Core Viewpoint - The return of the Bullet-Ku silk manuscripts marks a significant achievement in the repatriation of cultural heritage, emphasizing the importance of both material and non-material cultural heritage in understanding ancient Chinese civilization [1][5]. Group 1: Significance of the Return - The Bullet-Ku silk manuscripts, which were lost for 79 years, are crucial for the study of ancient Chinese knowledge systems, including cosmology, nature, and social practices [1]. - The manuscripts are considered the earliest known silk texts in China and are vital for research in various fields such as ancient literature, mythology, and cultural heritage [1][3]. Group 2: Relationship Between Material and Non-Material Heritage - Material and non-material cultural heritage are interdependent; non-material aspects like language and customs exist alongside material forms, enhancing cultural identity [2][3]. - The return of the manuscripts provides tangible evidence for the study and protection of non-material cultural heritage, allowing for a more comprehensive understanding of cultural narratives [3][4]. Group 3: Impact on Cultural Heritage Protection - The return facilitates systematic restoration and research, which can lead to breakthroughs in understanding the cultural significance of the manuscripts [4]. - The interplay between material and non-material heritage can enhance the protection and transmission of cultural practices, ensuring that ancient knowledge continues to inform contemporary life [4][5]. Group 4: Future Expectations - The manuscripts' return fills a gap in the cultural heritage landscape, and there are expectations for further research and public engagement with the findings [5]. - There is hope for the return of the first volume of the Bullet-Ku manuscripts, which would further enrich the understanding of Chinese cultural heritage [5].

Group 1 - The article highlights the rich cultural heritage of various Chinese cities through their historical artifacts and symbols, showcasing how these items reflect the wisdom and history of ancient civilizations [2][4][6] - Specific artifacts such as the Sun God Bird gold ornament from Chengdu and the透雕龙凤纹重环玉佩 from Guangzhou are emphasized for their cultural significance and representation of their respective cities [7][11] - The narrative connects these artifacts to local legends and traditions, illustrating their importance in contemporary culture and identity [16][21][26] Group 2 - The article mentions the Copper Galloping Horse from Wuwei, which has become a symbol of cultural diplomacy for China, representing the country's rich history and craftsmanship [31][33] - It also discusses the significance of the Terracotta Army in Xi'an and the peony in Luoyang, further emphasizing the unique cultural identities of these cities [39][41] - The piece concludes by encouraging exploration of these cultural landmarks, suggesting that understanding a city is best achieved through its museums and historical sites [52]

Core Viewpoint - The Chongqing Tongliang Dragon Dance, a significant cultural heritage, is experiencing a revival and innovation through the participation of younger generations, enhancing its artistic appeal and international presence [1][2][3]. Group 1: Cultural Significance and History - The Tongliang Dragon Dance has a history of nearly a thousand years and was included in the first batch of national intangible cultural heritage in 2006 [1][2]. - The dance has evolved from simple street performances to incorporating elements of acrobatics, dance, and opera, resulting in over 200 new movements that significantly enhance its visual appeal [2]. Group 2: Youth Involvement and Training - The majority of the performers in the Chongqing Tongliang Dragon Art Troupe are from the "post-00s" generation, with the youngest member being only 18 years old [1]. - More than 100 primary and secondary schools in the region have established dragon dance teams, with over 60,000 students gaining experience in dragon dance [2]. Group 3: Innovation and Modernization - Recent innovations include the integration of "Chinese style" costumes, the use of symphonic music, and lighter props, making the performance more visually appealing and easier to control [2]. - The dragon dance has become a medium for international cultural exchange, having performed in over 30 countries [2]. Group 4: Passion and Dedication - Performers express a strong commitment to the art, often enduring injuries during training, driven by their love for the dragon dance and the desire to share its charm with a wider audience [3].

Group 1 - The event on May 18, themed "The Future of Museums in a Rapidly Changing Society," attracted hundreds of visitors and citizens to the Hainan Provincial Museum of Ethnic Groups [2] - The activities included immersive experiences such as a garden party, intangible cultural heritage demonstrations, in-depth artifact tours, and lectures by museum directors, creating an engaging museum experience [2][3] - The museum's approach broke traditional exhibition models by incorporating interactive games, guided tours, live performances, and thematic lectures, allowing artifacts to "speak" and history to be "within reach" [3] Group 2 - The event featured representatives from four intangible cultural heritage projects, including Li ethnic weaving and Miao wax dyeing, providing visitors with a close-up experience of the cultural heritage of Hainan's ethnic minorities [2] - A lecture titled "A Dialogue Across Time and Space: The 'Two-Way Rush' of Collected Artifacts and Intangible Heritage Skills" was held, emphasizing the contemporary value of cultural heritage through examples of artifact protection in Hainan [3] - The museum aims to leverage this event to further explore the connotations of ethnic cultural heritage and strengthen cultural cohesion for the construction of Hainan Free Trade Port [3]

