo (抬社火, lifted Shehuo) will take the stage in turn, and more than 20 kinds of Shehuo styles will be displayed in turn. The sounds of gongs and drums, cheers, and applause will be intertwined, forming a lively New Year symphony." Zhao Minjun could not hide his pride, "Welcome everyone to visit our Longxian!"
Return to TopBy: 萧 放
China has a long history of agricultural civilization. Based on the livelihood of agricultural society, it has formed a well-organized and distinctive system of seasonal festivals. The core concern of the traditional seasonal festival system is the harvest of agricultural affairs and the harmony and tranquility of human affairs. Of course, the festivals of the four seasons have different focuses due to the nature of the solar terms. At the turn of the year, just as winter goes and spring comes, the Xia calendar New Year, formed around the Beginning of Spring solar term, is the grandest festival of the year. People reunite their families with New Year's Eve dinners, get close to friends and neighbors with New Year's greetings, and gather villagers with community fire parades to pray for smooth human affairs and agricultural harvests.
Shehuo is a major public entertainment for the New Year. Shehuo is a compound word of "she" and "huo." "She" is the god of earth, "earth produces all things," and it is the ancient rural center of belief; "huo" was originally "huo," referring to a specific group of people. "Shehuo" originally meant group activities surrounding the sacrifice to the god of earth. Shehuo performances had already appeared in the Kaifeng (开封) area during the Song Dynasty, and in the south, they were more often called circumambulation parades. With village organizations as the main body, village collective activities are an important way to connect villagers, and it is also an opportunity to display regional folk art for joint village entertainment. Shehuo is one of the most solemn and lively community activities of the year in the village society, and it is an important way for villagers to traditionally pray for a good harvest and peace.
The inheritance of Shehuo has a collective nature. As a collective activity of the village community, Shehuo relies on the collective inheritance of the village Shehuo organization from generation to generation. Such inheritance has specific organizational guarantees, often arranged by enthusiastic people in the village, through organized training on a daily basis, and completed together through collective and coordinated marching movements. Shehuo is a collective performance art, and even more so an expression of the collective wish for blessings.
Shehuo performances present a distinct artistic quality. Shehuo is a traditional village public art, and a concentrated presentation of local art during the New Year. In Shehuo, people dress up as characters from stories, paint their faces and eyebrows, put on brightly colored costumes, beat gongs and drums, blow suonas, and perform various stories on the ground or on high platforms, creating a lively scene in the countryside through comprehensive art forms.
Shehuo has a strong spiritual incentive. Shehuo performers and the crowds along the way merge into a colorful crowd, everyone with the beautiful wish of welcoming spring and accepting blessings, wholeheartedly devoted to the preparation, organization and ritual activities of Shehuo. In a scene of joy, happiness and peace, the emotions of the rural people are expressed and their emotions are mobilized. This eager anticipation at the beginning of the New Year and the cohesion of concerted efforts are also transformed into the spiritual motivation for the villagers to unite, work hard, and move towards a better future in the new year.
Shehuo is a traditional folk ritual and public art for praying for blessings and welcoming auspiciousness, and also a carrier of villagers' festive life that resonates with the times. With the development and changes of the times, Shehuo is constantly enriched and continuously innovated in its inheritance. On the one hand, we carefully protect the traditional roots, with stories in every move and attention to detail in every step; on the other hand, we actively innovate performance forms, use new materials, integrate new shapes, and interpret the life stories of the new era. Today, Shehuo has moved from the countryside to the city, integrating local art with the new trends of the times, which not only has a broader display stage, but also radiates a more lasting vitality. As the horse treads on the new year and spring opens a new journey, let us continue the millennium-old culture while looking up at the bright stars pointing to the future.
(The author is the Director and Professor of the Intangible Cultural Heritage Department of the School of Social Development, Beijing Normal University (北京师范大学).)
Return to TopBy: 本报记者 贺 勇 阿尔达克
"Having seen countless mountains in my life, none compare to a single cloud in Kuqa (库车)."
Kuche City (库车市), Aksu Prefecture (阿克苏地区), Xinjiang Uygur Autonomous Region (新疆维吾尔自治区), formerly known as "Kuqa (龟兹)," was once the seat of the Anxi Protectorate (安西都护府) during the Tang Dynasty. As a transportation hub on the ancient Silk Road, it not only witnessed the integration and collision of Eastern and Western civilizations but also nurtured a splendid and diverse culture, becoming an indispensable part of the outstanding traditional Chinese culture.
In 2025, the Kuqa Museum (龟兹博物馆), the first local comprehensive museum in China with the theme of Kuqa culture, was completed and opened in Kuqa City (库车市). The museum uses digital technology to bring the history that has been sleeping for thousands of years "alive," vividly telling the magnificent story of the unity and continuity of Chinese civilization.
Millennial Music and Dance Bloom with New Splendor
Stepping into the Kuqa Museum (龟兹博物馆), history no longer silently sleeps in glass display cases. Digital technologies such as holographic phantom imaging, surround-screen projection, and interactive touch screens have built a bridge of civilizational dialogue spanning thousands of years.
In the "Kuqa Music and Dance" exhibition area, a performance that transcends time and space attracts many visitors to stop and watch. On the circular screen, the music and dance patterns from the Tang Dynasty Sumuzhe Relic Box are dynamically restored with high precision, "reappearing" on the stage: 21 dancers dressed in traditional Kuqa costumes dance lightly to the melodious melodies of the konghou and the curved-neck pipa, their clothes fluttering.
"This is not a simple animation reproduction, but an artistic reproduction that integrates a large number of historical documents, mural image research, and dance expert deliberation," said Cao Xingwei (曹兴伟), deputy director of the Kuqa Museum (龟兹博物馆). "From the dance moves to the costume patterns, we strive to match the original appearance of Kuqa music and dance in the Tang Dynasty, so that the Sumuzhe mimic dance recorded in the classics is truly 'revived.'"
Digital display is even more eye-catching in the grotto art exhibition area. With the help of millimeter-level precision digital scanning and color restoration technology, combined with holographic phantom imaging, the millennial murals of the Kizil Grottoes (克孜尔石窟) are clearly presented to the audience. Every stroke and every color of mineral pigment is delicately magnified, making people feel as if they are in the grottoes.
"Cultural relics should not be cold exhibits. Digitalization makes the glorious history of Kuqa and the picture of multicultural integration perceptible, knowable, and able to resonate," said Cao Xingwei (曹兴伟).
"We integrate cultural relic displays, scene restoration, and multimedia interpretation to comprehensively showcase the depth and breadth of Kuqa culture," added Deputy Director Feng Wei (冯伟).
Kuqa Treasures Gather in One Hall
"The richness of Kuqa civilization is rooted in its unique historical and geographical coordinates," said Cao Xingwei (曹兴伟). As the first local comprehensive museum in China to fully display Kuqa culture, the Kuqa Museum (龟兹博物馆) systematically sorts out and displays the essence of civilization in this hub area, aiming to create a cultural palace that not only displays history but also shapes identity.
Ancient Kuqa was not only an important witness to the central government's governance of the Western Regions since the Han and Tang Dynasties but also a melting pot of Eastern and Western civilizations. The World Cultural Heritage sites—Kizil Grottoes (克孜尔石窟), Kizilgaha Beacon Tower (克孜尔尕哈烽燧), and Subashi Temple Ruins (苏巴什佛寺遗址)—are all located here. To better protect and inherit this cultural heritage, the Kuqa Museum (龟兹博物馆) came into being.
The museum building is built adjacent to the Kuqa Wei and Jin Dynasty Site Museum (龟兹魏晋遗址博物馆), with a total area of more than 20,000 square meters. The architectural design draws from the Kuqa mountains and landforms and grotto elements, with an overall majestic style. The museum currently exhibits a total of 700 pieces/sets of cultural relics, covering more than 10 categories including pottery, jade, bronze, ironware, coins, and documents. Among them, 96 pieces/sets are national-level precious cultural relics, including Kuqa documents recording the ancient social and economic life of Kuqa and other "treasures of the museum."
"Technology is just a medium, culture is the key," said Cao Xingwei (曹兴伟). "The mission of the museum is to systematically present the context and spirit of Kuqa culture in an innovative exhibition manner, guiding the audience to deeply understand the breadth and inclusiveness of Chinese civilization while experiencing the charm of technology."
Bring the Silk Road Elegance Home
"The vitality of culture lies not only in the preservation and research of cultural relics but also in integrating into daily life and entering life," said Cao Xingwei (曹兴伟). The Kuqa Museum (龟兹博物馆) regards the development of cultural and creative products as an extension of the museum's educational function and an emotional connection with the public.
Stepping into the "Meet Kuqa" cultural and creative space on the first floor, various distinctive cultural and creative products are neatly arranged. The design inspiration comes from the diverse cultural elements of Kuqa. The walls use the stone blue, ochre, and earth red commonly used in murals. The details use elements and symbols from ancient dwellings and key cultural relics, creating an immersive cultural scene.
