讲解员介绍，一件琉璃在制作中需要经过24道工序。其中最重要当数"上三作"——"吻作""釉作""窑 作"。"吻作"指的是琉璃工匠通过自己的技能完成从泥到瓦、脊、兽的转变，其中手工塑形是一直沿用 的主要方法。"釉作"是要在铅粉中掺入各种金属氧化物（呈色剂），使其在一定的烧成温度和火焰气氛 中呈现出不同的颜色来，在配置好釉浆后，还需要进行施釉，通常采用浇釉、浸釉、刷釉、搭釉几种方 法全手工进行。"窑作"则是窑工通过常年摸索总结出了一套行之有效的方法和经验，何时起火、何时运 火、何时闭窑成为行规，靠师徒传授。 讲解员告诉同学们，因为在烧制琉璃的过程中可能会"一窑穷、一窑富"，所以会出现烧一备二，甚至烧 一备三的情况。"当时我们接到了一个新加坡华侨的订单，同时烧制了两窑，一窑去了新加坡，一窑被 镶在了这面墙上，成为北京琉璃制品厂的标志性建筑。现在园区的所有琉璃构件，其实都是各个时期烧 制留下来的琉璃备件。" 园区前身为始建于1263年，由忽必烈所设的官办琉璃窑厂，并统一管理琉璃制品的烧造工作，官式琉璃 也开始大量应用于宫殿建筑、皇家寺庙等建筑上。"因为烧窑需要用到煤，而门头沟大量产煤，所以便 将官窑建在此处。"讲解员说 ...

Core Viewpoint - The article highlights the cultural and historical significance of Liuliqu Village, which has transformed into a creative cultural industry park that integrates intangible cultural heritage, cultural experiences, and leisure tourism, attracting visitors from both sides of the Taiwan Strait [1]. Group 1: Cultural Heritage and Development - Liuliqu Village is home to a royal Liuli kiln established in 1263, which has produced Liuli products for over 700 years, used in significant royal buildings like the Forbidden City and the Temple of Heaven [1]. - The village has undergone protective renovations, evolving into a cultural industry park that showcases the development and preservation of the national intangible cultural heritage of Liuli craftsmanship [1]. - Liuli is recognized as one of the five major artifacts in ancient China, requiring over ten complex processes for production, making each piece unique and a testament to ancient craftsmanship and cultural heritage [1]. Group 2: Media Engagement and Experience - Recently, over ten media reporters from both sides of the Taiwan Strait visited the Liuli Cultural Creative Industry Park, exploring various facilities such as the Liuli Museum and the Intangible Cultural Heritage Studio [1][2]. - The reporters participated in hands-on experiences, such as mixing glaze colors and painting, which highlighted the intricate techniques involved in Liuli production [2]. - The visit also included tours of historical sites like Tanzhe Temple and Jietai Temple, allowing reporters to appreciate the rich cultural and natural heritage of the region [2]. Group 3: Local Economic Development - The Tanggu commercial area features a "nature + business + culture" model, attracting consumers with diverse offerings, including Michelin restaurants and family-friendly entertainment options [3]. - The commercial area aims to provide a relaxing escape for city dwellers, promoting local tourism and cultural integration [3].

Core Viewpoint - The historical royal ceramic factory in Liuliqu Village, Mentougou, has been revitalized into the Jingu Liuli Cultural and Creative Industry Park, focusing on the protective renewal of traditional glass-making techniques and integrating various modern business models [2] Group 1: Historical Background - The factory has a history of over 700 years, originally serving royal buildings such as the Forbidden City and the Temple of Heaven [2] - The factory had previously ceased operations before being revitalized in 2023 [2] Group 2: Current Developments - The park emphasizes "protective renewal" as its main theme, aiming to preserve and pass on the intangible cultural heritage of glass-making [2] - The introduction of non-heritage studios and trendy coffee and dining establishments has contributed to its appeal [2] - The site has gained a reputation on social media as the "Little Jingdezhen of Western Beijing" [2]

Group 1 - The core viewpoint emphasizes the importance of "adapting to local conditions" and "tailoring policies to cities" to promote the continuation of urban cultural heritage, which is a key task identified by the Central Urban Work Conference [1][17] - The transformation of the old ceramic factory site in Zibo into a cultural experience center highlights the significance of preserving unique industrial heritage while fostering tourism and local culture [3][11] - The local government has adopted a principle of "preserving true heritage and not creating false antiques," ensuring that the historical essence of the site is maintained during its redevelopment [5][7] Group 2 - The revitalization project in Zibo has attracted over 70 businesses and transformed the area into a cultural landscape that integrates ancient kiln groups, traditional historical districts, and remnants of ceramic factories [9][11] - The project has also facilitated the innovation of traditional crafts, shifting the local ceramic industry from producing everyday items to high-end art pieces, thus enhancing the cultural tourism sector [11][13] - The renovation of the Liangma River in Beijing serves as a model for urban renewal, combining ecological restoration with cultural empowerment to create vibrant public spaces that reflect the city's historical memory [21][22] Group 3 - The overall strategy for urban development emphasizes the integration of traditional culture with modern life, aiming for a creative transformation that sustains cultural heritage while meeting contemporary needs [19][23] - The presence of numerous historical sites and cultural landmarks across China underscores the importance of preserving and promoting traditional culture as a foundation for modern urban identity [23]

