e r te > es t 当天天一亮，家里的长辈便会早起去煨桑，而妇女则要做油炸馍馍送给村里的长者、家族亲戚，也送给村里的白事家庭以示慰问。对于小孩而言，这是最让 人期待的节日，因为送馍馍的时候可以赚到不少零钱和糖果。 灶神节最重要的仪式在晚上，天黑时村里就能听到相继响起的鞭炮声。全家相聚一堂，共用晚餐，以饺子为主。仪式正式开始，家里的老人在灶门前堆起土 台，然后在上面用柏树条搭建房屋模型，台内放祭品焚烧。之后用面粉在灶口、房梁和厨房门面上画"麦穗"等吉祥图案，而后把面粉往房梁上抛撒，据说从 抛撒面粉形成的图案中可以看出来年的收成。在仪式结束前，家里人不可以大声说话，不可以打骂小孩，否则会惹怒灶神，在新的一年里这个家庭会每天吵 架。等老人向房梁上抛撒完面粉后，其他成员要和老人一同跪拜灶神，随后放鞭炮、煨桑祈福，感恩一年来灶神的福佑，也祈求来年丰衣足食。 成人礼上的黄南土族少女。 热贡土族主要分布在青海省黄南藏族自治州同仁市隆务河畔的吾屯上下庄、年都乎、郭麻日、尕沙日等村落。这里的土族与周边藏、汉、回等各民族长期共 处，在日常交流时，村民藏语、汉语、土语切换自如，文化习俗与周边各民族高度融合又保留着自身特色， ...

辽朝绘画艺术在辽圣宗至辽兴宗时达到鼎盛，这一阶段辽国国力强盛，社会稳定，统治者自身雅好书 画，重视艺术文化，翰林院还专门设置了画院，辽兴宗本人便以绘画闻名，还曾与宋仁宗互赠书画作 品。辽重熙九年（公元1040年）秋，辽兴宗遣使至宋都城汴京，在送给宋仁宗的礼品中便有一份他亲笔 绘制的《千角鹿图》。北宋郭若虚为续接唐代张彦远《历代名画记》而编撰的画史著作《图画见闻志》 中记载了这件事："兴宗以五幅屏画《千角鹿图》为献，旁题'年月日御画'，辽兴宗好儒术，工丹青， 以画鹿著名。""鹿"与"禄"谐音，辽兴宗深受中原文化影响借《千角鹿图》上的群鹿，祝福辽、宋两国 福禄长春，友谊长存。 赤峰地区辽朝贵族墓葬密集分布，很多辽墓有壁画，绘画内容涵盖门神、出行、宴饮等题材。辽墓中门 神画像尤为普遍，种类包括神荼、郁垒、钟馗、武士、金刚力士等，并呈现鲜明的地域特色，上京道核 心地区的门神多融入吐蕃、回鹘等文化元素；而处于上京道管辖区域的林西地区则侧重中原武士与契丹 风貌的结合。 （来源：内蒙古日报） 转自：内蒙古日报 辽朝是契丹人建立的政权，实施"因俗而治"的二元体制为多元文化交融提供了土壤。契丹人长期活跃于 西拉木伦河与老哈河流 ...