"This 'Music and Dance Flying Apsaras' metal bookmark is our star product," said Wang Xiang (王想), head of the cultural and creative space. "The design inspiration comes from the flying apsaras image in Cave 38 of the Kizil Grottoes (克孜尔石窟). We deliberately retained the mineral pigment color system used in the murals, so that every time users turn the pages of the book, it is like opening a dialogue spanning thousands of years."
In addition, silk scarves with mural patterns as elements, canvas bags with simple designs, three-dimensional puzzles imitating the caisson structure of the grottoes, etc., all have their own characteristics. These cultural and creative products are not simple reproductions of cultural relic patterns, but the result of creative transformation of the cultural connotation of Kuqa.
"Cultural and creative products are very important for cultural communication," said Feng Wei (冯伟). "We hope to use these practical and exquisite small objects to allow Kuqa culture to go out of the exhibition hall and into people's daily lives, inheriting it in use and spreading it in sharing."
Feng Wei (冯伟) introduced that the Kuqa Museum (龟兹博物馆) has now developed nearly 200 kinds of cultural and creative products in 10 major series, covering multiple categories such as stationery, refrigerator magnets, and clothing. These products, which integrate modern aesthetics and practical functions, are becoming new carriers for Kuqa culture to enter contemporary life.
As dusk deepens, the Kuqa Museum (龟兹博物馆) looks more solemn under the warm yellow lights. In front of the display cases, there are still visitors lingering, immersed in the echo of millennial civilization. Since its opening, the museum has received more than 300,000 visitors, and the sales of cultural and creative products have exceeded 650,000 yuan.
"Here, history becomes tangible and perceptible," said Mr. Zhang (张先生), a tourist from Xi'an (西安), after visiting the Kuqa Museum (龟兹博物馆). "Digital technology allows us to 'travel' through time and space and truly touch the strong pulse of Silk Road civilization. This experience is so valuable."
Return to TopBy: 黎 李
The Ding-shaped Bronze Traveling Lamp, unearthed in 1974 from the Warring States Qin tomb in Miaozhuang Village (庙庄村), Pingliang City (平凉市), Gansu Province (甘肃省), is now housed in the Gansu Provincial Museum (甘肃省博物馆). It consists of four parts: a lid, a key, ears, and a body. When unfolded, it stands approximately 30.2 centimeters tall; when folded, it is only about 16.7 centimeters tall, with a mouth diameter of 11.3 centimeters. Small and portable, it was an important lighting tool for nobles traveling during the Warring States period.
Two forms, one ingenuity. The most ingenious aspect of this lamp lies in its "one device, two uses" form transformation design.
When folded, it is a covered, tightly sealed three-legged round *ding* vessel, with the belly of the *ding* used to hold the oil needed for lighting. The lid is tightly fastened through a unique structure, and the two ears of the *ding* have keyways. The two keys are symmetrical and, when lying flat, combine into a ring that presses on the lid. The center of the lid has a columnar round socket, with duck heads on both sides that follow the direction of the lid's rotation. Their wide mouths precisely hold the ends of the keys, firmly securing the lid, so that even with violent shaking, the oil will not leak out, demonstrating excellent sealing.
When lighting is needed, simply rotate the lid in the opposite direction to disengage the duck mouths from the key ends, open the keys and the lid, and then prop up the two keys, inserting the joined key ends into the round socket in the center of the lid. At this point, the *ding* lid is flipped over to become a lamp holder, propped up high to achieve the lighting function. The entire conversion process is smooth and natural, reflecting the ancient craftsmen's understanding of mechanical design.
The Warring States Ding-shaped Bronze Traveling Lamp is known for its precise construction, sturdiness, and lightness. Its structural components are all precisely calculated and matched in production. The cooperation between the key and the slot, and the tight fit between the lid and the mouth, show that a relatively high level of standardized manufacturing had been achieved at that time. At the same time, the *ding* has a beautiful shape, is sturdy and lightweight, has a smooth surface finish, is decorated with convex string patterns on the belly, and the duck head decorations on the lid are vivid and delicate. Even after more than 2,000 years, it can still be opened and closed normally, which shows the excellence and sophistication of its manufacturing process.
The Ding-shaped Bronze Traveling Lamp is not only a lighting tool, but also a work of art that integrates craftsmanship, aesthetics, and practicality.
This design concept of integrating practicality and aesthetics is still being learned from and used today. The folding structure and sealed oil storage design common in modern portable lamps have a principle-level commonality with it. For example, various portable emergency lights and folding camping lights all draw on its design logic of "**收纳即保护、展开即功能**" (shōu nà jí bǎo hù, zhǎn kāi jí gōng néng - "storage is protection, unfolding is function," the design principle where the act of storing the item also protects it, and unfolding it immediately enables its function).
(The author is an associate researcher at the Gansu Provincial Museum (甘肃省博物馆). This article was compiled and edited by Song Chaojun (宋朝军), a reporter from this newspaper.)
Return to TopBy: 宁立新
The National Museum of China displays a Western Han Dynasty painted bronze wild goose and fish lamp, a national first-class cultural relic with a history of more than 2,000 years. The "gang (釭)" in Gang lamp refers to the smoke pipe. A Gang lamp is a lamp with a smoke pipe. This type of lamp, created in the Han Dynasty, combines extreme practicality with superb artistry.
The painted bronze wild goose and fish lamp was unearthed in 1985 from Han Tomb No. 1 in Zhaoshiba Village (照什八庄), Shuozhou City (朔州市), Shanxi Province (山西省). It has an exquisite shape and ingenious design. First, look at the exterior design. This Gang lamp is entirely cast in bronze. The overall shape is that of a wild goose turning its head back to hold a fish and standing upright. It is composed of four parts: the goose holding the fish, the goose body, the lamp plate, and the lampshade, which are cast and assembled separately. The goose has a slender neck and a plump body. Wings are cast on both sides of its body, its short tail is upturned, and its feet stand side by side.
Next, look at the internal structure. The lamp is about 34.5 centimeters long and about 53 centimeters high. It is a large Gang lamp, presumed to be used for indoor lighting. The fuel for Han Dynasty bronze lamps was mainly made of animal and vegetable oils, which would produce smoke when burned, polluting the indoor environment. The structure of the wild goose and fish lamp not only solves the problem of oil smoke pollution caused by burning, but also adjusts the light, reflecting the wisdom of Han Dynasty craftsmen. It is known as an "ancient air purifier."
The fish body, goose neck, and goose body are hollow and connected. The smoke passes through the upper fish body into the hollow goose neck, and finally dissolves in the water stored inside the goose body, achieving air purification. The curved lampshade can be rotated to open and close, adjusting the wind protection and the direction and brightness of the light. The components are fitted together using a mortise and tenon structure, making them easy to disassemble and clean.
This wild goose and fish lamp clearly proves that as early as more than 2,000 years ago, the Chinese had already mastered the scientific principle of thermal convection—after the oil lamp is lit, the hotter part of the oil smoke becomes less dense and rises, while the colder part becomes slightly denser and falls, forming a circulating flow. This allows the smoke generated by combustion to be introduced into clean water for filtration, achieving the purpose of purifying the air.
In today's technologically advanced world, the structural technology of the Han Dynasty wild goose and fish lamp is still not outdated. Some companies have cleverly borrowed the "downward smoke absorption" structure principle of the wild goose and fish lamp, combined with modern combustion technology, to design and develop environmentally friendly boilers, which are widely used for clean heating in mountainous rural areas.
(The author is the former inspector of the Shanxi Provincial Bureau of Cultural Relics and the former captain of the Yuanping-Shuozhou Archaeological Team. This report was compiled and edited by Fu Mingli (付明丽), a reporter from this newspaper.)
Return to TopBy: 孙海岩
In the display case of the Luoyang Museum (洛阳博物馆), a painted pottery "Hundred-Flower Lamp" (百花灯) from the Eastern Han Dynasty stands silently. Approximately 92 centimeters in height, with pottery as its body and painted colors as its clothing, it fuses the imagery of towering immortal mountains with the reveries of celestial paradises, quietly narrating the echoes of civilization spanning over 1800 years.
In 1972, this treasure was unearthed from an Eastern Han tomb in Jianxi, Luoyang (洛阳涧西东汉墓). It was located in the southeast corner of the brick platform in the front chamber, with acrobat figurines placed in the northwest position, forming a semicircle around the Hundred-Flower Lamp. To the west of the acrobat figurines was a rectangular pottery table, with three rows of ear cups arranged north-south in the middle of the table, and a round plate placed in the northeast corner. The acrobat figurines, the Hundred-Flower Lamp, and the pottery table and ear cups formed a whole, creating a scene of the tomb owner feasting and enjoying music and dance under the bright light of the Hundred-Flower Lamp.
