观众参观第十届中国北京国际美术双年展。郭俊锋摄（人民图片） 母与子（雕塑）绍坎·托列什（哈萨克斯坦）作 2026年伊始，北京迎来一场备受瞩目的国际艺术盛会——第十届中国北京国际美术双年展日前在北京展 览馆举办。本届双年展由中国文联、北京市委宣传部、中国美术家协会联合主办，汇聚近120个国家和 地区的近600件当代美术作品，聚焦和平发展、生态文明、科技伦理等话题，以视觉艺术语言讲述北京 故事、中国故事与世界故事。 同绘"共生"图景 "艺术是一扇窗，当我们打开它，看到的是一个五彩缤纷的世界。"中国美协分党组书记、驻会副主席屈 健说。在他看来，北京国际美术双年展就是一个"故事会"，通过艺术表达了各国人民对美好生活的向 往。 本届双年展以"共生"为主题，采用"主题展+特展+国别展"的结构。展出作品既有绘画、雕塑等传统艺术 形式，也包括数字、影像、装置、新媒体等当代艺术品类，类型丰富，规模空前，蔚为大观。 漫步展厅，一件件作品讲述着各国艺术家对"共生"的思考。 在"人智共生：数字艺术特展"中，50余位中外前沿艺术家以人工智能艺术、互动装置、沉浸影像、虚拟 现实艺术等形式，构建出一个多维度的"观念实验场"。特展因科技范儿 ...

转自：北京日报客户端 中国北京国际美术双年展自2002年创办以来，已成为彰显当代中国开放包容文化气象、促进世界文明交 流互鉴的重要平台。与会嘉宾表示，将以本届双年展为契机，在持续交流中激发创新创造活力，携手绘 就人类文明和谐共生的绚丽画卷。 中央有关单位和北京市领导诸迪、孙军民、韩子荣，部分国家驻华使节及艺术家代表等出席。 来源：北京日报客户端 12月29日，第十届中国北京国际美术双年展在北京展览馆开幕。中国文联党组书记、副主席张政出席开 幕式并宣布展览开幕。 本届展览由中国文学艺术界联合会、北京市委宣传部、中国美术家协会联合主办。展览以"共生"为主 题，采用"主题展+特展+国别展"结构，聚焦和平发展、生态文明等议题，讲好北京故事、中国故事、 世界故事。作为庆祝中塞人民友谊70年的活动之一，展览设置了塞尔维亚当代艺术国别展。 展出的近120个国家和地区的约600件当代美术作品中，既有绘画、雕塑等传统艺术形式，又有数字、影 像等当代艺术新品类，全面呈现传统艺术新成果、数字艺术新探索。本届双年展首次设立国际美术大 会，邀约多国艺术家、策展人、美术馆和博物馆负责人深入交流对话，启迪艺术创作、促进相知相交。 展览更加 ...

Core Viewpoint - The 10th China Beijing International Art Biennale, themed "Symbiosis," will showcase nearly 600 contemporary artworks from around 120 countries and regions, marking a significant cultural event in Beijing from December 29, 2025, to January 28, 2026 [1][2]. Group 1: Exhibition Overview - The exhibition will feature approximately 244 domestic artworks and 180 international artworks, along with around 133 pieces from special and country exhibitions, including 47 digital art pieces and 52 international ink art pieces [2][4]. - The total exhibition area will be 15,228 square meters, indicating an unprecedented scale for the event [2]. - The biennale aims to serve as a platform for dialogue among different civilizations and to showcase China's cultural image and responsibilities as a major country [2][4]. Group 2: Submission and Participation - Over 9,000 artworks were submitted globally, achieving a historical record for the biennale, with more than 7,300 submissions for the domestic theme exhibition and 1,585 from international participants across 124 countries [3][4]. - The increase in submissions, particularly in digital and video art, reflects a growing interest and innovation in contemporary art forms [3]. Group 3: Special Features and Themes - The biennale will introduce an international contemporary ink art exhibition, highlighting the contemporary evolution of traditional ink art and its global influence [4]. - The thematic exhibition will include five sub-themes: Fission, Growth, Flow, Refinement, and Harmony, focusing on global issues such as peace, ecological civilization, and technological ethics [4][5]. Group 4: Academic Engagement - The event will host the "First Beijing Biennale International Art Conference," featuring discussions on three major topics related to art and culture, with participation from around 50 international art theorists, curators, and museum directors [5]. - This conference aims to enhance the biennale's academic positioning and international perspective, promoting cultural exchange and dialogue [5][6].

