Core Viewpoint - The article outlines the evolution of popular culture in China over the past 50 years, highlighting three distinct eras and two significant turning points, ultimately suggesting that a new form of popular culture is emerging that is more autonomous and rooted in grassroots movements [2][4][10]. Group 1: Evolution of Popular Culture - Popular culture in China has transitioned through three main eras: the traditional media-dominated era of the 1980s, the commercialized media era of the 1990s, and the internet-driven self-media era of the 21st century [4][6][8]. - The 1980s saw a reliance on traditional media such as newspapers and radio, with limited commercialization and a focus on educational and enlightening content [6][7]. - The 1990s marked the rise of television as the dominant medium, leading to the commercialization of popular culture, where the new middle class began to control cultural production, often suppressing genuine cultural demands from the broader public [7][12]. Group 2: Cultural Shifts and Resistance - The early 2000s witnessed a decline in traditional media's influence, with the rise of self-media and short video platforms allowing the public to actively participate in cultural production, thus challenging the previous cultural monopolies [8][10][23]. - The article argues that the cultural identity of the masses has evolved significantly, moving from passive consumers to active participants in cultural expression, driven by technological advancements and shifts in political and economic landscapes [9][20][22]. - Despite the commercialization of popular culture, there has always been an undercurrent of resistance from the masses against the middle-class cultural hegemony, which has shaped the cultural landscape [15][19]. Group 3: New Trends in Popular Culture - The emergence of a new popular culture is characterized by a blend of local and global influences, showcasing a newfound cultural confidence and a willingness to creatively adapt foreign cultural elements [28][32]. - Recent years have seen a rise in grassroots cultural expressions, with independent creators gaining recognition and challenging the established cultural production systems dominated by capital and elite interests [24][25][26]. - The article emphasizes that the new popular culture is not without its flaws, but it represents a significant shift towards a more vibrant and diverse cultural landscape that reflects the genuine experiences and aspirations of the masses [27][38].

Group 1 - The article emphasizes the importance of cultural self-awareness and self-confidence for the Chinese Communist Party, highlighting its historical role in promoting cultural development and its commitment to integrating traditional culture with modern practices [2][4][5] - It discusses the new cultural mission proposed by the Party under Xi Jinping's leadership, aiming to foster cultural prosperity and build a strong cultural nation, which reflects the Party's high cultural self-awareness [3][6] - The article outlines the necessity of maintaining the Party's leadership in cultural matters, asserting that this is crucial for the future of the Party and the nation [6][8] Group 2 - The concept of the "Second Combination" is introduced as a means to deepen the integration of Marxist principles with traditional Chinese culture, enhancing the understanding of China's path, theory, and system [7] - The article advocates for an open and inclusive approach to culture, emphasizing the need for innovation while adhering to core Marxist principles and the Party's leadership [8] - It highlights the importance of adapting to new technological advancements in cultural production, promoting both cultural services and industries to meet the growing spiritual and cultural needs of the populace [9]

