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On Monday, industry experts and scholars gathered in Beijing for a special seminar centered on the new Belt and Road Initiative documentary *Journey Across Jungle: The China-Laos Railway*, where they collectively argued that well-crafted Chinese documentaries have emerged as a powerful, accessible tool to advance people-to-people connectivity and more effective international communication between China and global audiences.

As a flagship media project developed under the framework of the Belt and Road Initiative, *Journey Across Jungle: The China-Laos Railway* adopts a unique narrative perspective that follows well-known British photographer Thomas Heaton as he travels the full length of the cross-border railway between China and Laos. To capture authentic, grounded stories, the production crew completed three separate on-location filming trips across both countries, documenting the daily lives and personal experiences of railway builders, on-site operators, and local communities living alongside the rail line.

Following its production, the documentary made its global premiere between April 14 and 16, airing simultaneously on China’s CCTV-9 documentary channel and the Lao National Television network. An English-language adaptation of the film has also been distributed to more than 100 countries and regions worldwide, bringing the story of the China-Laos Railway and the local communities it connects to a truly global viewership.

During the seminar, participants focused on how the visual storytelling format used in documentaries helps break down cultural and language barriers that often hinder cross-cultural communication, allowing international audiences to engage with firsthand, human-centered stories rather than abstract information. Experts noted that this approach to storytelling, centered on ordinary people’s experiences, helps build greater mutual understanding and empathy between China and the rest of the world, positioning high-quality Chinese documentaries as a core asset for strengthening global cultural exchange.

Southwest China’s Sichuan province has launched a one-of-a-kind luxury tourist experience, as the brand-new “Jinxiu Tianfu” train — the latest addition to the popular “Panda Express” tourism rail network — rolled out for its first public appearance in Chengdu, the province’s capital, on Monday. Following its grand debut, the custom-built train departed for the nearby city of Mianyang to begin its initial trial operation phase.

Co-developed by two leading regional institutions, China Railway Chengdu Group and Sichuan Tourism Investment Group, the 18-carriage Jinxiu Tianfu is far more than a mode of transport: it is a moving showcase of Sichuan’s centuries-old cultural legacy and distinctive regional charm. Every element of the train’s interior and exterior design has been curated to blend three iconic local cultural touchstones: the global symbol of Sichuan, giant pandas, refined aesthetic sensibilities drawn from China’s Song Dynasty (960–1279 CE), and the province’s world-famous traditional Shu brocade weaving craft.

Designed to deliver a premium, intimate travel experience, the train features 46 private guest rooms that prioritize passenger comfort, quality service, and personal privacy. Travelers stepping aboard will find seating upholstered in custom Shu-brocade patterned fabric, complementing the immersive cultural theme. Beyond comfortable accommodations, the train offers a full range of Sichuan-focused experiences: passengers can sample flavorful authentic Sichuan cuisine and whimsical panda-shaped desserts, and take part in hands-on and performance-based activities celebrating local intangible cultural heritage, including traditional guzheng (Chinese zither) recitals and interactive bamboo weaving workshops.

On April 26, 2026, Shanghai played host to the Shanghai sub-forum of the 2026 World Dialogue on Art and Technology, a gathering that spotlights the coastal metropolis’ long-term ambition to carve out its status as a leading international cultural hub and global design capital. Held under the guidance of the China Federation of Literary and Art Circles and co-organized by Shanghai University and a cohort of partner institutions, the one-day event convened scholars, industry practitioners and educators from across the globe to unpack cross-cutting questions at the intersection of art, technology and cultural development. Centered on two core themes, the forum pooled international research insights and real-world case studies to investigate how cutting-edge digital tools can both supercharge innovation in folk arts and strengthen efforts to preserve centuries-old traditional cultural practices, while mapping out new collaborative pathways for integrating technology and creative design in the increasingly digital 21st century. Speaking at the opening of the forum, Hu Dawei, Deputy Party Secretary and Vice President of Shanghai University, underscored the institution’s longstanding dedication to breaking down silos between academic disciplines. The university, he noted, has prioritized combining strengths in science and engineering with expertise in humanities, social sciences and the arts to align with national development strategies and advance Shanghai’s ongoing urban transformation. “This gathering is more than an academic exchange—it is a starting point for boosting the revitalization of China’s outstanding traditional culture and expanding its global footprint through cross-civilizational dialogue and mutual learning,” Hu added. Over the course of the event, participants delved into rich, in-depth discussions across a range of high-priority topics, from the broader integration of science and art and digital innovation in folk arts to cultural heritage revitalization and the digitization of cultural and museum collections. Attendees also shared a diverse set of research outcomes that merge groundbreaking theoretical innovation with hands-on practical application, laying a foundation for future collaborative projects across sectors and borders. To cap off the forum, organizers also officially launched the Eighth China Creativity Festival for College Students. Organized by the Shanghai Municipal Education Commission, the annual festival is designed to establish a national platform for emerging creative talent from colleges and universities across the country to showcase their original work, while encouraging young innovators to contribute fresh perspectives and new energy to the creative expression and forward-thinking development of China’s vast and diverse cultural heritage.