The painted pottery Hundred-Flower Lamp is ingeniously composed of a lamp holder, a lamp column, and a lamp base, each part with a unique shape, showcasing the superb pottery skills of the Han Dynasty. It perfectly integrates the ancient people's ideological concepts and spiritual world—from the Kunlun Ruins (昆仑墟) "human realm" immortal mountain at the base, to the "heavenly ladder" of the lamp column, and then to the "fairyland paradise" of the Vermilion Bird (朱雀) lamp holder at the top, forming a complete narrative of the mutual transformation and communication between "heaven, earth, human, and gods."
Looking closely at this lamp: the uppermost lamp holder is shaped like a Vermilion Bird, with its head raised high, its wings standing upright, and its tail feathers gathered, adorning the lamp holder into a four-petal flower shape; the middle lamp column is shaped like bamboo joints, symbolizing the pillar connecting heaven in ancient mythology, dividing into 3 layers with 12 curved branch lamp holders inserted, each layer with 4 branches growing strangely from the lamp column, staggered and orderly. At the end of each curved branch near the column sits a winged immortal, with wings on its back and a solemn expression. The lower end of the lamp column is shaped into a round plate, echoing the top plate at the upper end, with 4 dragon heads extending sinuously from the plate; the lowermost lamp base is shaped like an inverted alms bowl, with the surface of the bowl being 3 layers of majestic mountains stacked and receding, symbolizing the Kunlun (昆仑) immortal mountain believed in by the ancients.
Why is it called the "Hundred-Flower Lamp"? It turns out that the persimmon calyx ornaments on each layer of the lamp column are detachable oil volume adjustment devices. By rotating different angles to control the oil immersion depth of the wick, matching the lighting combination of 12 layered lamp holders, 13 levels of brightness adjustment can be achieved. When the lamps are gradually lit, the scene is like a tree of fire and silver flowers, with a hundred flowers in full bloom, hence the name.
(The author is the deputy curator of the Luoyang Museum (洛阳博物馆), interviewed and compiled by Zhang Wenhao (张文豪), a reporter from this newspaper.)
Return to TopBy: 董宝厚
In the second year of the Zhenghe reign of the Northern Song Dynasty (1112 AD), on the sixteenth day of the first month, it was the eve of the Lantern Festival. The capital city of Bianjing (汴京) was decorated with lanterns and colored hangings, and fireworks soared into the sky. Auspicious clouds surrounded the Xuande Gate (宣德门), the main gate of the imperial palace, and 20 cranes arrived gracefully. Two perched on the *chiwei* (鸱尾) at both ends of the roof of the Xuande Gate (宣德门), while the other 18 circled slowly in the sky with a sense of rhythm. Emperor Huizong of Song (宋徽宗) Zhao Ji (赵佶), who was then thirty years old, captured this scene in a painting and recorded it in writing, allowing us to glimpse the scene more than 900 years later. This masterpiece handed down through the ages is "Auspicious Cranes," now one of the "treasures of the museum" of the Liaoning Provincial Museum (辽宁省博物馆).
"Auspicious Cranes" is a color painting on silk, 51 cm in length and 138.2 cm in width, with the painting on the right and the inscription on the left. The architecture is painted in the *jiehua* (界画) style, the white clouds are outlined with fine lines and slightly shaded, and the sky is dyed in cyan, which is uniform and clear, creating an atmosphere of auspiciousness in the solemn atmosphere. After the painting, there is an inscription and poem in Zhao Ji's (赵佶) Slender Gold script, with his signature and seal.
As a classic work in the history of ancient Chinese painting, "Auspicious Cranes" is loved by people, and an important reason is that this painting combines the uniqueness of poetry, calligraphy, and painting. The combination of poetry, calligraphy, and painting is an important feature of Chinese painting, and "Auspicious Cranes" is an early representative work that combines poetry, calligraphy, and painting. Before Zhao Ji (赵佶), most of the poems inscribed on paintings were not inscribed on the paintings, and the poems and paintings were separated. Zhao Ji (赵佶) innovatively inscribed the poems after the painting, personally explaining the meaning of the painting, so that the three elements of poetry, calligraphy, and painting coexisted harmoniously and were integrated into one, pushing the creation of inscribed poems to a new height. His artistic practice has had a profound impact on the history of painting, calligraphy, and poetry.
The exquisiteness of "Auspicious Cranes" is also reflected in its composition and painting techniques. From the perspective of composition, only the upper part of the roof ridge of the Xuande Gate (宣德门) in the painting is drawn, and it is placed at the bottom of the entire picture. It is a standard *jiehua* (界画), and most of the area of the picture is left to the sky and the cranes hovering and flying in the sky. From the perspective of painting techniques, the cranes in the painting are very realistic, and each crane has a different posture, which reflects Emperor Huizong of Song's (宋徽宗) profound skills in observing nature and capturing details.
The inscriptions in the painting are particularly precious, including the preface and the poem, which clearly explain the creative background of the painting, just like the painter personally describing the reasons for the creation and the connotation of the picture. This inscription is written in the Slender Gold script created by Emperor Huizong of Song (宋徽宗). This font has exposed strokes, the horizontal strokes start and the vertical strokes end with powerful dots, and the *pie* (撇) and *na* (捺) strokes are as sharp as knives, with exposed tendons and bones and unique charm. Emperor Huizong of Song (宋徽宗) also occupies an important position in the history of Chinese calligraphy with the Slender Gold script.
Relying on Emperor Huizong of Song's (宋徽宗) position in the history of Chinese painting, as well as its painting art characteristics and the political connotation it expresses, "Auspicious Cranes," which has been completely preserved to this day, has become a textbook-level work in the history of Chinese painting, and can be described as a bright pearl in the history of Chinese culture.
(The author is the deputy curator of the Liaoning Provincial Museum (辽宁省博物馆), interviewed and compiled by Hao Yingcan (郝迎灿), a reporter from this newspaper)
Return to TopLayout Design: Zhang Fangman (张芳曼)
Return to TopBy: 本报记者 李增辉 姜 峰 王欣悦
On the banks of the Yangtze River and in the heart of the Three Gorges, the vast expanse of misty waters nurtures an ancient city with over 2,000 years of history – Fengdu (丰都) in Chongqing (重庆).
Fengdu (丰都) has been an important node on the Three Gorges shipping route since ancient times. In the 1980s, with the rise of tourism in the Three Gorges, Fengdu (丰都) became one of the famous tourist landmarks along the Yangtze River.
However, at that time, Fengdu (丰都) still faced problems such as a relatively simple tourism model, a lack of diversified business support, and a blank space in the night economy. "At that time, very few tourists would stay in Fengdu (丰都)," said Ran Zebing (冉泽炳), director of the Fengdu County (丰都县) Tourism Promotion and Marketing Center.
In recent years, the local government has anchored the direction of high-quality cultural tourism development, based on the local historical and cultural heritage and the natural resource endowment of "mountains, water, forests, and caves," using the "one park and three lines" cultural tourism pattern as a traction, and taking immersive experience, revitalization of intangible cultural heritage, and full-area linkage as three major grasps to fully promote the transformation and upgrading of the cultural tourism industry.
The Atmosphere of Daily Life Connects the Past and Present
"Transit Tour" Becomes "In-Depth Stay"
"I came to Fengdu (丰都) very early. At that time, I took a cruise and left after seeing Mount Ming (名山), just a fleeting glance." Mr. Chen (陈先生), a tourist from Wuhan (武汉), Hubei (湖北), who visited again, said with emotion that he has stayed in Fengdu (丰都) for a few days now, with night markets, time-honored brands, and special banquets in turn. "The atmosphere of daily life here makes me feel particularly close."
Mr. Chen's (陈先生) feelings are a vivid portrayal of the transformation of Fengdu (丰都) tourism from a "fleeting glance in transit" to an "in-depth stay."
Fengdu (丰都) knows that to retain tourists and break the dilemma of "seeing the scenery during the day and leaving at night," it is necessary not only to enrich the tourist experience visually but also to showcase the city's characteristics in taste. To this end, Fengdu (丰都) uses food as a medium to allow tourists to understand Fengdu (丰都) on the tip of their tongues.
On a winter night, the atmosphere of daily life in the "Wheel Night Market" of Longhe New City (龙河新城) is rising. A long queue formed in front of Xu Guowei's (徐国伟) wonton stall. He lifted the broth pot and poured the hot soup into the pot, and the wontons were put into the pot one by one, and quickly scooped out after they floated. In the seasoning bowl, a large spoonful of carefully made chili flakes was scooped in, and the aroma was overflowing with the rush of hot soup.
"This is the taste of Fengdu (丰都) people, spicy and enjoyable!" Xu Guowei (徐国伟) handed over the wontons with both hands, his face full of pride.
Night market snacks carry the warmth of Fengdu's (丰都) urban life, while the "Fu" culture banquet show "Fengdu Fu Banquet" reflects the integration of food and culture.
"The dance of Magu Offering Longevity has just finished, and Qinglong tea is served – this is called 'good fortune to the mouth, longevity to the heart'!" Chef Zheng Yongsheng (郑永胜) introduced that the appetizer Qinglong tea is picked from local old tea trees, and the tea soup is clear, fragrant, and sweet; the seasoning of the strange-flavored beef is a secret recipe passed down for three generations, integrating numbness, spiciness, freshness, fragrance, and sweetness, with a rich taste...