Core Viewpoint - The event "Beautiful Together: Silk Road Elegance" serves as a significant cultural exchange platform, showcasing the integration of diverse cultures along the Silk Road through contemporary art [1][2]. Group 1: Event Overview - The event is hosted by the Shaanxi Provincial Government and features over a hundred works from eight representative artists from China and five Central Asian countries, including various modern creations in painting, silk art, felt, and clothing [1]. - The exhibition is part of the 11th Silk Road International Arts Festival, emphasizing the innovative vitality of contemporary artistic expression and cultural fusion along the Silk Road [1]. Group 2: Cultural Exchange and Dialogue - A cultural exchange salon was held, where artists from Kyrgyzstan, Kazakhstan, and China engaged in deep discussions on creative concepts, cultural heritage of the Silk Road, and prospects for cross-national cooperation [1]. - This dialogue aims to enhance mutual understanding among artists from different countries and lay the groundwork for future collaborations in the cultural and artistic fields [1]. Group 3: Objectives and Impact - The Silk Road International Arts Festival aims to promote the co-development of cultural arts, deepen mutual learning among civilizations, and enhance emotional connections [2]. - The event seeks to elevate the international influence and brand value of the Silk Road International Arts Festival, contributing to Shaanxi's goal of becoming a cultural hub along the Silk Road [2]. - The exhibition will run until October 22, allowing audiences to experience the unique charm of national aesthetics through thematic art installations and immersive audiovisual projections [2].

Core Perspective - The research methodology of Chinese art history has shifted from traditional approaches to a "new art history" perspective, emphasizing interdisciplinary views and the social, cultural, and historical contexts behind artworks [2][3][4]. Group 1: New Art History Paradigm - The "new art history" advocates breaking traditional frameworks and linear narratives, focusing on the interactions between art and its surrounding contexts [2]. - Recent publications reflect a paradigm shift in the writing of traditional Chinese painting history, offering new multidimensional interpretations [2][5]. Group 2: James Cahill's Contributions - James Cahill's five-volume work "A History of Chinese Painting in the Late Ancient Period" discusses the evolution of Chinese painting from the Yuan to the Qing dynasties, marking a transition from style analysis to art social history [3][4]. - The first three volumes emphasize the impact of amateur literati painters on the development of Chinese painting, while later volumes explore themes like nature and secular painting [4]. Group 3: Wu Hong's New Work - Wu Hong's recent publication "Chinese Painting: From Yuan to Qing" represents a more pronounced shift in art historical writing, focusing on marginalized social roles and the contributions of non-literati and female artists [5][6]. - The work establishes a layered narrative structure based on materials, schools, and regional influences, further developing trends seen in Cahill's writings [6]. Group 4: Sociological Perspectives in Art History - The rise of the merchant class and the flourishing of consumer culture during the Ming and Qing dynasties provide a rich context for sociological studies of art, particularly in the late Ming period [7][8]. - The popularity of "painting manuals" in the late Ming is linked to broader cultural changes, enhancing public knowledge and appreciation of art [7][8]. Group 5: Alternative Views in Chinese Art History - Recent works by domestic scholars, such as Zhu Wanzhang and Zou Guangsheng, reflect a departure from traditional narratives, focusing on specific themes and the integration of contemporary art historical perspectives [9][10]. - Zhu's work on flower-and-bird painting explores the cultural significance of auspicious themes, while Zou's research connects literature, painting, and calligraphy in the Wei-Jin period [9][10]. Group 6: Conclusion on Art Historical Research - The evolution of art historical research in China has led to significant breakthroughs, emphasizing alternative perspectives and interdisciplinary approaches, which lay a solid foundation for future studies [11].

Core Insights - The article argues that third and fourth-tier cities present significant wealth opportunities that are often overlooked due to perceptions of lower consumer power compared to first and second-tier cities [1][47][50] Group 1: Investment Opportunities - Many successful business models from first and second-tier cities can be replicated in third and fourth-tier cities, where competition is lower and investment costs are reduced [5][50] - The consumer behavior in third and fourth-tier cities shows a strong tendency for "follow-the-trend" consumption, making it easier to introduce new concepts [5][50] Group 2: Replication Strategies - **Food and Beverage**: Replicating popular dining concepts from first and second-tier cities can attract young consumers in third and fourth-tier cities [8][9] - **Health and Fitness**: Establishing well-equipped gyms can fill a gap in the market, as health consciousness is rising among younger demographics [12][13] - **Retail Innovations**: Introducing modern retail formats like convenience stores and fresh supermarkets can significantly improve the shopping experience [15][16] - **Education and Training**: There is a demand for educational services, including tutoring and skill training, which remains underdeveloped in smaller cities [20][21][24] - **Entertainment and Leisure**: Creating social venues and entertainment options can cater to the lack of recreational activities in these areas [25][27] - **Marriage and Social Services**: There is a notable absence of marriage and social platforms, presenting an opportunity to introduce these services [27][28] - **Home Services**: The demand for reliable home services is high, and replicating successful models from larger cities can quickly build a customer base [32][33] - **Local Internet Business**: Leveraging e-commerce and social media marketing can help local businesses thrive in third and fourth-tier cities [35][37] - **Elderly Care**: The aging population in these cities creates a market for elder care services, which are currently lacking [39][40] - **Platform Thinking**: Transitioning from small businesses to platform-based models can yield greater financial returns [44][45] Group 3: Conclusion - The article concludes that third and fourth-tier cities are often underestimated as wealth generation areas, and the key to success lies in replicating proven business models rather than creating unique concepts [47][48][50]

