●为迎接"辰星"和"晓月"，马来西亚国家动物园对熊猫馆进行了全面升级改造 ●中国大熊猫保护研究中心派出经验丰富的团队随行并将驻留马来西亚一段时间，确保"辰星"和"晓月"尽快适应新 环境 11月18日16时许，大熊猫"辰星"和"晓月"从成都双流国际机场搭乘专机飞赴马来西亚。它们将在位于吉隆坡的马 来西亚国家动物园开启为期10年的旅居生活。这标志着中国与马来西亚新一轮大熊猫保护合作研究正式启动，两国在 大熊猫保护与研究领域的合作进入新篇章。 严谨挑选 延续中马大熊猫保护合作情缘 大熊猫"辰星"。 大熊猫"晓月"。 大熊猫"晓月"被送上转运车。 ●"辰星"和"晓月"均年满5岁，目前正处于成长期，体格健壮，精力充沛，身体发育与健康状况良好，遗传背景匹 配 "希望它们能尽快适应马来西亚的生活，未来能平安顺利诞下'爱情的结晶'！"对于新一轮合作，李德生充满期 待，"上一轮合作，中马双方在大熊猫饲养繁殖与疾病防控等方面成果丰硕。新一轮合作，希望在原来的基础上更进一 步，共同助力全球野生动物保护事业。" 精心准备 确保其尽快适应海外新生活 成都到吉隆坡飞行时长超过4小时，一路上如何保证平安？马来西亚地处热带，生活在四川的大熊 ...

Core Viewpoint - The design of the 2008 Beijing Olympics mascots, the "Fuwa," was a significant cultural representation of China, created by artist Han Meilin, who aimed to convey friendship, peace, and the spirit of the Olympics through these characters [1][2]. Group 1: Design and Cultural Significance - Han Meilin was chosen for his ability to encapsulate the essence of Chinese culture in the mascots, which needed to appeal to a global audience while maintaining cultural depth [2]. - The "Fuwa" were designed in a single night, reflecting Han's commitment to representing the Chinese nation and its cultural values, with each character's name incorporating the concept of "福" (fortune) [2][4]. - The mascots conveyed a message of friendship and positivity through the phonetic play on "Beijing welcomes you" [2]. Group 2: Artistic Journey and Philosophy - Han Meilin's artistic journey includes a deep exploration of ancient Chinese characters, leading to the creation of the "Tianshu" series, which reflects his dedication to reviving and interpreting lost cultural symbols [5][8]. - His work emphasizes the importance of cultural heritage and the need to document and appreciate historical symbols, regardless of their immediate understanding [5][9]. - Han's artistic process is characterized by a relentless pursuit of beauty and meaning, dedicating extensive hours to his craft, often losing track of time [6][8]. Group 3: Community Engagement and Education - Han Meilin has established free art museums across various cities, aiming to make art accessible and promote aesthetic education among the public, particularly children [9][10]. - His approach to art education emphasizes voluntary engagement rather than coercion, allowing children to connect with art naturally [11][12]. - The initiative to create public art spaces reflects a desire to bridge the gap between high art and everyday life, making art a relatable and integral part of the community [10][12].