Core Viewpoint - The restoration of the Nine-Story Temple in Kathmandu Durbar Square, Nepal, symbolizes the friendship between China and Nepal, coinciding with the 70th anniversary of diplomatic relations between the two countries [4][6]. Group 1: Project Overview - The restoration project began in 2017, passed mid-term acceptance in 2022, and is expected to complete by 2024 [6][11]. - The project is part of a broader initiative by the Chinese government to assist Nepal in post-earthquake reconstruction, specifically focusing on cultural heritage preservation [7][8]. Group 2: Challenges Faced - The Nine-Story Temple suffered significant damage during the 8.1 magnitude earthquake in April 2015, with approximately 550 square meters of the structure completely collapsed [8][9]. - The restoration faced challenges such as structural instability, lack of historical documentation, and adverse weather conditions during the monsoon season [8][9][11]. Group 3: Restoration Techniques - The restoration team adopted a philosophy of "minimal intervention" to maximize the preservation of historical information, utilizing 85% of the original components [11][12]. - Local craftsmen were engaged in the restoration process, emphasizing the importance of traditional techniques and cultural significance [13][14]. Group 4: Cultural Significance - The Nine-Story Temple is a vital cultural heritage site in Nepal, representing the country's historical and artistic values [7][10]. - The project not only restored a physical structure but also facilitated cultural dialogue and the transmission of traditional craftsmanship [14][15]. Group 5: Future Prospects - Following the completion of the Nine-Story Temple project, the Chinese team is now working on the restoration of the Nuwakot Durbar Palace, further strengthening cultural heritage cooperation between China and Nepal [15].

为加强国际文化交流、将古老遗产呈现于世界舞台，阿富汗国家博物馆在2006年至2021年间将231件 （套）国家珍宝——包括巴克特里亚时期的金器——送往数十个国家和地区的博物馆展出，其中就包括 中国。"我们计划恢复阿富汗文物的国际巡展，尤其是在中国，希望向中国观众更好地展示我们的古代 文明。"穆希布扎达说。 阿富汗临时政府多次重申保护国家文化遗产的承诺，严令禁止持有或走私历史文物，防范文物失窃与遏 制非法交易。据阿临时政府信息与文化部的数据，自2021年8月临时政府上台以来，已有超过5000件文 物被转移至国家博物馆，另有2000多件藏品得以修复。 当记者在下午闭馆前走出博物馆大门，回头望向这座历史超百年的国家博物馆，不禁感慨恰恰是阿富汗 充满辉煌与苦难的历史，让这座灰白双层建筑有了穿越时空的厚重——这里为外人熟知的可能是挫败一 次次列强入侵的"帝国坟场"，但其实这里更应该是提醒世人战争与和平的"文明花园"。 在40多年战火纷飞的动荡年代，阿富汗国家博物馆约70%的藏品已被掠夺、毁坏或走私出境，不过仍有 数万件珍贵文物，见证着阿富汗与多种文明的历史关联，承载着这一地区在政治、宗教和艺术领域千百 年的历史脉络，努 ...

为推动文化遗产与现代生活深度融合，市文化旅游局携手大众点评平台，于5月16日至6月30日期间，围绕"守沪文 脉，创享未来"主题，打造线上线下双轨并行的精彩活动。 今年，上海继续联动5月18日国际博物馆日及6月14日文化和自然遗产日两大文博节日，以"深挖文物价值、创新时 代表达、全民参与传承"为主线，于今年5月至6月策划2025年上海文化遗产季系列品牌活动。各博物馆、各区文化 和旅游局及相关主体，围绕"守沪文脉，创享未来"主题，推出展览、乐游、市集、美育、演艺、微拍等六大板块 主题活动，为市民游客献上一场沉浸式的文化体验之旅。 这是5月16日由上海市文化和旅游局、上海市文物局和徐汇区人民政府在徐家汇书苑共同主办的2025年国际博物馆 日上海主会场活动暨文化遗产季启动仪式上发布的消息。 根据当天发布的《上海博物馆发展2024年度报告》，截至2024年底，上海市已备案博物馆171座，以2024年上海全 市常住人口2480.26万计，每14.5万人拥有一座博物馆，远超全国平均水平。2024年，全市博物馆举办陈列展览949 个，共接待观众4086万人次，相比2023年增长31.9%，创历史新高。2024年，上海市博物馆 ...