韩国三兄弟分享重庆美食 金大、柱子和KK的合照 三兄弟的视角独特，18年的山城生活，让他们活成了地道的"重庆崽儿"——巷子里的板凳面哪家最巴适、毛肚涮烫的最佳火候他们都了然于心。而举起镜头 时，他们既展现着本地人的熟稔，又能以外来者的好奇心，精准捕捉并放大那些让外地观众倍感新鲜的细节，无论是镜头记录下的花椒直冲上颚的鲜麻，还 是面对兔头时的惊奇、初尝脑花的诧异……这些微妙的表情，都让观众直呼"美食不分国界""三兄弟吃遍重庆城，佩服佩服"！ 夜幕降临，解放碑附近的一家火锅店里，三个韩国人正拍得热火朝天，"快快，这个毛肚，七上八下，拍出来肯定有食欲！"高盛柱（柱子）夹起一片毛肚， 在镜头前熟练地展示着。一旁的金大仁（金大）和李奎和（KK）调整着补光灯的角度，确保每一滴挂在毛肚上的红油都鲜亮诱人。 这是柱子、金大和KK的日常，这三个在重庆生活了18年的韩国人，如今是拥有数万粉丝的自媒体博主。在中国，他们是探寻山城美食密码的"韩国三兄 弟"；在海外，他们则以"ChongqingMan"之名，向世界展示着一个真实而鲜活的重庆。 镜头下的山城烟火 "今天三兄弟吃啥子？"一句带着地道重庆腔调的招牌式吆喝成为了"韩国三兄弟" ...

Core Viewpoint - The Su Ba Shi Buddhist Temple site serves as a key to understanding the rich tapestry of multiculturalism in Xinjiang, reflecting the historical interactions and exchanges between different civilizations along the Silk Road [3][12]. Group 1: Significance of Su Ba Shi Temple - The Su Ba Shi Temple site is the largest and best-preserved Buddhist architectural complex in Xinjiang, recognized as a UNESCO World Heritage site in 2014 [5]. - Its geographical location in ancient Kucha, a crucial node on the Silk Road, provides a natural foundation for cultural convergence [3]. - The site, established in the 3rd century AD, documents the spread and decline of Buddhism in the region, alongside the governance of central authorities over Xinjiang [3][12]. Group 2: Architectural and Cultural Features - The architectural design of Su Ba Shi Temple reflects a blend of various cultural influences, including traditional Chinese axial symmetry and Gandhara Buddhist art [5]. - Recent archaeological findings, such as seals depicting figures related to Western classical mythology, illustrate the cultural exchange between East and West [5]. - Artifacts like the Sumeru Zhe relic box, adorned with local dance figures, highlight the integration of Buddhist culture into the daily lives of the local population [5][6]. Group 3: Evidence of Multicultural Exchange - The discovery of various coins from different dynasties, alongside artifacts from the Sasanian Empire, indicates the region's role as a significant trade route between East and West [6]. - Other archaeological sites in Xinjiang, such as the murals in the Tuyuq Valley and the ancient city of Jimi, further exemplify the region's multicultural heritage [8][9]. - The presence of over 15,000 fragments of documents in multiple languages from the Tuyuq Valley caves underscores the coexistence of diverse cultures and religions in Xinjiang [9]. Group 4: Historical Context and Influences - The formation of Xinjiang's multicultural landscape is attributed to its geographical position, historical developments, and the interactions among various ethnic groups [12]. - Central governance from the Han Dynasty onward has played a crucial role in maintaining social stability and promoting cultural integration in the region [12][14]. - The inclusive nature of Chinese civilization has facilitated the harmonious coexistence of multiple cultures and religions, enriching the cultural expressions in Xinjiang [14].

中原地区的经济形态演进脉络清晰，从早期地理空间上的"农牧并存"到后期生产体系深度嵌合的"农牧 统合"，其间的发展与演变不仅塑造了中原地区多元一体的经济格局，也增进了区域内各民族交往交流 交融，促进了多元文化的共存与发展。 □ 张 艳 宋元时期，中原多地开始推广棉花种植和棉织品加工，乳制品融入农耕社会的饮食体系，中原的粮食加 工技术则改善了游牧民族的食物结构，改善了其秋冬食物匮乏的状况。两者结成了一个关系更为紧密的 有机经济整体，相互依存、互补共生。农耕文化与游牧文化也在更为频繁的碰撞与激荡中，迸发出独特 的思想火花。中原诗词中开始出现对草原风光的描绘，中原的礼仪制度、教育理念也向周边地区传播。 相应地，游牧民族的乐舞、服饰等元素逐渐融入汉族文化。这种跨文化的交流不仅增强了各民族对中华 文化的认同感，也为多元一体的中华文化格局奠定了坚实基础。 （作者单位：郑州科技学院马克思主义学院；本文系2025年度河南省政府决策研究招标课题"中原地区 各民族交往交流交融对中华民族共同体形成的重要贡献研究"〈2025JC066〉阶段性成果） 经济相依是中华民族交流交往交融的重要特征。纵观中华文明发展进程，中原地区较早地形成了发 ...