Core Viewpoint - The core viewpoint emphasizes that the openness and inclusiveness of Chinese civilization are fundamental driving forces for its continuous development, as it has absorbed and learned from foreign cultures throughout its history [1][28]. Group 1: Event Overview - The 11th Nishan World Civilization Forum will be held in Qufu, Shandong from July 9 to 10, 2025, serving as a platform for global experts to contribute wisdom for the future development of human civilization [3]. - The forum's theme is "Each Beauty is Beautiful, and Beautiful Together - The Relationship Between Civilizations and Global Modernization," addressing urgent dialogues among different civilizations [4]. Group 2: Historical Context - The 1990 East Asia Social Research conference marked a significant moment for scholars from China, Korea, Japan, and the West to "rediscover" Asia amid a changing global political and economic landscape [5][6]. - Fei Xiaotong's principle of "Each Beauty is Beautiful, Beautiful Together, and Great Harmony" was introduced as a guiding philosophy for cultural relations during this conference [7][14]. Group 3: Cultural Philosophy - "Each Beauty is Beautiful" acknowledges that every culture has its own merits, advocating for respect and recognition of cultural diversity [8][15]. - "Beautiful Together" represents a state of coexistence and mutual respect among different cultures, while "Great Harmony" envisions a global community where diverse cultures can thrive together [9][17]. Group 4: Modern Challenges - The post-World War II era has seen nations prioritize economic development over cultural construction, leading to a lack of cultural communication and understanding [10][19]. - Globalization has intensified cultural exchanges but has also created challenges in maintaining cultural integrity and mutual respect among nations [20][21]. Group 5: Role of Confucianism - Confucianism is suggested as a framework for fostering inclusiveness in cultural exchanges, emphasizing the importance of learning from others [11][12]. - The concept of "Cultural Self-Awareness" is highlighted as essential for understanding one's own culture through the lens of others [15][27]. Group 6: Future Directions - The need for a cultural dialogue platform is emphasized to address global challenges and ensure human dignity and safety [23][24]. - The idea of a "Cultural Globalization" that respects and shares diverse cultures is proposed as a means to build a community of shared human destiny [23][24].

Group 1 - The core idea of the article revolves around the importance of cultural inclusivity to resolve conflicts between civilizations, as articulated by the scholar Jin Guangyi [1][2][3] - The phrase "各美其美、美人之美、美美与共、天下大同" (appreciating each other's beauty, recognizing the beauty in others, coexisting beautifully, and achieving a harmonious world) serves as a guiding principle for cultural interactions [4][5][6] - Jin Guangyi emphasizes that each culture has its own merits and should be respected, advocating for a relativistic approach to cultural understanding [5][6][7] Group 2 - The current geopolitical tensions hinder the realization of the ideals of cultural coexistence and mutual respect, as nations focus on economic development at the expense of cultural values [8][9] - Globalization has led to significant cultural and social changes, creating a need for improved cultural communication skills among nations [9][10] - Jin Guangyi suggests that the future of globalization should prioritize cultural exchange and inclusivity rather than solely economic interests [12][13][14] Group 3 - The role of Confucianism is highlighted as a framework for fostering cultural inclusivity and understanding, with teachings that encourage learning from diverse cultures [15][16] - The concept of "仁" (benevolence) in Confucianism is identified as a core value that promotes cultural acceptance and the building of a harmonious community [16]

Core Points - The article highlights Ole Bouman's journey along the Silk Road, emphasizing the importance of understanding different cultures and promoting dialogue in a time of increasing misunderstandings and divisions [1][6][12] - Bouman aims to share his experiences through a book, hoping to inspire those who wish to maintain world peace [1][6] - The narrative reflects on the challenges of writing and the solitude it entails, contrasting it with the physical journey he undertook [4][5] Group 1 - Ole Bouman, a historian and professor, embarked on a 156-day cycling journey covering 10,756 kilometers from Amsterdam to Shanghai to explore the meaning of "the East" [1][6] - The journey is described as a personal "Eastern Odyssey," intended to foster understanding and dialogue among cultures [1][6][12] - Bouman expresses that true dialogue requires stepping away from the accelerated pace of modern life, emphasizing the need for human connection to overcome prejudices [6][12] Group 2 - Bouman's reflections on his long-term engagement with China reveal a deep cultural exploration that transcends superficial understanding [7][12] - He critiques the ease of accessing other cultures in the digital age, arguing that genuine cultural awareness requires overcoming laziness and engaging deeply with different perspectives [7][12] - The article illustrates Bouman's encounters with various cultures during his journey, highlighting moments of connection that transcend cultural differences [12][13] Group 3 - Bouman draws parallels between historical and contemporary experiences, noting how modern industrialization supports cultural heritage [12][19] - His journey prompts reflections on historical figures and their quests for understanding, suggesting a continuity of human experience across time [19][20] - The narrative culminates in a philosophical contemplation of the shared human experience, emphasizing the importance of kindness and understanding in fostering peace [12][19][20]