黄震表示，在中泰建交50周年的历史性时刻，我们特将享誉世界的非遗瑰宝——豫园灯会，带到曼谷，作为献给中泰建交50周年的深情贺礼，为构建更 为紧密的中泰命运共同体贡献绵薄之力。 中泰嘉宾合影。丁溢摄 亮灯仪式烟花表演。人民网记者 简承渊摄 人民网曼谷6月28日电 （记者简承渊）当地时间28日，中国国家级非物质文化遗产代表性项目豫园灯会再度扬帆出海，在曼谷著名商业地标暹罗天地正 式亮灯，成为庆祝中泰建交50周年的一份特别礼物。 泰国豫园灯会的整体设计选用《山海经》中四海八荒的华夏地理观概念，具象化塑造了东南西北四方岛屿，同时，结合本次泰国灯会举办地暹罗天地毗 邻泰国母亲河——湄南河，以不同主题的灯组营造出水岸光影奇景，星罗密布的幻彩"岛屿"既妆点了湄南河，又勾勒出《山海经》中充满想象力的域外秘 境。 泰国文化部常务副次长拉查诺克、泰中文化经济协会会长坡钦、中国—东盟中心秘书长史忠俊、中国驻泰国大使馆公使衔参赞常禹萌、暹罗天地董事长 帕西尼、豫园股份董事长黄震等共同出席了2025泰国豫园灯会亮灯仪式。 常禹萌表示，文化是沟通心灵、消除隔阂、增进理解最坚实、最持久的桥梁。豫园灯会来到泰国，是两国文化深度对话的生动写照 ...

Core Viewpoint - The event "Building Investment Reading Club: The Surging North Bund" focuses on the theme of "East-West Convergence," exploring Shanghai's unique cultural heritage as a global metropolis where ancient and modern, Eastern and Western cultures intertwine [2]. Group 1: Historical Context of Chinese Porcelain - Chinese porcelain began its export journey as early as the Tang Dynasty, with significant trade occurring by the 9th century [4]. - By the 16th century, Chinese porcelain reached Europe and the Americas, becoming a global commodity [4]. - The discussion emphasizes the interaction between Eastern and Western cultures during early globalization, particularly through the lens of Chinese porcelain [4]. Group 2: Transmission of Chinese Porcelain to Europe - The presentation outlines the timeline of Chinese porcelain's arrival in Europe, highlighting key historical artifacts and their owners [6]. - New research suggests that Chinese porcelain may have entered Europe earlier than previously thought, with evidence from archaeological findings in Spain [10]. - The report discusses the limited initial trade routes, primarily through Middle Eastern intermediaries and diplomatic gifts [13]. Group 3: Representation in Western Art - Chinese porcelain is depicted in various Western paintings, reflecting its status and rarity in European society [15]. - Specific artworks, such as "Madonna and Child" and "The Adoration of the Magi," showcase the integration of Chinese porcelain into religious and cultural contexts [17][19]. - The increasing presence of Chinese porcelain in art corresponds with its growing popularity in Europe during the 15th and 16th centuries [21]. Group 4: European Imitation and Adaptation - The presentation highlights the imitation of Chinese porcelain by European artisans, particularly in Delftware, which combined Eastern designs with local styles [48]. - The emergence of true porcelain in Europe, particularly in Germany, marked a significant development in the ceramics industry [53]. - The adaptation of Chinese porcelain often involved modifications to suit European tastes and functions, such as metal embellishments [64]. Group 5: Metal Inlay and Modification - The practice of modifying Chinese porcelain with metal inlays became prevalent in Europe, enhancing the aesthetic and perceived value of these items [70]. - Historical examples illustrate how Chinese porcelain was transformed into luxury items through the addition of metalwork, reflecting the status of their owners [74]. - The trend of metal embellishment peaked in the 18th century, particularly in Paris, where it became a hallmark of luxury goods [82]. Group 6: European Design Influence - The role of Cornelis Pronk in designing porcelain patterns for the Dutch East India Company illustrates the cross-cultural exchange of artistic ideas [90]. - Pronk's designs were influenced by both Chinese porcelain and European artistic traditions, leading to a unique blend of styles [92]. - The reciprocal influence between European designs and Chinese adaptations highlights the dynamic nature of cultural exchange [100].