元旦假期，天津市各大文创市集化身文化传承的鲜活载体，意风区马年如意市集、津一Park·新禧妙 会、缤纷金街迎新市集等在城市的各个角落以独特的文化表达，让传统文化呈现年轻态，在新年氛围中 为游人送上了一场兼具底蕴与创意的文化盛宴。 缤纷金街迎新市集上，传统民俗以年轻化的表达吸引游人。劝业场焕新围挡前，年轻人排队转动幸运转 盘，抽取融入网络热词的新年签，围挡上的"拾色百年"文创作品将杨柳青年画纹样与现代设计结合，让 传统文化传播更具参与感。 （来源：天津日报） 转自：天津日报 津一Park·新禧妙会以《山海经》为文化内核，打造沉浸式场景。六大主题让整个园区化身山海奇境， 70余个展位串联起传统与现代。每天上演的"山海新年巡游纪"让人沉浸于神话之中。来此游玩的北京纪 先生一家三口赞叹道："这可以说是中国古老的科幻故事，而这样的呈现既新颖又浪漫。" 意风区马年如意市集则演绎了多元文化交融的独特韵味。小洋楼间悬挂着红灯笼与马年主题装饰，各类 文创与天津老字号联名产品同台亮相，受到年轻人喜爱。游人在欣赏建筑风情的同时，还可参与传统文 化体验活动。 无论是商业街区中火热的非遗展示，还是小洋楼里被年轻人"挖宝"找到的国潮摊位 ...

Core Points - The inauguration of "Pan Yuliang Square" in Paris marks the first public square named after a Chinese individual in the city's history, symbolizing the contributions of the Chinese community in France and the integration of multiculturalism in Paris [1][2] - The square is located in one of the earliest Chinese communities in Paris and the naming process took five years, reflecting the collaborative efforts of various stakeholders [1] - Pan Yuliang, a pioneer of modern Chinese art, is recognized for her unique artistic style that blends Eastern and Western influences, and her works are showcased in the Musée Cernuschi, with over 50 pieces currently on display [1] Community Impact - The establishment of the square is seen as a recognition of the long-term efforts of the Chinese community in France, enhancing their sense of belonging and pride [2] - The event is viewed as a tribute to the Chinese community, following the memorial plaque for Chinese laborers from World War I, highlighting the importance of historical remembrance and cultural heritage [2]

Core Viewpoint - The Chengdu World University Games is showcasing a vibrant blend of diverse cultures, serving as a bridge connecting different ethnicities through various performances and events [1][2]. Group 1: Cultural Representation - The opening ceremony featured over a hundred children and young singers from around the world performing the theme song "Wàn Qiān," including six members from the Daliangshan Niuniu Choir, highlighting the ethnic diversity of the event [1]. - The ceremony also included Han and Yi athletes, Xu Lu and Alu Xiaobo, jointly lighting the main torch, symbolizing ethnic integration and unity [1][2]. Group 2: Performances and Activities - The Chengdu World University Games is hosting various performances that reflect the rich ethnic culture of Sichuan, including a puppet show titled "The Most Dazzling Ethnic Style" by the Chengdu Intangible Cultural Heritage Protection Center [2][4]. - The Yi Autonomous Prefecture Song and Dance Troupe performed a Yi men's group dance "Young Horse Flying," aiming to convey the spirit of bravery and progress [4]. Group 3: International Perspectives - International participants, such as American cheerleading judge Riffino Liz, expressed admiration for the cultural diversity showcased at the event, noting the impressive fact that China has 56 ethnic groups [4]. - German athlete Klarsen Felix, who won a silver medal in men's Faustball, emphasized that sports serve as an important window for displaying diverse ethnic cultures, appreciating China's rich cultural heritage [4].