"This beef is strong enough!" Zhang Cheng (章程), a tourist from Chengdu (成都), Sichuan (四川), picked up a piece of beef, and the red oil dripped down the tip of his chopsticks, full of praise. Zheng Yongsheng (郑永胜) nodded with a smile: "Our Fengdu Fu Banquet pays attention to 'a bite of fortune, a legend'."
Actors dressed in Hanfu (汉服) costumes shuttle between the seats, sometimes performing traditional allusions such as "Magu Offering Longevity" and "Qinglong Sending Fortune," and sometimes sending blessing snacks to tourists, allowing diners to immerse themselves in the profound heritage of "Fu" culture while tasting delicious food.
Food enriches the taste buds of distant guests. The prosperity of the full-area immersive night tour has greatly enhanced Fengdu's (丰都) "retention power."
As night falls, the lights of Wuyun Tower (五云楼) in the Mount Ming (名山) scenic area are as bright as the Milky Way, becoming one of the most dazzling landscapes on the banks of the Yangtze River.
Tourist Li Mei (李梅) held up her mobile phone to video with friends. In the lens, a cold pyrotechnic waterfall poured down from the top of the building, golden sparks bloomed in the night sky, and in the sky full of "flying snow," tourists held prayer ribbons to pray for blessings. "Look, how beautiful! It's like falling into a thousand-year-old legend!" Her mobile phone album is already full of photos of night light and shadow shows and intangible cultural heritage performances. The Night Tour Fengdu City (夜游丰都城) project, which Li Mei (李梅) is fascinated by, is also an important measure for Fengdu (丰都) to break the dilemma of "seeing the scenery during the day and leaving at night."
"We consulted a large number of county chronicles and excavated the core of 'filial piety and kindness culture' and restored the legend with modern technology." Liu Tianyan (刘天焱), the person in charge of the Night Tour Fengdu City (夜游丰都城) project, introduced that here, tourists can participate in blessing ceremonies and interact immersively with NPCs (non-player characters), as if traveling through thousands of years of time and being in an ancient legend.
From night market snacks to banquets full of blessings, from daytime sightseeing to nighttime immersion, Fengdu (丰都) strives to transform "check-in tourism" into "immersive experience." According to data from the Fengdu County (丰都县) Culture and Tourism Commission, the average stay of tourists in Fengdu (丰都) has now increased from less than 4 hours to 2.5 days.
Old Skills Renewed
From "Surviving" to "Heating Up"
Intangible cultural heritage is the embodiment of the competitiveness of the cultural tourism industry.
In winter, the Fengdu County (丰都县) Xiannvhu Town (仙女湖镇) Bamboo Community (竹子社区) Convenience Service Center is warm and cozy. Zhang Jing (张靖), the third-generation inheritor of the Fengdu County (丰都县)-level intangible cultural heritage wooden puppet show, is teaching the children the skills hand-in-hand. "Head straight, shoulders level, body straight, the charm of the puppet depends on this basic skill." She held the puppet, and her fingertips lightly picked, and the wooden puppet also "danced," causing bursts of exclamations from the children.
"In addition to the traditional puppet show, we will also add a tourist interaction session to allow everyone to personally feel the charm of intangible cultural heritage." Zhang Jing (张靖) said that the new drama "Mulian Saves His Mother" will meet tourists at the temple fair.
Fengdu Temple Fair (丰都庙会), the city's representative folk activity, has also been upgraded from a spontaneous "juggling festival" for residents in the past to a cultural tourism carnival integrating cultural exhibitions and economic and trade exchanges. In 2014, the Temple Fair (Fengdu Temple Fair) (庙会（丰都庙会）) was included in the list of national intangible cultural heritage representative projects.
The 2025 Temple Fair pioneered a dual night and day tour model, allowing intangible cultural heritage exhibitions to radiate new vitality.
During the day's performances, the drumbeats are enthusiastic, and the drummers show the heroic spirit of the Bayu (巴渝) children between their arms; the "Dragon Kong Playing Cow Dance" actors bend over and imitate the naive appearance of the cow, making the tourists laugh; Sichuan opera face-changing, suona performances and other intangible cultural heritage projects are staged in turn, and there are lively scenes everywhere in the streets and alleys.
At night, the traditional dramas performed by real people are more immersive with the blessing of modern light and shadow technology. The gorgeous costumes, realistic scenes, and exciting plots make tourists feel as if they have traveled to ancient legends. The solemn music and gorgeous dance are intertwined, and you can deeply feel the charm of folk culture.
"This is the first time I have seen such an interesting parade, which is full of ingenuity and warmth, and is very photogenic!" Xu Wen (徐雯), a tourist from Shanxi (山西), chased after the NPC for a group photo, and her circle of friends was already full of nine grids.
"In order to let the intangible cultural heritage 'survive and heat up', we deeply explore the value of intangible cultural heritage and compile more than 100,000 words of "Fengdu Treasures – A Collection of Fengdu Intangible Cultural Heritage"; we established a district and county-level intangible cultural heritage association to build a protection system that is 'horizontal to the edge and vertical to the end' so that intangible cultural heritage can be systematically protected, dynamically inherited, and innovatively developed." The relevant person in charge of the Fengdu County (丰都县) Cultural Tourism Research Institute introduced.
Today, these intangible cultural heritage skills that were once hidden in museums and passed down by the elderly have become the "human hustle and bustle" in the streets and alleys, injecting profound cultural connotations into the revitalization of Fengdu (丰都) cultural tourism.
New Pattern Links Beads into Chains
"All-Area Tourism" Has a New Experience
"In the past, guests who came to Fengdu (丰都) could only visit Mount Ming (名山); now they can climb mountains to understand goodness, escape the summer heat and ski, and explore caves to catch up with the market. There are many ways to play!" Wang Yong (王勇), a local guide in Fengdu (丰都), said proudly, revealing the huge transformation of Fengdu's (丰都) tourism pattern.
Once upon a time, Fengdu's (丰都) tourism resources were scattered, and there was a lack of linkage between attractions, making it difficult to form a joint force. In recent years, Fengdu (丰都) has broken the past situation of "fighting alone" in scenic spots and built a cultural tourism pattern of "one park and three lines" with Mount Ming (名山) scenic spot as the main focus and the linkage of Nantian Lake (南天湖), Xueyu Cave (雪玉洞) and other scenic spots, allowing tourism resources to "link beads into chains" and providing tourists with diversified tourism choices.
In summer, Nantian Lake (南天湖) has clear water and green grass around it, making it an excellent choice for summer vacation; in winter, Nantian Lake (南天湖) transforms into an "ice and snow kingdom," and projects such as snowmobiles, skis, and snow banana boats attract many tourists to experience.
In Xueyu Cave (雪玉洞), another scenic spot in Fengdu (丰都), stalactites formed over hundreds of millions of years are crystal clear under the lights, and the tour guide meticulously tells the story of geological evolution, making the cave exploration trip full of popular science fun.
How to avoid long journeys between scattered attractions? The improvement of transportation makes "full-area experience" more convenient.
"It used to take 1.5 hours to drive on the mountain road from Mount Ming (名山) to Nantian Lake (南天湖), but now it only takes more than 10 minutes by helicopter!" Mr. Zhao (赵先生), a tourist, leaned on the helicopter window and looked down at Nantian Lake (南天湖) like a sapphire.
The opening of low-altitude sightseeing not only shortens the travel time between attractions but also allows tourists to appreciate the beauty of Fengdu (丰都) from a new perspective.
In addition, Fengdu (丰都) has also optimized transportation methods such as scenic spot through trains and tourist special lines to connect major scenic spots and rural tourism spots, making it more convenient for tourists to travel. At the same time, it improves tourism supporting facilities, improves the service quality of hotels, catering, shopping, etc., and provides tourists with all-round high-quality services.
According to data from the Fengdu County (丰都县) Culture and Tourism Commission, in 2025, the Fengdu Temple Fair (丰都庙会) received a cumulative total of 3.93 million tourists, and the total tourist spending was 2.35 billion yuan, both of which set historical records; Fengdu County (丰都县) received a total of 34.6077 million tourists throughout 2025, an increase of 8.02% year-on-year, and the total tourist spending throughout the year was 15.376 billion yuan, an increase of 8.51% year-on-year. The cumulative number of overnight tourists throughout the year was 610,000.
"The cultural tourism upgrade of Fengdu (丰都) is not fighting alone." The relevant person in charge of the Fengdu County (丰都县) Culture and Tourism Commission said that currently, Fuling District (涪陵区), Wulong District (武隆区), and Fengdu County (丰都县) are working together to build a national cultural industry and tourism industry integration and development demonstration zone, accelerating the integration into the "metropolis, Three Gorges, and Wuling" cultural tourism development pattern. "Now, the three places share customer sources and communicate with each other in the market."
