来源：人民日报 豫东平原的麦苗刚返青，风里还带着些许寒意。走进河南开封朱仙镇赵庄村，空气的味道却截然不同 ——那是一股醇厚清冽的松烟墨香，盖过了旷野的寒意，直往人心里钻。 这里是国家级非遗——朱仙镇木版年画的活态传承基地。在这个被誉为"年画村"的地方，春节的热闹虽 已过半，但属于赵庄人的"忙年"却远未结束。一张张红纸，正在这里演绎出一场关于乡村产业的静水深 流。 推开一扇半掩的木门，冬日暖阳斜斜地打在满院的梨木板上。 国家级非物质文化遗产代表性传承人张廷旭，戴着老花镜，拇指死死抵住刻刀，在坚硬的木质纹理间游 走。刀锋过处，木屑卷起，线条流畅如水。 在景区经营年画小店的90后传承人张一，正忙着盘点节后的库存。与父辈们"赶集摆摊、看天吃饭"不 同，她靠的是精准的商业嗅觉。"以前是人找画，现在是画找人。一个春节下来，收入能顶过去半年。" 这并非个例。调研数据显示，2025年，赵庄村带动周边区域开展研学8万余人次，仅此一项就实现销售 收入110余万元。整个产业年产值更达4000余万元。 漫步村中，会发现这里的墨香里混入了"新潮"的味道。 在文创空间里，传统的秦琼、尉迟恭不再是唯一的主角。印着"雪人"形象的木版画成了游 ...

马，是刚强雄壮、自强不息的象征，昭示着行稳致远、兴旺发达的前景。丙午马年新春之际，我们的记 者再次以归乡人的视角，打量家乡热土，讲述身边故事，聚焦家国新变。在太行山麓触摸百团大战的金 戈铁马，在海南封关后亲历天涯小城的快马加鞭，在闽南游神烟火中迎来"马上有福"，在"网红"城市体 验马不停蹄的AI助力……让我们和记者一起，和家乡一起，和祖国一起，昂扬龙马精神，策马扬鞭， 蹄疾步稳—— 大年初一的潍坊市寒亭区杨家埠民间艺术大观园，夜色一落便被花灯点燃。广场中央，数米高的"龙马 精神"主题花灯昂首挺立，马身上有祥云纹样，灯光透过绸缎柔和温馨。宫灯高悬映红街巷，鱼灯摇曳 穿梭人潮，成排的生肖花灯次第点亮，流光沿着潍县路一路铺展，将潍坊的新春暖意烘得滚烫。这是潍 坊寒亭的新春夜，也是杨家埠花灯最动人的时刻。 雕细琢，钢筋塑形要贴合"肌肉走势"，绸缎选材要兼顾透光性与耐用度，每一道工序，都是匠人对品质 的极致追求。 杨家埠大观园里的花灯便来自附近的花灯厂，精巧的花灯中藏着传统与现代的巧妙融合。王永训拿起一 旁的小型竹骨鱼灯，指尖轻捏灯架演示着，"摆放花灯要稳，巡游花灯要轻。"大观园里的摆放式花灯体 量高大，多在五六米之间 ...

本文转自【新华网】； 山上，滑雪场中常有熙攘人群和欢声笑语。山下，李庄村党支部书记李春途曾经看着来往的车辆犯 愁。"从前游客来了，滑完雪就走，基本不在村里停留。"李春途说，滑雪场的年客流量有8万人次，李 庄村距离夹谷山不到半里地，但多年来一直没能沾上光。 这种情况，在过去一年间有了改变。当地规划打造"遇山半里"乡村振兴片区，覆盖包括李庄村在内的8 个行政村。各方群策群力，共同挖掘冰雪运动的经济社会效益，不再"抱着金饭碗讨饭"。 新华社济南2月22日电 题："半里"冰雪，点燃沂蒙老区乡村共富梦 新华社记者张武岳、叶婧 正在进行的米兰冬奥会，让民众看到中国健儿踏冰逐雪的风采，也让国内冰雪运动的热度持续攀升。春 节假期，在沂蒙革命老区山东临沭县的夹谷关滑雪场，负责人唐少棠一直不得闲暇。 "假期期间，我们每天接待的滑雪爱好者有3000人次左右。越来越多的人在这片场地感受冰雪运动的魅 力，让我很有成就感。"唐少棠说，由于滑雪场地处苏鲁交界，他们接待的大多为江苏、浙江等南方省 份的滑雪爱好者。 "我对滑雪很好奇，尝试几次之后，越来越喜欢。"10岁的刘芊祎在江苏上学，自从两年前第一次踩在雪 板上，她对这项运动的喜爱便一发不 ...

