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Prominent members of China’s National Committee of the Chinese People’s Political Consultative Conference (CPPCC) have articulated a comprehensive vision for cultural development, emphasizing the global dissemination of Chinese cultural heritage through modern platforms and practices.

Li Xincao, President of the China Conservatory of Music and CPPCC National Committee member, highlighted the transformative role of digital platforms in reshaping music distribution. He noted that contemporary musical works are increasingly drawing from China’s rich musical traditions while simultaneously achieving global resonance. Li projected that forthcoming compositions would more effectively convey Chinese wisdom and spiritual values to international audiences, facilitating cross-cultural understanding through artistic sincerity.

Liu Chengyong, Director of the China National Archives of Publications and Culture, reported significant public engagement since the institution’s inauguration in July 2022, with over 2.2 million visits from domestic and international guests. Future initiatives will prioritize the expansion of collections encompassing various publications and cultural works, enhancement of preservation methodologies, and development of digital archival resources.

Cui Haiyang, Vice-President of Guizhou Minzu University, emphasized the crucial role of China’s ethnically integrated communities in promoting cultural diversity and national unity. These communities, characterized by harmonious coexistence among different ethnic groups, not only strengthen cultural identity but also generate substantial development opportunities. Cui described these interwoven communities as dynamic manifestations of the Chinese nation’s collective future.

Xu Kewei, President of the Guangdong Provincial Federation of Taiwan Compatriots, observed innovative cross-strait cultural and economic exchanges. She documented how Taiwanese entrepreneurs have successfully integrated culinary traditions from both sides of the Taiwan Strait, establishing prosperous chain enterprises. Additionally, young professionals have implemented artificial intelligence technologies within traditional manufacturing sectors, transforming conventional businesses into industry pioneers.

In a remarkable fusion of traditional artistry and contemporary creativity, master craftsman Sun Zhaoyong has elevated Shoushan stone carving to unprecedented levels of realism. The Fuzhou-based artist recently gained attention for an extraordinary prank—placing an exquisitely carved stone burger on his family’s dining table that proved indistinguishable from actual food until touched.

This hyper-realistic burger forms part of Sun’s magnum opus: the ‘Manhu Han Imperial Feast,’ a twenty-year project inspired by legendary Qing Dynasty banquets. Rather than historical recreation, the collection demonstrates the astonishing versatility and technical mastery achievable through stone carving. Each piece showcases the artist’s ability to transform inert mineral into seemingly edible creations that challenge visual perception.

Born into a multi-generational carving family in 1972, Sun developed his passion through childhood immersion in his grandfather’s workshop. His formal apprenticeship laid the foundation for what would become a 36-year journey mastering both three-dimensional and relief carving techniques. His specialization in still-life representation has pushed the boundaries of what many consider possible with stone.

The artistic medium itself holds significant cultural importance. Shoushan stone, quarried exclusively in Fuzhou’s Shoushan township, possesses unique physical properties including ideal density and a distinctive waxy luminescence. Sun describes the material as ‘translucent yet reserved, possessing the ethereal quality of traditional Chinese ink wash paintings that invites boundless interpretation.’

Prized for its natural chromatic variety—appearing in over 200 color variations including red, yellow, white, and purple—Shoushan stone has been utilized in carving traditions for approximately 1,500 years. Historically, it served as the preferred material for scholarly and imperial seals, including those of Emperor Kangxi during the Qing Dynasty.

The cultural significance of this art form received formal recognition in 2006 when Shoushan stone carving was designated as national-level intangible cultural heritage. Sun himself has been honored as a provincial-level representative inheritor, bearing responsibility for preserving and advancing this ancient craft while introducing innovative approaches that ensure its contemporary relevance.

A prominent Chinese space scientist has called for expedited approval processes for the construction of a new national space museum, highlighting China’s unique position among global powers without a comprehensive space exhibition facility. Rong Yi, a senior expert at the China Academy of Launch Vehicle Technology under China Aerospace Science and Technology Corporation, made the proposal during the recent fourth session of the 14th National Committee of the Chinese People’s Political Consultative Conference.

