（来源：天津日报） 转自：天津日报 进入农历腊月，手写春联热潮悄然兴起，越来越多的年轻人拿起毛笔，以墨香传递浓浓年味。 家住宁河区的在校大学生李玉健，连续三年"接单"写春联。"往年，春联定制旺季集中在腊八到除夕 前。今年，有客户在两个月前就开始下订单了。还没进腊月时，我已经写了几百副春联。"他说，近期 收到的订单涵盖家庭吉祥联、企业礼赠联，还有年轻人为宠物小屋定制的迷你春联等个性化产品。网络 打破了文化交流的地域限制，也让手写春联这门传统技艺，通过年轻人的创意与传播，焕发出全新活 力。 "春联是年俗文化的一部分。我们写、贴、读春联，不仅是为了视觉审美上的享受，还要品读内容、领 悟寓意、感受文化内涵。这种整体性是中国式审美的一个重要特点。"天津师范大学文学院教师石彧表 示，市售印制春联有的存在重字、不对仗、格律错误等问题，繁简混用、横批左右颠倒、上下联顺序颠 倒等谬误更为普遍。"对联讲究上联仄收、下联平收，也就是上联尾字应为仄声，大致相当于普通话的 三声、四声；下联尾字应为平声，大致相当于普通话的一声和二声。贴春联时，以门的朝向为正前方， 上联应贴在左侧，下联应贴在右侧，这样才符合'以左为尊'的文化传统。"石彧 ...

Group 1 - The 23rd China Cultural Industry New Year Forum was held at Peking University, focusing on the theme "Intelligence and Culture: Co-creation of Human Civilization Values" [1] - The forum gathered representatives from government, industry, academia, and research to explore the pathways and mechanisms for high-quality development of the cultural industry empowered by artificial intelligence [1] Group 2 - Peking University Vice President Ning Qi emphasized the need for technology and humanities to resonate together, advocating for a future that combines intelligence and cultural depth [3] - The Director of the Industry Development Department of the Ministry of Culture and Tourism, Miao Mu Yang, discussed the digital transformation path of the cultural industry during the 14th Five-Year Plan, highlighting the importance of AI in restructuring creative production and expanding consumption scenarios [3] - Li Fengliang, Secretary of the Party Committee of South China Agricultural University, presented the concept of "intelligent culture" driven by technology, data, algorithms, and interaction, while cautioning against issues like creativity poverty and algorithm bias [3] Group 3 - Li Xiangmin, Deputy Secretary of the Party Committee of Nanjing University of the Arts, argued that the lack of cultural elements contributes to the "modern Solow paradox," suggesting that integrating culture into the economic system can stimulate consumption and promote sustainable growth [4] - Chen Shaofeng, a professor at Peking University, introduced a new model for the cultural industry focusing on AI short dramas and cross-border cultural e-commerce, proposing a strategy to enhance local products through storytelling [4] - Yan Yan, Deputy Secretary and President of Inner Mongolia University of the Arts, shared research on the value co-creation of ethnic arts in the digital age, emphasizing innovation in education and communication [4] Group 4 - The "Chinese Aesthetic Gene Database Luoshen Intelligent Creator 2.0" was launched, enhancing the intelligent generation of multimodal content and supporting the modern transformation of traditional cultural elements [5] - The forum included parallel discussions on topics such as "Cultural New Landscape in the AI Era," "Digital Development of Intangible Cultural Heritage," and "New Business Models for Local Culture and Tourism," addressing forward-looking issues [7] - The event was organized by Peking University, with the Peking University Art College and the Peking University Cultural Industry Research Institute as co-hosts [7]

Group 1 - The forum focused on the theme "Intelligence and Culture: Co-creation of Human Civilization Values," discussing the core paths and long-term mechanisms for high-quality development of the cultural industry empowered by artificial intelligence [1] - The Director of the Industry Development Department of the Ministry of Culture and Tourism emphasized the need to utilize AI to reconstruct creative production, expand consumption scenarios, and enrich product supply, aiming for qualitative improvement and value co-creation in the cultural industry [2] - The release of the "Luo Shen Intelligent Creator 2.0" platform marked a significant advancement in intelligent content generation and the enhancement of the Chinese aesthetic gene database, supporting the modern transformation of traditional cultural elements [3] Group 2 - The forum included discussions on various cutting-edge topics such as "Cultural New Landscape in the AI Era," "Digital Transformation of Intangible Cultural Heritage," and "New Business Models in Local Culture and Tourism," indicating a forward-looking approach to cultural industry development [3] - The concept of "Intelligent Culture" was introduced, highlighting the systemic changes driven by technology, data, algorithms, and interaction, while also addressing potential issues like creativity scarcity and algorithmic bias [2] - The importance of establishing a "human-centered, benevolent intelligence" development path was emphasized to ensure healthy growth in the cultural sector [2]

Group 1 - Traditional jewelry serves various social functions and evolves with the times, reflecting the fashion of each historical period [1] - The craftsmanship of traditional jewelry has continuously changed, with techniques such as engraving, filigree, and inlay emerging over different eras [1] - Specific examples of jewelry designs from different dynasties illustrate the cultural significance and aesthetic values embedded in traditional craftsmanship [1] Group 2 - Techniques like filigree and granulation were particularly popular during the Han Dynasty, showcasing unique aesthetic styles [2] - The pointillism technique, using kingfisher feathers, reflects the intricate beauty and high value of traditional jewelry, with modern adaptations emerging [2] - The revival of traditional crafts among younger generations highlights a growing appreciation for cultural heritage and craftsmanship [3] Group 3 - The enduring nature of traditional craftsmanship embodies the understanding of beauty within the Chinese culture, influenced by the labor of artisans [3] - The current trend of "Chinese-style aesthetics" and "Chinese-style living" indicates a resurgence of interest in traditional crafts among the youth [3] - Embracing new technologies and ideas while preserving the essence of traditional craftsmanship is essential for its continued relevance [3]