新华社济南2月22日电 题："半里"冰雪，点燃沂蒙老区乡村共富梦 新华社记者张武岳、叶婧 "遇山半里"片区还建起雪友俱乐部、室内滑雪训练馆、火锅店、奶茶店等，推动"山上滑雪、山下消 费"。"我们配套打造了丰富多样的消费场景。"李春途介绍，在雨林餐咖，游客品尝甜品、咖啡、西餐 的同时，可以在热带雨林风格的场景中拍照打卡；在"四时有方"茶室，大家则可享受"茶饮+轻食"。 正在进行的米兰冬奥会，让民众看到中国健儿踏冰逐雪的风采，也让国内冰雪运动的热度持续攀升。春 节假期，在沂蒙革命老区山东临沭县的夹谷关滑雪场，负责人唐少棠一直不得闲暇。 "我们借冰雪运动热潮，培育特色产业和特色文化。留住游客的同时，也激发了乡村发展繁荣的内生动 力。"李春途表示。 "假期期间，我们每天接待的滑雪爱好者有3000人次左右。越来越多的人在这片场地感受冰雪运动的魅 力，让我很有成就感。"唐少棠说，由于滑雪场地处苏鲁交界，他们接待的大多为江苏、浙江等南方省 份的滑雪爱好者。 行走在李庄村的小微富民业态小巷，煎饼坊、馒头坊、豆腐坊、粉条坊等食品作坊依次排开，烟火气扑 面而来。"以前一年也就卖一两万斤。现在多的时候，一天就能卖一两千斤呢，做得赶 ...

Core Viewpoint - The article highlights the thriving business of traditional Chinese woodblock New Year paintings, particularly focusing on the work of Wu Baishuo, a master craftsman in Shanxi, who has seen a surge in orders during the festive season, reflecting a growing appreciation for cultural heritage and artisanal craftsmanship. Group 1: Industry Overview - The Jingzhou woodblock New Year paintings originated during the Song and Jin dynasties and flourished during the Ming and Qing dynasties, making it an important genre in Chinese folk art with themes including door gods, kitchen gods, and blessings [1] - The current demand for these paintings has led to a total order exceeding 7,000 pieces before the New Year, indicating a robust market interest from cultural companies, creative stores, and individual customers [1][2] Group 2: Craftsmanship and Production - Wu Baishuo and his wife, both skilled artisans, are involved in every step of the production process, from design to printing, with new designs taking nearly six months to finalize due to the meticulous nature of the craft [2] - The production process includes hand-carving woodblocks, which takes about one week per block, showcasing the dedication to preserving traditional techniques and the cultural significance of the artwork [2] Group 3: Cultural Significance - The New Year paintings are not only artistic expressions but also carry deep cultural meanings, embodying wishes for happiness and prosperity in the new year [2] - Wu Baishuo has donated 35 pieces of his woodblock paintings to the National Library, aiming to promote the visibility of Jingzhou New Year paintings and their cultural heritage [3][4]

