分类： society

Across China’s Hebei province, master artisans are captivating both visitors and local residents by preserving ancient cultural traditions during the Spring Festival period. In Zhangjiakou’s Xuanhua district, the distinctive aroma of burned wood fills a sunlit studio where Guo Chunlei practices the intricate art of gourd pyrography—an ancient technique using heat to create detailed artworks on gourd surfaces.

Guo, whose artistic journey began in 1993 after a transformative encounter with pyrography in Beijing, now skillfully manipulates a hot-tip soldering iron to bring powerful equine imagery to life on golden gourds. This year holds special significance as it coincides with the Year of the Horse in the Chinese zodiac cycle. “The artistry lies entirely in the shading techniques,” Guo explained. “Through careful heat adjustment, we create dimension, emotion, and narrative within each piece.

The craftsman’s initiation into this specialized art form started with unconventional tools—a heavy soldering iron originally designed for sealing cooking woks. This modest beginning evolved into a three-decade passion that has become both his livelihood and artistic calling.

Throughout the Spring Festival season, cultural inheritors like Guo are participating in nationwide celebrations that allow public engagement with traditional craftsmanship. These interactions provide hands-on experiences that bridge generational divides and foster appreciation for China’s intangible cultural heritage. The resurgence of interest in such ancient arts demonstrates how traditional practices continue to find relevance within contemporary festival celebrations, offering both educational value and cultural continuity.

In the quiet hills of Lizu village, Zhejiang province, a cultural renaissance is unfolding through the vibrant blues of an ancient craft. Designer Lou Shamoshuang, 34, has transformed a 400-year-old dyeing technique into a thriving sustainable enterprise that bridges tradition and modernity while revitalizing rural communities.

The journey began in 2018 when Lou discovered a century-old dye workshop in Dali, Yunnan, on the verge of permanent closure. Moved by the artisans’ resignation that their craft had ‘no future,’ she became determined to preserve this intangible cultural heritage. Starting with documenting processes and selling fabrics through social media, she discovered unexpected demand for these traditional artworks.

Returning to her hometown Yiwu, Lou established Desert Dye House in 2018, leveraging Zhejiang’s ‘Green Rural Revival Program’ that offered favorable lease terms for young entrepreneurs. The location provided both the tranquility essential for handcrafts and practical support for sustainable development.

Mastering the technique required relentless experimentation with natural materials including indigo, sappanwood, and onion skins. Lou identified tie-dye as the most accessible entry point, explaining: ‘Tie-dye is the art of resisting dye by binding fabric. Through precise knots and dips in vats of dye, unique patterns emerge—a process taking from 30 minutes to several days.’

The breakthrough came in 2023 with the ‘Boundless Prospects’ sachet during the Year of the Rabbit, catalyzing significant growth. Lou built a diverse team of nine locals ranging from digital-native Gen-Zers to seventy-year-old women with lifetime needlework skills, creating a distinctive model of common prosperity in a city known for mass production.

The economic impact has been substantial, with outsourcing intricate embroidery and sewing for zodiac-themed products generating supplementary income for over 20 women in Lizu, boosting their earnings by approximately 4,000 yuan monthly.

Beyond economics, Lou emphasizes cultural transmission and ecological sustainability. She has evangelized the craft through free community talks and established a plant-dyeing studio at her alma mater, Yiwu No 3 High School, where she lectures to 800 students. ‘When students win awards for their tie-dye work,’ Lou notes, ‘it proves this isn’t a relic—it’s a living language.’

The ecological significance resonates deeply with contemporary environmental concerns. Lou highlights: ‘The fashion industry’s dyeing processes are a leading global polluter of waterways. Plant dyes utilizing indigo, sappanwood, and other botanicals offer sustainable alternatives—this is ancestral wisdom for living in balance with nature.’

Recognition has attracted distinguished visitors including former UN Secretary-General Ban Ki-moon, drawn by the unique ecosystem of creators in Lizu village. Dozens of complementary businesses—from tie-dye workshops to cafes run by young entrepreneurs—form a collective hub near the ‘common prosperity square,’ embodying the Zhejiang spirit of creating something from nothing.

Lou’s transformation from high-end fashion designer to guardian of rural heritage represents more than career change—it embodies purpose-driven revitalization of both cultural tradition and sustainable rural development.

Mumbai-based photojournalist Rajanish Kakade, whose evocative imagery captured the complex essence of India’s financial capital for nearly two decades, has passed away at age 55 after battling an illness. The acclaimed Associated Press photographer died at his residence on Monday, according to family statements.

A third-generation visual storyteller who inherited the craft from both his grandfather and father, Kakade joined the AP in 2008 following tenures with prominent media organizations including the Sakal Group conglomerate and Hindustan Times newspaper. His lens documented India’s multifaceted narrative across political spectrums, cultural landscapes, and daily urban existence with remarkable depth and authenticity.