(Hu Hong (胡虹) participated in the writing)
Return to TopBy: 谭杨吉
The story of "buying the casket and returning the pearl" is well-known. While mocking the person from Zheng who bought the wooden casket and returned the pearl, are we also filled with curiosity about the charm of this wooden casket? Today, I will take you to appreciate an outstanding representative work of wooden caskets—the Southern Song Dynasty Incised Gold Lacquer Toilet Box.
This lacquer box, with the full name Southern Song Dynasty Vermilion Lacquer Incised Gold Lotus Petal-Shaped Figure and Flower Pattern Toilet Box (南宋朱漆戗金莲瓣式人物花卉纹奁). "Southern Song" indicates the era in which this lacquerware was made, more than 800 years ago. "Vermilion lacquer" indicates that it is mainly coated with vermilion lacquer. "Lotus petal-shaped" is its overall shape. "Figure and flower pattern" indicates the main decorative patterns it displays. The final "toilet box" defines its function, which is a container for women's toiletries.
The "incised gold" in the name of the lacquer box indicates its main lacquering technique. In simple terms, it involves using needles or knife tips to carve patterns on a vermilion or black lacquer surface, applying gold glue inside the recessed patterns, and then filling them with gold leaf, so that the carved patterns are radiant with gold and last for a long time.
Why is this lacquer box precious? It is one of the earliest known incised gold lacquerwares with skilled craftsmanship and clear inscriptions. In the past, it was generally believed that the incised gold technique truly developed and matured from the Yuan or Ming dynasties. However, this lacquer box directly advances the mature period of the incised gold technique to at least the Southern Song Dynasty (南宋), thus occupying a pivotal position in the history of Chinese lacquerware. At the same time, the image of a folding fan appears in the painting on the lid of the box, which strongly confirms the descriptions of folding fans in Song Dynasty (宋代) poems and writings, correcting the once-popular saying that China did not have folding fans until the Ming Dynasty.
What else is special about the lacquer box? This lacquer box also uses the decorative technique of silver clasps, that is, silver rings are inlaid on the mouth rim of the object. There are six silver clasps on the lid, bottom, and body of the box, which can not only strengthen the body of the object, but also enhance the decorative beauty of the lacquer box itself, which can be described as 一举两得 (yī jǔ liǎng dé - "one move two gains," to kill two birds with one stone).
The garden ladies' summer scene painted on the lid of the box with lacquer as paper, knife as pen, and gold leaf as ink is also worth noting: In the garden, the rocks are jagged, the willows are sparse, and two ladies stand arm in arm on the square flower path, with beautiful and dignified hair buns, wearing straight-collared jackets. One holds a folding fan, and the other holds a round fan. The two look intimate, as if whispering to each other. A maid holds a long-necked bottle, attending by the side. This ladies' summer scene is entirely made with the incised gold technique. The character lines are clearly outlined, and even the patterns on the clothes are clearly displayed.
This perfect incised gold lacquer box was a dressing case used by women at that time to store rouge, powder, and jewelry. With such an exquisite "jewelry box," no matter what kind of precious jewelry is stored inside, it cannot hide the box's own brilliant light, truly reaching the realm of "buying the casket and returning the pearl." The elegant and unique shape, exquisite and mature craftsmanship, and bright and harmonious colors make it the "treasure of the museum" of the Changzhou Museum (常州博物馆).
How is the lacquer box protected and displayed? Limited by the strict requirements of the lacquer box's own material for temperature, humidity, and light, the Changzhou Museum (常州博物馆) only exhibits it for a few days during key exhibitions that are consistent with its theme, and the exhibition period will never exceed ten days. Most of the days when it is not on display, the lacquer box quietly stays in the cultural relic warehouse, which is isolated from light and has a constant temperature and humidity throughout the year, waiting for the next stunning appearance. In order to make up for the regret that the public cannot easily see its true appearance, the museum, in addition to digital display in the exhibition hall, focuses on social education and cultural creativity, deeply explores its cultural and artistic value, and develops many social education projects and cultural and creative products to satisfy the public.
In 2024, the Changzhou Museum (常州博物馆) cultural and creative team re-outlined the classic cultural relic elements in the collection and devoted themselves to creating the "Guofeng Super Drama" series of three-dimensional refrigerator magnets. The Southern Song Dynasty Vermilion Lacquer Incised Gold Lotus Petal-Shaped Figure and Flower Pattern Toilet Box (南宋朱漆戗金莲瓣式人物花卉纹奁) has been creatively renewed and reproduced with the name "A Hundred Years of Harmony," which not only continues the elegant temperament of the cultural relic itself, but also implies deep blessings of happiness and auspiciousness.
This incised gold lacquer box, which once brought exquisite beauty to its owner, has entered the lives of modern people after nearly a thousand years, showing its luxurious and dazzling extraordinary charm, revealing the exquisite and elegant atmosphere of the era, and telling the story of the Song people's beautiful yearning for life. It turns out that people's pursuit of beauty has never changed.
(The author is the Deputy Director and Associate Researcher of the Collection Department of the Changzhou Museum (常州博物馆). This report was compiled and edited by Bai Guangdi (白光迪), a reporter from this newspaper.)
Return to TopBy: 龚 迪
Does heating fruit diminish its nutritional value, or does it better protect the stomach and intestines and enhance its flavor?
In fact, heating fruit is a clever transformation of its components. Vitamin C is indeed relatively "heat-sensitive" and will be partially lost during heating, but minerals such as potassium and magnesium in fruit are very "strong" and will not be lost due to heating. At the same time, dietary fibers such as pectin are more easily absorbed and utilized by the human body after heating; antioxidants such as flavonoids can also be more fully released after moderate heating.
So, which fruits are particularly suitable for heating?
Pears are rich in dietary fiber and natural sugar alcohols, and these components can better exert their moisturizing effects after heating. The traditional "Stewed Pear with Rock Sugar" utilizes this principle to effectively relieve coughs and dry throats caused by autumn and winter dryness.
Hawthorn and red dates also increase their nutritional value after heating. The digestive enzymes in hawthorn have enhanced activity after appropriate heating; the iron and cyclic adenosine monophosphate in red dates are more easily absorbed and utilized by the human body after heating.
Citrus fruits can also exhibit unique charm after heating. Mild heating allows flavonoid substances such as hesperidin to dissolve better, which helps enhance blood vessel elasticity.
In steamed apples, pectin can gently protect the gastrointestinal mucosa. This is especially considerate for the elderly, children, and people with weak digestive functions.
When heating fruits, gentle heating methods should be used as much as possible, avoiding repeated heating.
When eating heated fruits, some clever pairings can also be made. Apples with cinnamon can enhance the antioxidant effect; pears cooked with white fungus have complementary moisturizing effects; hawthorn with dried tangerine peel can better promote digestion and absorption.
(The author is a researcher at the School of Public Health, Lanzhou University (兰州大学), interviewed and compiled by Zeng Yichen (曾亦辰), a reporter from this newspaper.)
Return to TopBy: 孟祥忍
From the bright red traditional hawthorn-flavored candied hawthorns to strawberry candied hawthorns, green grape candied hawthorns, and then to the popular milk skin candied hawthorns...candied hawthorns have been receiving increasing attention for some time.
This sweet and sour Chinese flavor was recorded in the Qing Dynasty's "Yanjing歲時記" (Yanjing Suishi Ji) as, "Bing Tang Hulu (冰糖葫芦), are made by skewering grapes, Chinese yams, crabapples, hawthorns, and other items with bamboo skewers, dipping them in rock sugar, making them sweet, crisp, and cool."
The traditional candied hawthorn making process has a saying: "Three parts fruit selection, seven parts sugar cooking." The selected fruits must be plump and bright red. There is also a trick to stringing them together, striving to form a shape that is pointed at the top and round at the bottom between the fruits, so that each side can be evenly coated with sugar when dipping.
When cooking the sugar, controlling the heat is key. Turn the heat to low after the sugar melts over medium heat, and slowly cook it. The sugar liquid in the pot gradually changes from large bubbles to fine, dense small bubbles, and the color also turns into a light amber color. At this time, the sugar coating for the candied hawthorns can be made.
The glazing process emphasizes "one dip, two rolls, three shakes." Dip the fruit in the hot sugar, and after coating it with syrup, quickly shake off the excess syrup.
However, candied hawthorns are not suitable for everyone. For those with weaker gastrointestinal function, hawthorns can easily stimulate gastric acid secretion, and sugar may also aggravate stomach discomfort. You should pay attention to moderation when tasting, especially not on an empty stomach. For children, high sugar content can easily lead to tooth decay, etc., and it is not recommended for children under 3 years old to eat them. Milk skin candied hawthorns are a typical high-sugar, high-fat food, which is not very friendly to diabetic patients and those with high blood sugar.
In addition, not all ingredients are suitable for being made into "candied hawthorns."
Some fruits with too much water can easily cause the sugar coating to melt, affecting the taste, and there is a risk of oil splashing during the production process; while high-sugar fruits combined with sugar coating can easily lead to excessive sugar content.