Core Viewpoint - The article highlights the legacy and evolution of the Mudman Zhang family, emphasizing the importance of preserving traditional craftsmanship while adapting to contemporary cultural contexts [1][2][4]. Group 1: Historical Background - The Mudman Zhang family tradition began in the late Qing Dynasty, with the founder Zhang Mingshan innovating traditional clay sculpture by incorporating realistic styles and Western techniques [1][2]. - The family gained recognition for its artistic achievements, with notable works like "Jiang Men Shen" and "Sun Fu Ren Shi Jian" becoming classics in Chinese folk sculpture [1][2]. Group 2: Artistic Innovation - Mudman Zhang's art represents a significant shift in Chinese sculpture from practical objects to pure artistic expressions that convey human emotions and cultural significance [2]. - The participation in the 1915 Panama International Exposition marked a milestone, showcasing Chinese traditional clay sculpture on a global stage and earning accolades [2]. Group 3: Challenges and Resilience - The family faced challenges during historical upheavals, such as the Japanese occupation in 1937, when the second-generation leader Zhang Yuting chose to close the workshop rather than collaborate with the occupiers, preserving the integrity of the craft [2]. - The establishment of the Mudman Zhang Clay Sculpture Studio in 1959 marked a new era of social engagement, allowing the art to reach a broader audience through the recruitment of students [2]. Group 4: Contemporary Efforts and Education - The sixth-generation leader is committed to preserving traditional techniques while promoting the art through educational initiatives, including the "Mudman Zhang Ten Thousand Young Inheritors" project, which has trained nearly 4,000 young practitioners [3]. - The integration of traditional clay sculpture with academic research and the establishment of exhibitions aims to foster appreciation among younger generations and ensure the art's relevance in modern society [3][4]. Group 5: Future Vision - The documentary "Old Brand, New Tide" reflects on the family's journey and emphasizes the need for innovation in preserving cultural heritage, aiming to make the Mudman Zhang art a benchmark for living heritage in China [4].

Core Perspective - The article explores the cultural significance and artistic representation of horses in various Chinese traditional crafts, highlighting the evolution and innovation within these art forms. Group 1: Suzhou Embroidery (Su Xiu) - Su Xiu, centered in Suzhou, is renowned for its intricate silk embroidery techniques, utilizing ancient needle methods to create poetic representations of horses [2][4] - The art form has evolved from traditional techniques to contemporary expressions, with artists like Jiang Xueying innovating with new methods such as twisting threads and simplifying needlework to enhance texture and depth [4][6] - Jiang Xueying's representative work "Xiao Ma" exemplifies the blend of traditional and modern techniques, capturing the essence of horses in a dynamic and spatially rich manner [4][5] Group 2: Fur Painting - In Xinjiang, fur painting has emerged as a unique art form, using animal hides as the canvas to depict vibrant and dynamic horse imagery [7][10] - Artist Aiziguli Wufuer has transformed this craft into a pure artistic expression, overcoming technical challenges to create lifelike representations of horses that resonate with cultural narratives [7][11] - Her works, such as "Sweat Blood Horse," reflect a deep connection to the nomadic lifestyle and the spiritual significance of horses within that culture [10][11] Group 3: Other Traditional Crafts - The representation of horses spans various traditional crafts in China, each employing unique techniques and materials to convey cultural meanings [12][17] - Wood carvings, paper cuttings, clay sculptures, and New Year paintings all feature horses, symbolizing strength, vitality, and auspiciousness in Chinese culture [12][14][15][17] - These diverse forms of artistic expression collectively celebrate the horse as a symbol of life and aspiration, showcasing the craftsmanship and cultural heritage of different regions [12][17]