Kakade’s portfolio encompassed monumental assignments ranging from national elections and sporting events to harrowing coverage of the 2008 Mumbai terrorist attacks and COVID-19 pandemic. His distinctive ability to capture Mumbai’s paradoxical nature—simultaneously conveying the city’s overwhelming scale and delicate intimate moments—established him as a definitive visual historian of the metropolis.

Colleagues and industry organizations mourned the loss of both an exceptional artist and mentor. The Mumbai Press Club honored his legacy, noting: “Through his work, he captured defining moments with integrity and sensitivity. Through his mentorship, he shaped countless careers, always encouraging young photographers to pursue the truth with courage and compassion.”

Manish Swarup, AP’s chief photographer for South Asia, remembered Kakade as possessing “that rare, quiet grace of a true observer” who earned the trust of his subjects. “We haven’t just lost a great photojournalist; we have lost a beautiful soul, whose kindness was as luminous as his work,” Swarup expressed.

Yirmiyan Arthur, AP’s photography director for Asia Pacific, emphasized how Kakade’s work revealed Mumbai’s contradictions with “utter honesty,” chronicling everything from economic disparities to seasonal monsoon transformations and the vibrant humanity within the city’s local train system. “He was a son of Mumbai and made sure he told its story the right way,” Arthur concluded.

Kakade is survived by family members, leaving behind an enduring visual legacy that continues to shape understanding of contemporary Indian society.

Chinese museums are revolutionizing visitor experiences by transforming ancient artifacts into edible cultural encounters. During the 2026 Spring Festival holiday, institutions nationwide reported unprecedented foot traffic, with visitors flocking not only for historical exhibits but increasingly for museum restaurants offering relic-inspired cuisine.

The Hebei Museum exemplifies this trend with its innovative Changxin Palace Lamp noodles—a regional specialty dish crowned with a steamed egg sculpted to resemble the museum’s 2,000-year-old Western Han Dynasty treasure. ‘It feels like tasting a piece of history,’ remarked Liang, a Beijing traveler who prioritized both national treasures and culinary exploration during her visit.

This gastronomic movement represents a strategic shift from static exhibition to immersive consumption. According to Li Kexin of the Hebei Museum’s art department, these culinary creations address practical needs while making cultural narratives more accessible. ‘Dining at a museum is part of the cultural experience,’ Li explained, emphasizing how flavor enhances storytelling.

The phenomenon extends beyond Hebei Province. At Anyang’s Yinxu Museum, visitors consume noodles imprinted with oracle bone inscriptions—each character printed in squid ink representing ancient blessings that are literally consumed. The restaurant reports selling 500-600 daily portions during peak periods.

Social media amplification has accelerated this trend, with visually striking creations like the Capital Museum’s horse-shaped mousse cake generating viral attention on platforms like Xiaohongshu. The ‘instagrammable’ quality of these dishes has become a significant driver of museum attendance among younger demographics.

Beyond novelty, practical considerations fuel the trend’s sustainability. Affordable pricing—with dishes starting at 3 yuan at the Sichuan Museum—combined with the convenience of on-site dining addresses visitor fatigue while creating additional revenue streams. Professor Xu Jing of Peking University notes that dining’s recurring nature makes it a stronger consumption driver than traditional souvenir sales.

Government policies have encouraged this development, with nine central departments jointly promoting innovative cultural products. However, experts caution that sustained success requires moving beyond novelty toward developing enduring cultural narratives that integrate museums into community life rather than merely attracting tourists.

A harrowing incident unfolded at Tokyo’s iconic Skytree tower on Sunday evening when an elevator carrying twenty passengers malfunctioned and became stranded approximately 30 meters above ground level. The emergency situation began at approximately 8:30 PM local time and persisted for over five hours before all occupants were successfully evacuated without physical injury.

According to reports from Japan’s national public broadcasting organization NHK, the technical failure affected two of the four elevators servicing the 350-meter observation deck. While one elevator cabin remained unoccupied, the other contained a diverse group of visitors including children, all of whom found themselves suspended mid-air as the mechanism ceased functioning without warning.

Tokyo Fire Department rescue personnel executed a complex technical operation to secure the trapped individuals. Using an adjacent elevator that had been carefully maneuvered to match the exact height of the stranded cabin, emergency crews established a secure transfer pathway between the two structures. The meticulous rescue concluded at approximately 2:00 AM Monday morning when the final passenger was safely extracted from the immobilized elevator.

Law enforcement authorities confirmed that none of the evacuated individuals required medical attention or reported adverse health effects following the prolonged confinement. A comprehensive investigation has been initiated to determine the precise mechanical or electrical factors that precipitated the elevator failure at one of Japan’s most visited tourist destinations.

The Tokyo Skytree, recognized globally as the world’s tallest broadcasting tower at 634 meters, annually attracts millions of domestic and international visitors. The incident has prompted renewed scrutiny of safety protocols and maintenance procedures for high-rise elevator systems in major tourist attractions.