中新网新疆和静5月16日电 (史玉江 毛阿拉腾图雅) 自蛇年春节以来，热映的国产动画电影《哪吒 2》不仅赢得票房口碑双丰收，还将年轻人喜爱的现代元素与非遗相结合，引发人们对中国非物质文化 遗产的关注。影片出现天元鼎升起的画面时，一段低沉而空旷的呼麦响起，让无数观众直呼过瘾。 "和静县是新疆蒙古族歌舞的故乡，在当地，呼麦有四种唱法：低音呼麦、G音呼麦、哨音呼麦、 低音加哨音呼麦，在我们这都得到了比较好的传承与发展。"近日，和静县东归乌兰牧骑队呼麦演员阿 力同桑说。 今年30岁的阿力同桑生长在和静县巴音布鲁克草原，从小喜爱传统音乐。2012年考入内蒙古呼和浩 特民族学院后，专修马头琴专业。毕业后，又赴蒙古国相关大学系统学习呼麦表演及呼麦教育教学专 业。 2023年，回到家乡的阿力同桑成为和静县东归乌兰牧骑队的一名专业呼麦歌手。 呼麦是一种歌唱艺术，以其独特的双声泛音歌唱技法而闻名，于2006年被纳入第一批国家级非物质 文化遗产名录，后入选联合国教科文组织人类非物质文化遗产代表作名录。呼麦广泛流传于我国内蒙 古、新疆以及蒙古国、俄罗斯部分地区。 关注度持续攀升 近年来，在新疆巴音郭楞蒙古自治州，呼麦在音乐节目中的出 ...

（原标题：《富春山居图》：跨越时空的命运传奇） 如今，科技的发展让我们有机会通过数字化技术将 "剩山图" 和 "无用师卷" 合璧，让人们能够完整地欣 赏到这幅传世之作的魅力。《富春山居图》的命运传奇，也将激励着我们更加珍惜和保护这些珍贵的文 化遗产，让它们在历史的长河中继续闪耀着璀璨的光芒。 在浩如烟海的中国绘画史上，元代画家黄公望的《富春山居图》无疑是一颗璀璨的明珠。这幅画承载着 岁月的沧桑，经历了无数的波折，其坎坷命运令人动容。 然而，《富春山居图》的命运却充满了坎坷。随着时间的推移，这幅画几经转手，历经了无数人的收藏 与品鉴。到了明朝末年，它落入了收藏家吴洪裕的手中。吴洪裕对这幅画爱不释手，视若珍宝。在他生 命垂危之际，竟做出了一个令人震惊的决定 —— 下令将《富春山居图》焚烧殉葬。当火焰燃起，这幅 承载着千年文化的画卷即将毁于一旦时，幸好吴洪裕的侄子吴静庵在关键时刻挺身而出，从火中抢救出 了这幅画。但可惜的是，画已经被烧成两段。 前段较小，被称为 "剩山图"，它虽然残缺，但依然保留了原作的神韵。如今，"剩山图" 静静地躺在浙 江省博物馆中，向世人诉说着它曾经的辉煌与磨难。后段画幅较长，名为 "无用师卷 ...

塞尔维亚手工业者协会主席薇奥莱塔·奥瓦诺维奇在致辞中介绍了塞方展出的被列入塞尔维亚国家遗产 名录的多个展品，包括不同织法的地毯、编织袜、传统毛巾、字母图案等。贝尔格莱德中国文化中心已 将这些手工艺品纳入常设展陈。她说，接下来计划与中方开展更多合作，希望与中国艺术家和专业人士 开展经验交流与合作，共同推动塞中两国文化遗产保护。 "今天展出的每一件作品，无论是中国的服饰、刺绣，还是塞尔维亚的羊毛毡、羊毛毯，都凝聚着两国 工匠的智慧与心血，承载着悠久的历史记忆和文化基因。"贝尔格莱德中国文化中心主任张爱民说，贝 尔格莱德中国文化中心愿与社会各界携手，共同致力于中塞两国文化遗产保护和传承。 展览由贝尔格莱德中国文化中心和塞尔维亚手工业者协会联合举办，是庆祝中塞人民友谊70年的系列活 动之一。现场展出了百余件中塞两国精美手工艺品，涵盖编织、刺绣、陶艺等多个工艺门类。 中国驻塞尔维亚大使馆文化参赞汤达生在致辞中表示，本次展览不仅是一场技艺的对话，更是一次跨越 山海的文明握手。这些展品承载着两国人民对美的追求、对生活的热爱，传递着超越语言的精神共鸣。 塞尔维亚发展基金会主席塔季扬娜·马蒂奇表示，此次展览是对塞中两国人民友谊 ...