Core Points - The "Western Xia Tombs" have been officially listed as a UNESCO World Heritage Site, increasing China's total number of World Heritage Sites to 60 [2][21] - The Western Xia Tombs represent a significant cultural heritage site that reflects the multi-ethnic integration and cultural exchanges during the Western Xia Dynasty (1038-1227 AD) [7][15] Summary by Sections Heritage Significance - The Western Xia Tombs are the largest and best-preserved archaeological remains from the Western Xia period, providing evidence of multi-ethnic integration and cultural exchanges in northern China during the 11th to 13th centuries [10][11] - The site includes 9 imperial tombs, 271 accompanying graves, and various architectural and flood control relics, covering a total area of 44,468.5 hectares [9][10] Architectural Features - The layout of the tombs follows a centralized design, with a symmetrical arrangement that incorporates elements from Tang and Song dynasties, as well as Buddhist and local customs [12][13] - The architectural features include various types such as tomb cities, moon cities, and steles, showcasing a blend of cultural influences and construction techniques [13][15] Cultural Exchange - The Western Xia Tombs serve as a testament to the Western Xia Dynasty's role as a cultural and economic hub along the Silk Road, facilitating exchanges between the Central Plains and the western regions [15][16] - Artifacts discovered at the site, including over 7,100 movable cultural relics, highlight the integration of Western Xia culture with that of the Central Plains, particularly in architecture and textile production [16][17] Preservation Efforts - The UNESCO World Heritage Committee praised the Chinese government's efforts in protecting and managing the Western Xia cultural heritage, noting the effective monitoring systems and legal frameworks in place [18][19] - The preservation journey of the Western Xia Tombs has undergone several phases, from initial discovery in 1972 to the successful application for World Heritage status in 2025 [20][21] Future Directions - The successful listing as a World Heritage Site marks a new beginning for the Western Xia Tombs, with plans to enhance research, community involvement, and sustainable development [20][21] - The focus will be on improving the management of cultural relics and promoting the significance of Western Xia culture within the broader context of Chinese civilization [20]

Core Viewpoint - The exhibition "Colorful Liupan: Ningxia Guyuan Cultural Relics Exhibition" at the Shanghai Museum showcases over 300 cultural relics from the Ningxia region, highlighting the rich cultural exchanges along the Silk Road and the integration of various civilizations [2][4]. Group 1: Exhibition Overview - The exhibition features artifacts from the Western Zhou to the Sui and Tang dynasties, including 61 first-class relics and 25 newly unearthed artifacts from the Pengyang Yaoheyan Western Zhou site [2][3]. - It is divided into three sections: "Casting Rituals in the Great Plains," "Hu and Han Dance Together," and "The Elegance of Yuanzhou," each focusing on different historical and cultural aspects of the Ningxia region [2][4]. Group 2: Cultural Significance - The first section emphasizes the development of ritual and music culture in the Guyuan area during the Zhou dynasty, showcasing the influence of Central Plains and northern grassland cultures [2][3]. - The second section highlights the prosperity of cultural exchanges between the East and West during the Northern Zhou period, featuring artifacts from the tomb of Li Xian, a significant figure of that time [3][4]. - The third section illustrates the strong attraction and inclusiveness of Chinese civilization through artifacts from the Sui and Tang periods, including a unique Sogdian tomb group [4]. Group 3: Notable Artifacts - Key artifacts include the Sasanian-style convex glass bowl and the gilded silver pot, which reflect the cultural exchanges facilitated by the Silk Road [3][4]. - The exhibition aims to deepen the understanding of the historical interactions among various ethnic groups and the multi-faceted nature of Chinese civilization [4]. Group 4: Exhibition Duration - The exhibition will run until November 17 [5].