Core Insights - The Wuxi Huishan Clay Figurine Factory has successfully launched a new zodiac-themed product, "Ma Shang Ping An," for the upcoming Year of the Horse in 2026, which has seen significant sales success [1][4] - The factory's orders for this product have already been scheduled until April, indicating strong market demand [4] - The involvement of younger designers has revitalized the traditional craft, leading to innovative designs that resonate with contemporary consumers [5][6] Sales Performance - The "Ma Shang Ping An" figurine has sold 4,000 sets within three months of its launch, showcasing its popularity [4] - The factory's total revenue reached 15 million yuan in 2025, reflecting the successful integration of traditional craftsmanship with modern marketing strategies [7][8] Design and Innovation - The design of "Ma Shang Ping An" incorporates elements from Tang Dynasty pottery, with a focus on emotional value and cultural significance, appealing to younger consumers [5][6] - The factory has expanded its product line to include variations like "Ma Shang Fa Cai" and "Ma Shang You Cai," further enhancing its market appeal [6][7] Cultural Relevance - The factory is positioning Huishan clay figurines as a cultural IP, integrating them into modern lifestyle products and marketing through new channels like live streaming [7][8] - The younger generation's involvement has brought fresh perspectives to the traditional craft, ensuring its relevance in contemporary society [8]

Core Viewpoint - The article highlights the growing popularity of traditional cultural experiences in small cities, particularly in the context of tourism during the Chinese New Year, with a focus on the unique cultural heritage of Wuchuan, Guangdong Province [1]. Group 1: Cultural Heritage and Tourism - The "Ten Cross Street" in Meilun has seen an influx of tourists from various regions, including Beijing and Shanghai, who come to experience local traditions and take photos [2]. - The street is known for its historical significance and has transformed into a hub for dragon and lion dance crafts, attracting both locals and tourists [2][3]. - The local dragon and lion dance crafts, particularly the traditional making of lion heads, have gained recognition, with the "Li Yi Ji Dragon Lion Art Workshop" being a notable establishment in this area [3]. Group 2: Non-Material Cultural Heritage - The "Li Yi Ji" workshop's lion head-making technique was included in the ninth batch of municipal intangible cultural heritage representative projects in Zhanjiang [3]. - The Ministry of Culture and Tourism encourages the integration of intangible cultural heritage with tourism, promoting traditional performances and crafts to enhance the tourism experience [3]. - The lion dance, particularly the southern lion dance from Guangdong, is recognized as a significant cultural activity that combines martial arts, dance, and music, serving as a cultural bridge for overseas Chinese communities [3]. Group 3: Local Traditions and Events - The festive atmosphere during the Chinese New Year in the region includes various traditional activities such as lion dances, which are performed in local villages and attract large crowds [5][6]. - The practice of ordering new lion heads and drums for the New Year celebrations begins as early as November, indicating the cultural significance and preparation for the festivities [5]. - The "yearly feast" tradition, where families invite friends and relatives, continues into the second or third month of the lunar calendar, showcasing the extended celebration period in the region [5].

近日，陕西省宝鸡市凤翔区检察院检察官前往六营村胡新明泥塑工作室，详细了解泥塑产业发展中面 临的知识产权保护等法律需求。图为检察官现场观摩胡新明（中）的精湛技艺。 时值年关，关中平原冬日晴好。 "在外读书时，我发现很多人喜欢非遗文化，但传统泥塑造型单一、颜色朴素，年轻人不喜欢，就想着 回来做些创新。"胡锦伟拿起一款卡通版"秦将马"告诉记者，他把动画、卡通元素融入传统泥塑，还开 发了研学体验包，每年接待上百所高校的学生来实践。谈及返乡的选择，他眼神坚定："父亲捏了一辈 子泥塑，这门手艺不能丢，回来不仅是传承，更是想让泥塑走出乡村，走到更远的地方。" 泥塑产业越做越大，守护的力量也始终相伴。廖卫军告诉记者，村里的泥塑曾被外村人仿冒产品和包 装，令手艺人很是头疼。如今，凤翔区检察院在村里设了知识产权保护点，给大家吃下了"定心 丸"。"检察官常来村里普法，讲知识产权保护的知识，现在村民都懂法了，遇到侵权的事，先沟通调 解。"廖卫军说，检察官还会定期来村里做法律咨询，帮着大家梳理维权流程，仿冒纠纷少了很多，"法 律给咱泥塑产业保驾护航，大家伙儿才能安心做手艺，这是最实在的帮助。" 夕阳西下，六营村的工坊里依然灯火通明。廖 ...