From April 24 to 26, 28 influential global digital content creators gathered in Qufu, the birthplace of Confucius located in Jining, Shandong Province, for a three-day cultural immersion event titled “Nishan Sacred Land: A Vision Shared with the World”. The event, designed to showcase China’s profound traditional heritage to an international audience, brought the creators through a curated journey of historical sites and folk cultural experiences unique to the region.

On the second day of the event, the group kicked off their exploration at the Nishan Confucian Temple, the cradle of Confucianism that has stood for centuries on the sacred Nishan Mountain. They walked through the sprawling temple complex, visiting iconic historic landmarks including the grand Dacheng Hall, the main ceremonial hall dedicated to Confucius, and the riverside Guanchuan Pavilion, where Confucius is said to have reflected on the passage of time. Throughout their tour, the influencers soaked in the quiet, contemplative atmosphere of the sacred site, gaining first-hand insight into the depth and nuance of 2,500-year-old Confucian culture that has shaped East Asian civilization for millennia.

In the afternoon, the group traveled to the nearby Nishan Luyuan Village Scenic Area, a popular cultural tourism destination that seamlessly blends traditional rural Chinese heritage with modern leisure infrastructure. Stepping fully into the experience, the creators put on authentic hanfu, the traditional clothing of China’s Han ethnic group, before joining hands-on activities rooted in ancient Chinese culture. Among these activities was traditional archery, one of the Six Arts that formed the core of ancient Chinese scholar education system, allowing the influencers to gain personal experience of traditional cultural practices rather than just observing them from a distance.

As evening drew over the scenic area, the group joined a vibrant festive fish lantern parade, winding through the stone-paved historic alleys of the village. The evening’s highlight came after the parade, when the crowd gathered to watch datiehwa, the centuries-old folk performance art also known as molten iron fireworks. Artisans flung thousand-degree molten iron into the night sky, where it shattered into thousands of sparkling, showering sparks that lit up the dark hillside, drawing gasps of amazement from the international guests.

The event closed with a curated performance of traditional Chinese music and folk dance, wrapping up a three-day experience that gave the global creators a holistic, intimate introduction to both Confucian philosophy and vibrant northern Chinese folk culture. Organizers of the event noted that the gathering aims to build cross-cultural understanding, letting international audiences see and feel authentic Chinese culture through the perspectives of creators they trust.

A landmark piece of early modern scientific craftsmanship is set to hit the auction block next week at Sotheby’s London, offering collectors and cultural institutions a once-in-a-generation chance to own a historically significant 17th-century brass astrolabe with deep royal Indian roots.

Described by auction house specialists as potentially the largest intact astrolabe surviving anywhere in the world, this hand-held astronomical device — often dubbed the “smartphone of the pre-modern era” — has never been displayed publicly before, after spending decades in a private collection.

The astrolabe traces its origins back to early 17th-century Lahore, which was then the preeminent center of astrolabe manufacturing in the Mughal Empire. It was crafted collaboratively by Qa’im Muhammad and Muhammad Muqim, two master artisans from the legendary Lahore School of instrument making, where the closely guarded craft of precision instrument building was passed down through family lines. Only two joint works by the brother artisans are known to exist today; the second, a far smaller example, is held in a museum collection in Iraq.