Core Viewpoint - The "Glorious Glass - Zibo Glass Art Exhibition" at the National Museum of China showcases over 180 pieces of ancient and modern glass art, highlighting the development of Chinese glass art and the exquisite craftsmanship of traditional glass-making techniques [4][5]. Group 1: Exhibition Overview - The exhibition is divided into three sections: "A Thousand Years of Origin," "Eternal Colors," and "Exquisite Treasures," each presenting a narrative of the evolution and innovation of Zibo glass art [4][5]. - Zibo, Shandong, is recognized as a significant historical center for ancient glass production in China, with archaeological findings of a glass workshop from the late Yuan to early Ming dynasties [4][6]. Group 2: Historical Context - The first section "A Thousand Years of Origin" outlines the history of ancient Chinese glass development and compares it with glass products from Rome and Sasanian cultures, illustrating the differences in materials and techniques [5][6]. - The exhibition features ancient glass artifacts such as the "dragonfly eye" beads and Roman glass bowls, reflecting the craftsmanship of their respective eras [6]. Group 3: Artistic Techniques - The second section "Eternal Colors" focuses on glass art pieces created through various techniques, including blowing and cold processing, categorized by color to educate visitors on the aesthetics and craftsmanship involved [6][7]. - The third section "Exquisite Treasures" showcases intricate glass works, including the Twelve Flower Gods series and the Butterfly Spirit Snake Crown, emphasizing the poetic nature of glass art [7]. Group 4: Interactive Experience - The exhibition includes live demonstrations by inheritors of the intangible cultural heritage of glass inner painting, allowing visitors to engage with the craft by trying their hand at painting on glass [7].

琉璃是一种常用于古代宫殿、宝塔等建筑的装饰材料。山西是我国琉璃的主产地，琉璃烧制技艺有着悠久的历史，2008年，琉璃烧制技艺列入国家级非物质 文化遗产名录。一起走进山西太原，了解古老技艺创新传承的故事。 《礼乐华夏》展正在山西考古博物馆举行，首次公开展出了多组新近出土的明代琉璃制品。山西高平市米山镇出土的一组琉璃俑，展现了明代中后期的生活 状态和场景。这组琉璃俑器型丰富、种类多样。 山西省考古研究院民族融合研究所所长 白曙璋：我们看到不光有单一色彩的琉璃、黄绿釉的琉璃，同时还有难以制作的蓝紫色色调。代表了山西在明代甚 至更早的元代，琉璃烧造的技术已经非常成熟。 琉璃生产在山西分布广泛，山西的琉璃烧造始于北魏，至明清达到鼎盛。琉璃制作，涵盖了备料、成型、素烧、施釉等多个环节，最终使得琉璃制品呈现出 五彩斑斓的效果。琉璃制作原料选用当地的坩子土，釉色常见黄、绿、蓝、紫、黑、白等色，制作方法均为二次烧成，即先烧好素胎再上釉，然后烘烧成 器。 琉璃烧制技艺在一代代匠人的口口相传中得以延续，由于时代的变迁，技艺中的孔雀蓝釉的制作却不幸失传。20世纪80年代，当时40多岁的传承人葛原生， 开启了尝试恢复孔雀蓝釉的探索之路 ...

Core Insights - The article emphasizes the revitalization of the cultural industry in China, driven by the creative transformation and innovative development of traditional culture under the guidance of President Xi Jinping [2][3]. Group 1: Cultural Industry Development - The cultural industry is experiencing a renaissance, with local intangible cultural heritage skills being passed down and integrated into tourism, leading to economic growth [2][3]. - The "Dongpin Source" cooperative in Guizhou has seen its revenue grow from over 1 million to more than 18 million yuan, creating flexible employment for over 1,200 people across 123 villages [4]. - The annual output value of the ethnic handicraft industry in Chifeng, Inner Mongolia, has reached 200 million yuan, showcasing the economic potential of traditional cultural elements [5]. Group 2: Cultural Tourism Integration - The integration of culture and tourism in Lijiang has led to a record 80.64 million tourists in 2024, with visitors staying an average of 15 to 30 days, significantly longer than previous averages [6][7]. - The restoration of historical residences in Lijiang has created new cultural experiences for tourists, enhancing the connection between local residents and visitors [6][7]. Group 3: Traditional Clothing Industry - The Hanfu industry in Caoxian has become the largest original Hanfu production cluster in China, with total sales exceeding 12 billion yuan in 2024, capturing a significant market share [9][10]. - The industry has implemented efficient supply chain practices, allowing for rapid production and distribution, with products reaching international markets in under an hour [10]. - The Hanfu products have gained international recognition, with sales expanding to over ten countries, including Australia and Canada, showcasing the global appeal of traditional Chinese clothing [10][11].