Core Points - The 12th World Games is being held in Chengdu, Sichuan, where cultural activities in the athletes' village are showcasing traditional Chinese heritage alongside sports [1] - Athletes are engaging in interactive experiences such as bamboo weaving and paper cutting, highlighting the integration of sports and culture [1][5] Group 1: Cultural Activities - The cultural activities in the athletes' village include hands-on experiences and interactive exchanges, allowing foreign athletes to experience Chinese intangible cultural heritage [1] - Activities such as rope weaving and paper cutting are designed to reflect traditional Chinese culture, with specific crafts like the "Ping An Ru Yi" knot and the mascots of the World Games being featured [5] - Athletes can also learn calligraphy and painting, participate in "Chinese Bridge" activities to learn Chinese characters and Sichuan cuisine, and experience traditional Chinese medicine practices [7] Group 2: Athlete Experiences - Athletes from various countries express enjoyment in the cultural activities, with one Italian athlete noting the ease and fun of making a rope bracelet [3] - A Cypriot athlete appreciates the local handmade crafts and the unique aspects of Chinese culture, highlighting the positive experiences during their stay [11] - The cultural market within the village attracts athletes who explore and purchase local handicrafts as souvenirs [9] Group 3: Local Artisans and Heritage - The cultural activities involve ten local intangible cultural heritage teachers from Chengdu, showcasing traditional crafts such as lacquer, silver wire, and bamboo weaving [13] - The initiative aims to enhance understanding of Chinese culture and Eastern aesthetics among international athletes [13]

Group 1 - Guizhou Province is actively promoting the protection of folk art copyrights to aid in the transmission and innovation of traditional culture, establishing a unique path for copyright protection that aligns with local realities [1] - The province has developed cultural and creative products that blend traditional and modern elements, making traditional culture a "new fashion" while continuously advancing copyright protection efforts [1][2] - Guizhou has established a copyright registration platform utilizing blockchain technology to provide efficient and secure services for folk art creators, enhancing copyright service capabilities [1][3] Group 2 - The province organizes regular activities such as live streaming sales, cloud exhibitions, and copyright protection forums, leveraging cultural exchange platforms to build the "Guizhou Copyright Brand" [2] - Guizhou is promoting folk art works like Miao embroidery and wax dyeing at international exhibitions to increase their visibility and influence [2] - The province has registered over 60,000 folk art works and conducted more than 280 copyright knowledge training sessions, supporting over 4,300 creative enterprises and individual studios [3] Group 3 - Guizhou aims to further integrate resources to strengthen the foundation of folk art copyright protection and enhance the value of folk art copyrights, showcasing the province's diverse ethnic culture on a larger stage [4]

Group 1 - Huang Daopo is credited with improving hand-spinning cotton textile technology and tools, significantly enhancing the quality and yield of cotton fabric, which transformed the traditional dressing habits in China [1] - The three-spindle spinning wheel innovated by Huang Daopo was considered the most advanced spinning tool in the world at that time, predating similar developments in Western Europe by over 400 years [1] Group 2 - Tao Zongyi, through his notes in "Nan Cun Chuo Geng Lu," documented the contributions of Huang Daopo and the advancements in cotton spinning technology, preserving valuable historical information that might have otherwise been lost [2] - "Nan Cun Chuo Geng Lu" consists of 30 volumes and includes a wide range of topics, from government regulations to folk anecdotes, thus serving as a significant historical resource [3] Group 3 - The book records 585 events, covering various aspects of society, including the establishment of government institutions and cultural practices, which provide insights into the real conditions of the era [3] - Specific entries, such as the account of "Killing Tiger Zhang," illustrate social issues like the prevalence of tigers and the encouragement of hunting by the government during the Yuan dynasty [4] Group 4 - The narrative of Cheng Pengju and his wife highlights the practice of "captured marriage" during the Mongol invasions, reflecting the social dynamics of the time [5] - The book also contains valuable records related to traditional Chinese medicine, performing arts, and daily life, contributing to a comprehensive understanding of the Yuan dynasty's culture [6]

Core Viewpoint - The exhibition "New Chapter of Art: Special Exhibition of New Creations from China's Top Ten Art Academies" showcases the creative works of emerging artists from leading Chinese art institutions, reflecting diverse artistic explorations and profound thoughts [1][2]. Group 1: Exhibition Overview - The exhibition will take place from June 28 to October 31 at the Different CIRCLE Contemporary Art Center [2]. - It features over 50 outstanding works across various fields, including painting, sculpture, installation art, and new media art, creating a rich and multidimensional artistic matrix [2]. Group 2: Artistic Diversity - In the painting section, meticulous lines of fine brushwork contrast with the expressive ink of freehand painting [2]. - The sculpture area showcases the interplay of metal and wood, combining traditional joinery with modern forms, highlighting the limitless possibilities of materials and craftsmanship [2]. - The new media art section utilizes cutting-edge technologies like digital projection and artificial intelligence, transforming art from static displays into immersive experiences [2]. Group 3: Engagement Activities - The organizers will host a series of activities, including "Young Artists' Creation Salon" and "Interdisciplinary Art Workshops," inviting seasoned scholars and curators to engage in deep dialogues with participating students [2]. - This exhibition serves as a concentrated display of the achievements in contemporary art education and signifies the infinite possibilities for the future development of Chinese art [2].