(The author is the Dean of the Tourism and Culinary Arts College of Yangzhou University (扬州大学), interviewed and compiled by Wu Yue (吴月), a reporter from this newspaper)
Return to TopLayout Design: Shen Yiling (沈亦伶)
Return to TopThis year is the "Year of the Horse," and the sixth day of the Lunar New Year happens to be "Horse Day." The dual narrative of time scales jointly speaks of the cultural memories of the relationship between humans and nature, individuals and collectives, labor and hope.
In traditional society, the protagonist of Horse Day has never been just the horse. "Collecting manure" is a dialogue between people and the land. "Opening the market" is a dialogue between people and society. The horse, as a draft animal, is the intermediary for all of this. Horse Day has become a day of departure—agricultural affairs begin from here, business trips begin from here, and a year's livelihood begins from here.
Today, we rarely rely on the physical strength of horses, but we still need the spirit of horses. This edition specially invites five experts and scholars to join us in appreciating the divine steeds and spring plowing in ancient and modern paintings, to see the cultural creativity of the Year of the Horse, to listen to the voices of intangible cultural heritage UP masters shooting short videos, and to truly feel the ancient wisdom about "when to start" and "how to start anew."
The cultural context has long grown new roots in the new era's soil. Just like the horse on this day, it has changed from a draft animal for farming to a driving force for culture. Although the track has changed, running is still an instinct.
It's an early spring in the Bingwu year. May we carry forward the spirit of the dragon horse, live up to the times, and live up to our youth.
——Editor
The Cultural Code of the Popularity of the Year of the Horse Cultural and Creative Products
Ji Xiaofen (季晓芬)
During the Spring Festival, the exhibition hall of the "Qiji" cultural and creative exhibition of the China National Silk Museum (中国丝绸博物馆) in 2026 is always warm. A father took his child to appreciate the brocade with winged horse patterns from the Tang Dynasty, but the child's eyes were attracted by the "Horse Stepping on a Flying Swallow" doll next to it—the silly look with its head tilted and its mouth grinning made her smile. This dynamic and static contrast is a vivid portrayal of the cultural and creative craze of the Year of the Horse.
The source of this craze is deeply rooted in the collective memory of Chinese civilization. In Chinese traditional culture, the horse has never been just livestock or a mount, but also a spiritual totem. The *Book of Changes* uses the horse to describe the vigor of the heavens, Confucianism endows it with the virtue of loyalty and bravery, and the joy of "riding a horse in the spring breeze" in Tang poetry... all of which carry people's yearning for progress and success. The "double fire overlapping" in the Bingwu Year of the Horse is called the "fire horse" by the ancients, adding a cultural expectation of striving for progress. This emotional accumulation spanning thousands of years provides creative soil for contemporary cultural and creative products.
The key to making tradition "live" is creative transformation and innovative development. The current popular cultural and creative designs are "translators" who delve into tradition and break away from tradition. The "Ma Biaobiao" exhibited in the Shandong Art Museum (山东美术馆) is inspired by Qi Baishi's (齐白石) freehand brushwork of horses. A few strokes of playful mane make the charm of ink and wash a friendly companion on the desk; the "Horse Stepping on a Flying Swallow" doll in the Gansu Provincial Museum (甘肃省博物馆) transforms the sharp momentum of cultural relics into a cute shape, bringing the national treasure closer to young people. This transformation gets rid of simple replication, re-encodes it with modern design language, and opens up new emotional entry points for modern people.
The vitality of cultural and creative products lies in their ability to move from the exhibition cabinet into life. When a "Horse Brings Good Luck" bookmark is clipped into a book page, and a "Success Upon Arrival" ornament decorates the New Year's home, the cultural and creative product transcends pure appreciation value and becomes part of building a sense of personal life ritual. This characteristic of being ownable, usable, and shareable activates creative inspiration, ignites cultural consumption, and deepens the museum's cultural benefits for the people through active emotional connection and deep cultural identity. Taking the China National Silk Museum (中国丝绸博物馆) as an example, we enhance the appeal, affinity, and vitality of culture by opening "mini-exhibitions" in public spaces such as airports and subway stations, allowing traditional culture to meet the public's daily life unexpectedly.
The popularity of cultural and creative products in the Year of the Horse also reflects the deepening of contemporary people's understanding of "New Year culture." In today's materially abundant society, people's expectations for the Spring Festival are increasingly tending towards spiritual satisfaction and emotional sustenance. The cultural and creative products of the Year of the Horse provide a fun carrier for carrying good wishes with clear auspicious meanings—whether it is the striving of "taking the lead" or the prayer of "instant success." Buying and giving a cultural and creative product has transcended ordinary consumption and become a cultural ritual of participating in New Year customs, conveying blessings, and settling the soul, satisfying modern people's desire for belonging and spiritual anchors.
This extension of cultural context is also expanding to a wider world. The winged horse from the Tang Dynasty, which originated from Silk Road cultural relics and spread its wings and flew, is naturally an envoy of cultural exchange. Today, with the help of international cultural exchange platforms such as "Silk Road Week," this iconic steed has been given a new mission of the times. In the series of international activities in 2026, the cultural and creative products of the Year of the Horse will play the role of a light and powerful cultural envoy, using common design language to tell the common human emotions about striving and auspiciousness, and conveying the oriental wisdom of harmony and symbiosis on the stage of mutual learning among civilizations.
The popularity of cultural and creative products in the Year of the Horse is a dialogue spanning ancient and modern times, and a practice connecting the palace and life. It is profound because of its cultural heritage, vivid because of its innovative design, vigorous because of its integration into daily life, warm because of its carrying New Year customs, and broad because of its focus on the world. When we choose a cultural and creative product of the Year of the Horse during the Spring Festival, what we hold is not only an object, but also a key to interpreting traditional codes and perceiving the pulse of the times. The sound of horses' hooves, which transcends time and space and continues to grow, has merged into the surging spring tide of the new era, and is inspiring the strong voice of cultural confidence with the spirit of the dragon horse, galloping towards a more magnificent journey.
(The author is the curator of the China National Silk Museum (中国丝绸博物馆))
One Plowing in Spring, Thousands of Spring Intentions
Chen Ye (陈野)
Ancient China was established on agriculture. Spring planting, summer growth, autumn harvest, and winter storage are all related to the seasons. The line "Water activates and adds to the green of the secluded stream, and the tender grass is also evenly born" in Han Hu's (韩淲) poem "The Sixth Day of the First Lunar Month" in the Song Dynasty captures the early spring characteristics of water "activating" and grass "growing" and the phenology of starting a year of agricultural affairs. According to old customs, the sixth day of the first lunar month is the day when farmers prepare for spring plowing.
"Spring plowing" is also an important theme in ancient Chinese paintings, with rich connotations. After careful sorting, it mainly forms three main lines.
Encouraging farming is the basic national policy of emperors of all dynasties, and paintings on the theme of spring plowing have been passed down from generation to generation. Lou Shou's (楼璹) *Geng Zhi Tu* (耕织图) (Pictures of Tilling and Weaving) in the Southern Song Dynasty uses poems and paintings to publicize agricultural knowledge, display the production process, and promote farming techniques, which is a representative of them. Emperor Gaozong of Song (宋高宗) "showed it to the harem," which played an important role at the time and was imitated by later generations. Cheng Qi (程棨) in the Yuan Dynasty, and Jiao Bingzhen (焦秉贞) and Chen Mei (陈枚) in the Qing Dynasty all had paintings imitating it. Kangxi (康熙) also wrote a preface to Jiao Bingzhen's paintings and made poems for each picture "to chant their hard work."
Different from the pragmatic needs of emperors governing the country, the spring plowing pictures in the pens of literati painters are more of a humanistic sustenance. The importance of farming, the difficulty of harvesting, and the dream of pastoral life are condensed into compassion for farmers and a romantic mood, which emerge in the paintings. Wang Meng's (王蒙) *Gu Kou Chun Geng Tu* (谷口春耕图) (Spring Plowing in Gukou) in the Yuan Dynasty depicts a valley with overlapping mountains, shaded by trees, with long flowing streams, flat fields, and neat thatched houses, a scene of clear mountains and vibrant business. There are many figures in the painting, and the farmers working in the fields plowing and transplanting seedlings highlight the theme of "spring plowing"; the literati watching on the field ridge can be said to be a self-portrait of the painter. As can be seen from the name of the painting, the meaning of the painting is taken from the allusion of Zheng Zizhen (郑子真) of the Western Han Dynasty who lived in seclusion in Gukou in the Zhongnan Mountains and cultivated and read. Li Bai (李白) has a poem saying: "Zheng Zizhen of Gukou, cultivates in the rocks. His high reputation moves the capital, and the world is full of his name. This person never rises, and lies in the clouds as he pleases." What Wang Meng expressed is the hermit's interest in returning to the mountains and forests, leisurely traveling in the fields, and being close to the farmers. Shen Zhou's (沈周) *Geng Du Tu* (耕读图) (Picture of Tilling and Reading) in the Ming Dynasty focuses on the integration of tilling and reading. The courtyard in the center of the picture is built in the deep mountains, and a person sits alone in the room, which is a typical study reading pattern in landscape paintings. Outside the courtyard gate, a person carries a hoe and walks towards a field. There is a distant mountain, a gurgling stream, and farmers are cultivating the land. Shen Zhou (沈周) wrote a poem: "Two horns of yellow cattle and a book, reading under the roots of trees after late plowing. Please don't talk about fame and fortune, cover the remaining chapters and write a rhapsody to Zixu," which reveals the theme of the painting of both tilling and reading.