The massive instrument was commissioned by Aqa Afzal, a Mughal nobleman of Iranian descent who held senior administrative posts under emperors Jahangir and Shah Jahan and oversaw governance of Lahore. Its extraordinary scale and ornate craftsmanship were intentionally designed to reflect the high status of its patron. Weighing 8.2 kilograms, measuring 30 centimeters in diameter, and standing 46 centimeters tall, the astrolabe is nearly four times the size of a typical 17th-century Indian astrolabe.

Beyond its size, the piece carries notable cross-cultural significance. Star markers on the device feature traditional Persian names paired with Sanskrit translations etched in Devanagari script, reflecting the multicultural intellectual landscape of Mughal South Asia. It also bears inscribed coordinates for 94 global cities, 38 individually detailed star pointers connected by intricate floral filigree, five precision-calibrated plates, and degree divisions subdivided to one-third of a degree — a level of technical precision unmatched by many earlier astrolabes from the Middle East, which prioritized function over artistic refinement.

Historically, astrolabes functioned as versatile multi-purpose astronomical tools. First invented in ancient Greece in the 2nd century BCE, the design spread to the Islamic world by the 8th century, before spreading further across South Asia. These layered metallic devices allowed users to map stellar positions, calculate the direction of Mecca, track the movement of celestial bodies, tell time, measure the height of structures or depth of wells, and even calculate calendar dates for astrology. Dr. Federica Gigante, a researcher at the Oxford Centre for History of Science, Medicine and Technology, compares the astrolabe’s versatility to that of a modern smartphone, noting its ability to serve dozens of practical and intellectual functions.

Gigante added that the Lahore astrolabe’s accuracy is extraordinary, capable of delivering precise measurements of celestial body altitudes that rival only the finest surviving historical instruments, including one built for Persian ruler Abbas II.

After its creation, the astrolabe entered the royal collection of Jaipur’s Maharaja Sawai Man Singh II in western India. Following the maharaja’s death, it passed to his wife, Maharani Gayatri Devi — one of the most iconic public figures of 20th-century India — before being transferred to a private collection during her lifetime.

Sotheby’s specialists say the astrolabe’s pristine condition, unbroken royal provenance, and one-of-a-kind scale and craftsmanship are expected to draw intense bidding interest from both global institutional collections and private collectors. The piece is valued at an estimated £1.5 million to £2.5 million, which would shatter the existing auction record for an astrolabe. The current record, set in 2014, was a much smaller Ottoman astrolabe made for Sultan Bayezid II, which sold for just under £1 million.

Leading up to the 29 April auction, the astrolabe will be on public display for the first time in Sotheby’s London galleries from 24 to 29 April, giving visitors a rare chance to view a masterpiece of Mughal scientific art that has been hidden from public view for centuries.

Between April 21 and 22, a cohort of leading sinologists from North America, Europe and Latin America — including Canada, Italy and Mexico — embarked on a immersive cultural journey through Yixing, a scenic county-level city administered by Wuxi in eastern China’s Jiangsu province, to walk in the footsteps of one of China’s most celebrated literary giants, Su Dongpo.

Better known by his courtesy name Su Dongpo, Su Shi (1037–1101) was a towering Song Dynasty poet, calligrapher, and statesman whose works remain a cornerstone of classical Chinese literature centuries after his lifetime. For Su, Yixing held a deeply personal significance: the city has long been hailed as the great writer’s “second hometown,” where he spent extended periods of time, drew profound creative inspiration from its misty mountains and winding waterways, and composed dozens of enduring poems that reflect his love for the region’s natural beauty and tranquil lifestyle.

During their two-day visit, the international scholars engaged in a full schedule of cultural and academic activities: they joined in-depth literary exchanges centered on Su Dongpo’s legacy in Yixing, meandered through the sprawling, emerald Yixing Bamboo Sea that once stirred Su’s poetic imagination, explored the otherworldly geological formations of the famous Shanjuan Cave, and even gathered to recite some of the master’s most beloved classic poems firsthand. The trip offered these global experts on Chinese culture a rare, on-the-ground opportunity to connect with the historical settings that shaped one of China’s most iconic literary figures, deepening their understanding of Su Dongpo’s life, work, and enduring influence on Chinese cultural identity.

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