Rong emphasized that as China advances toward becoming a leading space power, the nation urgently requires a world-class museum to showcase its remarkable achievements in space exploration. She noted that among the five permanent members of the United Nations Security Council, China remains the only nation without a large-scale space museum, while the United States, Russia, France, and the United Kingdom all maintain significant aerospace exhibition facilities.

The scientist pointed to major aerospace museums in the United States that attract over 10 million visitors annually, noting that such institutions not only cultivate space enthusiasts and professionals but also generate substantial business opportunities. Rong emphasized that a new China Space Museum would serve as a crucial venue for promoting the spirit and culture of China’s space community while fostering patriotism and advancing science and technology education.

The current China Space Museum, which replaced the previous Chinese Space Museum, received construction approval in October 2019 and was completed in November 2022 before opening to the public in April 2023. However, the facility faces spatial constraints due to its relatively small floor area and location in Beijing’s southern suburbs, where narrow streets and small shops limit expansion possibilities.

Rong proposed that relevant authorities take responsibility for leading discussions and review work for the new museum’s site selection and construction, suggesting the project should be prioritized alongside other major space programs. She specifically identified the research complex of the China Academy of Launch Vehicle Technology in Beijing’s Fengtai district as an ideal location, noting that the Nanyuan complex represents the birthplace of China’s space industry and contains numerous heritage sites including assembly workshops for the Long March 1 carrier rocket and the DF 1 ballistic missile.

The scientist advocated for creating a ‘living’ museum that would honor the legacy of past space projects while aligning with the Beijing municipal government’s cultural preservation and development plan, potentially creating a comprehensive educational and historical destination for space enthusiasts and the general public alike.

In a significant push to safeguard intangible cultural heritage, China’s Tibet Autonomous Region has amplified efforts to preserve the languages and traditions of its smallest ethnic populations. These initiatives aim to ensure the transmission of unique cultural identities to younger generations amid modernization.

Tashi Gyaltsen, the sole National People’s Congress deputy representing the Lhoba ethnic group, revealed comprehensive measures being implemented in Doyu Lhoba autonomous township. With approximately 4,300 members, the Lhoba people possess only a spoken language without written script, making oral transmission particularly vulnerable. “The local government funds Lhoba language courses in schools and supports regular night classes where elders teach and youth actively participate,” Gyaltsen stated.

The preservation campaign gained formal momentum in 2019 when Gyaltsen submitted a proposal during the 13th NPC session. Subsequently, county-level authorities allocated over 8 million yuan ($1.2 million) to revitalize Lhoba heritage, encompassing language, history, traditional crafts, songs, dances, clothing, and architecture. A renovated Lhoba Ethnic History Museum now serves as a cultural showcase, featuring exhibits from migration patterns to textile techniques.

Parallel developments emerge in Metog county, where Norbu Yangzom, the only NPC deputy from the Monba ethnic group, reported successful cultural-tourism integration. With about 8,500 Monba people among the county’s 15,300 residents, traditional elements like attire and folk dances have been transformed into experiential products. Villages have established clothing factories and costume shops revitalizing textile techniques, while chefs have standardized eleven distinctive Monba dishes for culinary tourism.

These efforts align with China’s draft law on promoting ethnic unity, which emphasizes protecting minority languages and supporting their “standardization, normalization and informationization.”

The cultural preservation has yielded tangible economic benefits. Metog, once isolated until its first paved road connection in 2013, welcomed over 700,000 visitors in 2025, generating approximately 470 million yuan in tourism revenue. Yangzom attributes this transformation to sustained rural revitalization policies rather than coincidence.

Both deputies emphasize that cultural preservation extends beyond museum conservation, seeking instead to integrate traditions into contemporary life through education, economic activity, and daily practice.