There are also many excellent works that truly express the farming life of farmers. "The smoke warms the soil and the people's energy moves, and a new rain plow breaks the spring plowing," such a lively and fresh scene of spring plowing is a subject that painters are happy to create. The anonymous painting *Geng Huo Tu* (耕获图) (Picture of Tilling and Harvesting) in the Song Dynasty is the earliest existing painting depicting the scene of farming. On a small round fan, it depicts the rice production process from spring plowing to autumn harvest. Spring plowing is painted on the right side of the picture, including plowing, transplanting seedlings, and irrigating with waterwheels, vividly reflecting the agricultural production and farming techniques of the Song Dynasty. In Dai Jin's (戴进) *Chun Geng Tu* (春耕图) (Spring Plowing Picture) in the Ming Dynasty, the mountains are majestic, the old trees are verdant, the peach blossoms are in full bloom, and the streams are gushing, and the breath of spring is coming. The protagonists of the picture are two farmers wearing hats, one is driving a cow and plowing in the field, bowing and cultivating; the other is sitting on the slope under the tree, bowing and tidying up his shoes, and the farm tools are placed beside him. One movement and one stillness, the farming scene is well-paced. On the wooden bridge in the lower right, a child is carrying a basket, standing and bowing, not knowing whether it is the rushing water or the swimming fish that attracts his attention, which is quite childlike. The accurate expression of spring plowing labor in the picture comes from the painter's careful observation of farmers' lives; and the paradise-like scene reflects the yearning for a peaceful life.
Whether it is the emperor's policy of governing the country, the literati's self-expression, or the painter's depiction of the farming life of farmers, it shows the important position of spring plowing in the lives of the ancients, reflecting people's collective recognition of diligent labor, their sincere yearning for a happy life, and their devout expectation for national prosperity and people's peace.
Times have changed, the face of the countryside has changed dramatically, the lives of farmers are changing day by day, and agricultural technology is becoming increasingly modernized, but the natural order of working according to the seasons has not changed, and the beautiful mountains and rivers, traditional virtues, and beautiful prayers are as always. From ancient times to the present, "spring plowing" has always been a vibrant production scene on the rural land, an artistic picture scroll with new ideas in the painter's pen, and a warm home root in people's hearts.
(The author is a researcher at the Zhejiang Academy of Social Sciences (浙江省社会科学院))
Injecting New Connotations into the Flavor of the New Year
Han Jinsong (韩劲松)
During the Spring Festival, the National Art Museum of China (中国美术馆) ushered in a new wave of visitors with the simultaneous opening of five exhibitions. This lively scene is just a vivid side view of the cultural phenomenon of "spending the New Year in the museum."
With the development of the times, the Spring Festival has been given multiple connotations beyond the festival itself, and simple eating, drinking, and playing are difficult to carry all the imagination of people for a "meaningful year." The traditional way of celebrating the New Year, which used to focus on family reunions and regional customs, is transforming into "celebrating a cultural New Year." In this contemporary narrative of Spring Festival culture, museums and art galleries are moving with the times, carefully planning New Year's special exhibitions and other activities, and taking on the important role of renewing New Year customs and continuing the cultural context. The popular Spring Festival special exhibitions have become part of the Spring Festival-themed cultural activities in various places, as well as a comprehensive reflection of urban vitality and people's livelihood temperature.
In the Bingwu Year of the Horse, the Junye is starting to flourish. The National Art Museum of China (中国美术馆) took this as a starting point and planned to launch the "Galloping to Start New" exhibition to pay tribute to the old artists and express the meaning of the Spring Festival group worship. The old artists are the backbone of the new Chinese art. They lead the way of the new Chinese art development with the spirit of striving for excellence and striving for perfection in their academic and artistic pursuits. The "Galloping to Start New" exhibition brings together important representative works of more than 100 accomplished old artists and contemporary masters. There are classic masterpieces by Mr. Jin Shangyi (靳尚谊), Quan Shanshi (全山石), Yang Lizhou (杨力舟), Jia Youfu (贾又福), and other masters, as well as innovative masterpieces inherited by middle-aged and young masters, both of which complement each other to outline the outline of the development of modern Chinese art. "Like the fragrance of orchids, like the prosperity of pines. The river flows continuously, and the abyss is clear and reflects," through the exhibition, the audience can not only feel the spiritual character of the artists, but also feel the upright atmosphere of Chinese culture.
The zodiac culture is an important part of the Chinese cultural gene. The zodiac theme exhibition is an indispensable bright color in the special exhibitions of the past Spring Festivals. This year's Spring Festival, the horse culture theme exhibitions in various places are even more rich and colorful. The "Jun Chi Yun Zhang" exhibition of the National Art Museum of China (中国美术馆) shows the visual epic of horses in Chinese art in five chapters: "Ten Thousand Horses Galloping," "Pine Wind and Elegant Steeds," "Frontier Pastoral Songs," "Golden Ge and Iron Horses," and "Taking Dreams as Horses"; the "Taking Dreams as Horses" exhibition of the Beijing Fine Art Academy Art Museum (北京画院美术馆) explores the eternal dialogue between progress, freedom, and creation in the resonance of vision and soul; the "Qi Ji Ben Teng" Horse Year Science and Technology Culture Special Exhibition of the Shanghai Science and Technology Museum (上海科技馆) takes "horse" as the narrative axis and unlocks the new possibilities of the collision between cultural relics and technology.
The Spring Festival culture is rich and profound. Interpreting its connotation in depth through exhibitions and creating a strong New Year flavor is the highlight of the Spring Festival special exhibitions in museums and art galleries across the country. The "Yue Ma Chun Feng," "Shen Cai Zai Zi," and "Rui Qi Cheng Hua" exhibitions of the National Art Museum of China (中国美术馆) respectively express the beautiful expectations of bidding farewell to the old and welcoming the new from the perspectives of couplet calligraphy, folk art, and arts and crafts, chanting the scenery of mountains and rivers, exploring beliefs and customs, and observing the creation of heaven. The "New Year - Bingwu Spring Festival Theme Exhibition" of the China Arts and Crafts Museum (中国工艺美术馆) systematically presents the profound heritage of traditional calendars, zodiac culture, dietary wisdom, and lantern folk customs. The Guangzhou Museum of Art (广州艺术博物院) (Guangzhou Art Museum) and other five museums jointly released a New Year cultural menu, with diverse exhibitions such as folk customs, calligraphy and painting, cultural relics, and animation, inviting people to spend a cultural New Year together.
One Spring Festival special exhibition after another illuminates the spirit of the times with the light of art and builds a bridge of dialogue with innovative measures. They not only create a strong festive atmosphere, but also inject new connotations that are perceptible, thinkable, and sustainable into the Spring Festival culture, fully demonstrating the mellowness, warmth, and vitality of Chinese New Year culture.
(The author is the Deputy Director of the Research Department of the National Art Museum of China (中国美术馆))
Horse Hooves Knock on the Harmony of Art
Zeng Xiaofeng (曾小凤)
Coinciding with the Year of the Horse, shops decorated with horse elements can be seen everywhere in the streets and alleys of Dali Ancient City (大理古城), such as tie-dyed horse puppets, pottery horses, and hand-rubbed Jia horses, which are dazzling. That afternoon when I went to the Fengyangyi Ancient Tea Horse Road (凤阳邑茶马古道), the history of the caravan came alive. The "da da" sound of horse hooves stepping on the bluestone slabs intertwined with the laughter of tourists, forming a wonderful harmony between history and reality.
At this moment, I suddenly realized that "saddle aesthetics" is not only the aesthetic presentation of shape, line, light, and color in artistic works, but also the vivid flow of life emotions warmed by the horse's back and people's hearts in the pens of painters and in the hands of craftsmen throughout the ages. The "Horse Trampling the Xiongnu" stone sculpture in front of Huo Qubing's (霍去病) tomb in the Western Han Dynasty, the strength accumulated in the chisel marks of the war horse's muscle lines, is permeated with the craftsman's deep expectation for the peace of the country when praising the general's military exploits. In Li Gonglin's (李公麟) *Five Horses* (五马图) in the Song Dynasty, the five steeds led by the grooms seem to be able to hear the sound of their hooves coming from the Western Regions from the white drawing lines. This gaze, which is full of the painter's deep affection, opens the door to the will of life with the shape of a horse, conveying the pulse of the times, personal emotions, and the power of life.
Since the Song and Yuan Dynasties, painting horses has gradually become a kind of poetic dwelling in the hearts of literati painters, horses drinking by the stream, horses tied under the willow shade, horses standing in the cold river... Painters no longer obsess over pursuing the combination of the horse's form and spirit, but regard it as a carrier of emotion and a sustenance of spirit, giving the horse a cultural meaning that transcends concrete form in the thickness and dryness of the brush and ink. The horses in Zhao Mengfu's (赵孟頫) pen have faded away from the splendor and excitement of the Tang and Song Dynasties, and have more of the gentleness and introversion of literati. Qiu Ying's (仇英) *Double Horses* (双骏图) in the Ming Dynasty reveals a strong atmosphere of urban life in the combination of meticulous and freehand brushwork. The horses in Bada Shanren's (八大山人) pen in the Qing Dynasty are even simpler, transformed into the painter's symbol of aloofness, seclusion, and pursuit of unrestrained spirit.
The process of modern and contemporary Chinese history has profoundly reshaped the spiritual core of Chinese art. The galloping horse painted by Xu Beihong (徐悲鸿) raises its head and neighs in the world, with dripping ink, which is the national soul waved in the painful cry of national peril. During the Anti-Japanese War, Guan Shanyue (关山月) rediscovered tradition in the Dunhuang Grottoes (敦煌石窟). His *Whipping the Horse* (鞭马图), which was filled with the majestic atmosphere of the Han and Tang Dynasties and the modern national spirit, demonstrated the heroic spirit of "reining in the horse on the battlefield" and the firm belief of "protecting the motherland forever" during the war. There are also Zhao Wangyun (赵望云), Huang Zhou (黄胄), Yin Shoushi (尹瘦石), Liu Boshu (刘勃舒) and other sketches of horses, forming an important line close to life and focusing on reality. At that time, Chang Yu (常玉), who lived in Paris on the other side of the ocean, compared himself to a horse, introducing the etherealness of oriental aesthetics into the abstract context of Western modern art. Together, they constitute the rich narrative of horses in 20th-century Chinese art.
The process of modern and contemporary Chinese history has profoundly reshaped the spiritual core of Chinese art. Xu Beihong's (徐悲鸿) galloping horse, head raised and neighing between heaven and earth, with its unrestrained ink washes, was a depiction of the national soul painted amidst the painful cries of national crisis. During the Anti-Japanese War, Guan Shanyue (关山月) rediscovered tradition in the Mogao Grottoes of Dunhuang (敦煌石窟), and his "Whipping the Horse" (鞭马图), imbued with the majestic spirit of the Han (汉) and Tang (唐) dynasties and the modern national spirit, demonstrated the heroic spirit of "reining in the horse on the battlefield" and the firm belief in "eternal protection of the motherland" during wartime. There were also Zhao Wangyun (赵望云), Huang Zhou (黄胄), Yin Shoushi (尹瘦石), Liu Boshu (刘勃舒), and others who sketched horses, forming an important vein that was close to life and focused on reality. At that time, Chang Yu (常玉), who lived in Paris (巴黎) across the ocean, used horses to represent himself, introducing the ethereal quality of Eastern aesthetics into the abstract context of Western modern art. Together, they constitute the rich narrative of horses in 20th-century Chinese art.
Contemporary creations about horses have long surpassed the aesthetic scope of traditional saddle horse paintings, entering a broader contemporary cultural context and an artistic field of diverse media expression. Many artists who depict horses, such as Liu Jude (刘巨德), Su Xinping (苏新平), Xia Xiaowan (夏小万), and Xu Lei (徐累), use horses as cultural symbols, integrating them into deep reflections on contemporary society, human nature, and technological development. "Horses are not horses" (马非马), horses can be carriers of identity, bearing modern reflections on regional culture and nomadic spirit; they can also be mirrors of social phenomena, reflecting the desires, speed, and living conditions of the consumer era. Through the image of horses, artists are constantly exploring modern transformation paths for traditional themes.
With artistic reveries about horses, I embarked on the road to Jianchuan (剑川) in Yunnan (云南), and the sense of integration between art and rural life became even stronger. Since 2013, the Graduate Student Support Education Group of the Central Academy of Fine Arts (中央美术学院) has been providing counterpart assistance to Jianchuan County (剑川县). For more than ten years, batches of teachers and students from the Academy of Fine Arts have been spreading the seeds of art in the local cultural soil with the spirit of "galloping horses," being brave and striving unremittingly. On the sketching road, a "Digital Nomad" Ancient Tea Horse Road (茶马古道) exploration plan revitalized the silent ancient road in the digital world; the Horse "Carving" Exhibition, the New Year's small block prints in the Year of the Horse expressed the myriad phenomena of the "Dragon Horse Spirit" (龙马精神); the "Auspicious Horse" design spread the blessings and vitality of "Happy Chinese New Year" to the world... The research on horse culture continues to enrich related artistic explorations.
At this moment, in the sound of horseshoes knocking on the earth, I heard another deep echo, which is the spiritual pulse of the roots of Chinese art extending endlessly in the tide of the times.
(The author is an associate researcher at the Central Academy of Fine Arts (中央美术学院))
Nanzhuang Jiahuo (南庄架火) Carries the Aesthetics of Jin (晋)
Nan Xiang (南翔)
As a non-heritage short video creator, in order to find the taste of the New Year in my memory, I walked into Nanzhuang Village (南庄村) in Jinzhong City (晋中市), Shanxi (山西), and saw the more than ten-meter-high Jiahuo (架火). It has no tiles and no pillars, but it builds "palaces and pavilions."
Initially, Nanzhuang Jiahuo (南庄架火) was just a simple support made by the villagers of Yuci (榆次) taking out the tables from their homes when the New Year was approaching, and casually picking up sorghum stalks from the fields, pasting them with colored paper to make rough temples. The colors are direct, and the construction is naive. It is the most simple dialogue between people and heaven, and it is also the most practical thought of Nanzhuang (南庄) people for the New Year.
What really transformed Nanzhuang Jiahuo (南庄架火) was the ingenious transformation of the brothers Lü Fu (吕富) and Lü Gui (吕贵) in history. They integrated the strict hierarchical order and vivid spatial narrative of ancient Shanxi (山西) architecture with the enthusiastic form of folk social fire art, so that the shape and color of Jiahuo (架火) were standardized, and it became a non-heritage culture carrying the aesthetic memory of Jin (晋).
When I first saw Jiahuo (架火), I was shocked by its unique appearance: more than ten meters high, with distinct levels, echoing the dignified atmosphere of ancient Shanxi (山西) architecture. The craftsmen replaced heavy beams and pillars with tables, and used rope binding instead of complex mortise and tenon joints, reproducing the charm of Jin (晋) architecture in what seemed impossible. The overall shape of Jiahuo (架火) is symmetrical and balanced, echoing each other up and down, and each layer of decoration is staggered. It stands quietly in the village, complementing the surrounding ancient buildings, and that festive and enthusiastic atmosphere has become the most direct scenery of the Spring Festival.
The color scheme of Jiahuo (架火) that we see today is extremely exquisite: the wall is not a single cyan-gray, but uses Buddhist blue as the base, and the door frames, columns, and key frames are full and bright vermilion. The painted decorations on the eaves and brackets often simulate the brilliance of glazed tiles with colors such as emerald green. These high-saturation colors reproduce the splendid style of ancient Jin (晋) architecture with colorful decorations and golden splendor.
The aesthetic essence of Jiahuo (架火) lies not only in the main body of the building, but also in the deep integration of various folk arts and this set of color systems. The most amazing of these is the "embroidered firecrackers." Looking closely, the craftsmen do not use silk threads, but only cut paper into thin strips, and weave brocade-like patterns like weaving cloth. The color scheme also refers to Jin (晋) embroidery and ancient architectural paintings. When the fire shines, it reveals the gorgeous texture of the fabric. In addition, large-scale paper-cut decorations make Jiahuo (架火) look like a small art exhibition during the day, with rich and colorful colors, lively and beautiful. In addition, all the painted decorations are rich in color, with the characteristics of traditional Jinzhong (晋中) murals, adding a bit of vivid storytelling to this static Jiahuo (架火), as if telling the past of Jin (晋).
The real sublimation is on the day of "top frame." Dozens of people shouted in low voices, using ropes and wooden poles to lift this more than ten-meter-high colorful pavilion layer by layer. That spirit of concerted effort is itself a moving picture. The final burning of Jiahuo (架火) is the climax of this aesthetic feast - lighting the fuse, the fire flows, illuminating the night sky, and also reflecting the smiles on everyone's faces.
Tradition is not only hidden in museums, but also in the expressions of life that we can touch and participate in around us. Just like Jiahuo (架火), it can be so lively and so approachable, integrating the wisdom of architecture, the colors of painting, the ingenuity of craftsmen, and the emotions of the New Year, and then using a grand burning to generously send auspiciousness to everyone who looks up at the sky.
(The author is a non-heritage short video blogger)
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