Search: “Lifestyle”

On October 25, 2023, a creative seminar for the television drama “City of Sunlight” was held in Beijing, hosted by the National Radio and Television Administration, the China Television Art Committee, the Publicity Department of the Hunan Provincial Committee of the Communist Party of China, and the Publicity Department of the Tibet Autonomous Region Committee.

“City of Sunlight” is a key program in the special broadcasting event celebrating the 75th anniversary of the founding of New China, themed “Walking with the Times, United with the People.” The drama tells the inspiring stories of a group of young people in Lhasa, intertwining vibrant colors to showcase Tibet’s unique natural beauty and cultural allure.

This is the first realistic drama reflecting contemporary urban life in Tibet. During its broadcast, “City of Sunlight” ranked first in audience ratings in the prime time slot on CCTV-1 for eight consecutive days, with a total viewership of 223 million. It also topped the ratings for the same time slot on Hunan TV. Viewers were drawn to the show’s portrayal of Tibet’s distinct landscapes and cultural scenes. Notably, the series helped attract nearly 1.99 million domestic and international tourists to Lhasa during its airing, marking a 7.45% increase year-on-year.

At the seminar, it was emphasized that “City of Sunlight” is an exemplary television drama that reflects the vibrant lives of the Tibetan people in the new era, developed collaboratively by the State Administration of Radio and Television, the Hunan Provincial Committee, and the Tibet Autonomous Region Committee. The production serves as a dynamic practice in fostering a shared sense of community among Chinese ethnic groups and showcases their interwoven bloodlines, beliefs, cultures, economies, and emotions. The creation and airing of “City of Sunlight” offer three significant insights for television drama production: to capture the essence of a great era and galvanize efforts towards Chinese-style modernization; to remain rooted in the populace, portraying the vivid lives of ordinary people; and to adhere to artistic principles, striving for excellence in craftsmanship.

Li Jingsheng, Vice President of the China Broadcasting and Television Social Organization Alliance, pointed out that “City of Sunlight” provides a new creative perspective for ethnic-themed productions by focusing on contemporary life and the new era. By appreciating the natural beauty and cultural richness, it explores the beauty of modern lifestyles and human connections, integrating film, television, and tourism more organically.

Gao Xiaoli, Deputy Director of the Audiovisual Committee of the Beijing Literary Criticism Association, remarked that “City of Sunlight” allows viewers to feel the vibrancy of Lhasa while also being moved by the exquisite scenery, culture, and the profound human emotions that flow from the Tibetan plateau.

Professor Lu Rong from the School of Drama and Film at Communication University of China noted that the series enriches the creative spectrum of the Tibetan plateau by using a fresh vocabulary of contemporary life, diving deep into the daily existence of Lhasa’s residents, and offering insights into the unique culture of the district.

During the seminar, the creative team behind “City of Sunlight” shared heartfelt reflections on their three-year journey in bringing the series to life. Producer Zhang Xiaoxie recalled the challenges faced while filming in Tibet, mentioning that the crew traveled across Lhasa’s three districts and five counties, interviewing 132 individuals of various ages and professions, covering a total distance of 4,126 kilometers, and accumulating over a million words of notes. Filming each scene in extreme conditions allowed them to authentically present the reality of Tibet.

Zhou You, the lead actor, expressed his dedication to embodying the character of a young Tibetan named Suolang, stating that he “surrendered himself to Tibet” by immersing himself in the local culture and learning Tibetan in advance to authentically portray the character. Wang Zhuocuo, who plays Quzong, mentioned that she meticulously crafted her character’s actions and dialogue to genuinely reflect the kindness and beauty of Tibetan women.

Screenwriter Yu Xiaoqian emphasized that “there are countless characters and stories yet to be told” across the vast landscape of Shenzhou, and that creations filled with warmth and passion will surely connect with audiences who appreciate them.

In recent years, many Chinese immigrants from the Bay Area have been considering a move to Southern California, drawn by the promise of improved quality of life, vibrant cultural atmosphere, and diverse social circles. We spoke with several individuals who have either already relocated or are contemplating the move, exploring their motivations and thought processes.

K, who earned her MBA from UCLA a few years ago, initially lived in the San Gabriel Valley before moving to the Bay Area for work with her boyfriend. She made many close friends at UCLA, and their camaraderie is a significant reason for her desire to return to Los Angeles. K finds the diverse professional landscape of Los Angeles refreshing, as she enjoys meeting people from various backgrounds and industries while out walking her dog. In contrast, she feels that the Bay Area’s tech-centric social circles, often focused on real estate and investment discussions, can be limiting and exhausting.

Zhou made the switch to Southern California during the pandemic when his company transitioned to remote work. He now resides in Irvine and appreciates the more open lifestyle that Southern California offers. While weekends in the Bay Area often meant hiking, he has discovered a wealth of exhibitions, artistic events, and a multicultural environment in Southern California that he found lacking in the Bay. Following his marriage, Zhou has also started thinking about providing a better upbringing for his future children, noting that Irvine not only offers a high quality of life but also has excellent educational resources.

Ms. Bai highlighted the rich culinary diversity of Los Angeles as a major factor in her decision to relocate. She mentioned that the food scene in the Bay Area tends to be somewhat limited, primarily featuring Chinese, Indian, and American cuisine, whereas Los Angeles showcases a vast array of global cuisines. Having lived in Toronto for a long time, she believes that, despite its reputation as a multicultural hub, Toronto’s offerings in Japanese, Korean, and Thai food don’t quite measure up to what Los Angeles has to offer.

While the Bay Area remains a global center for technology and economic development, the pandemic has opened people’s eyes to the benefits of remote work and the various lifestyle options available. An increasing number of Chinese immigrants are beginning to reassess their living situations. Interestingly, none of the interviewees mentioned weather as a deciding factor, perhaps indicating that it is no longer a primary concern for the younger generation. Instead, the diverse culture, rich entertainment options, and elevated quality of life in Southern California have become the key attractions for those contemplating a move.

On October 23rd, 2014 Sochi Winter Olympics short-track speed skating champion Li Jianrou visited the People’s Primary School in Chongqing University Town to deliver a “Champion Sports Lesson.” This school is recognized for its excellence in promoting winter sports, particularly roller skiing. During her visit, Li Jianrou shared her inspiring journey in ice and snow sports with the students and faculty, encouraging them to stay committed, boldly face challenges, and pursue their dreams.

This event is part of the “Chinese Sports Spirit Lecture Series” and the “Champion Sports Lesson” initiative, which brings athletes into schools to inspire young people.

In front of over 600 students and faculty members, Li recounted her rigorous training experiences and the unwavering determination behind her grand slam achievements. Through her narrative, she illustrated the essence of Chinese sportsmanship, emphasizing values such as patriotism, selflessness, scientific inquiry, adherence to the law, teamwork, and perseverance.

On the school’s synthetic track, Li conducted a practical ice and snow sports session, covering the technical fundamentals of sports, promoting scientific training methods, and advocating for a healthy lifestyle. She encouraged members of the school’s roller skiing team and other interested students to build a solid foundation and continually ignite their passion for sports.

The event was organized by the Publicity Department of the General Administration of Sports of China and co-hosted by the China Sports Media Group, with support from the Chongqing Sports Bureau.

According to the Henan Provincial Commission for Discipline Inspection, as approved by the Henan Provincial Committee of the Communist Party of China, an investigation has been launched into Lei Ming, the former member of the Standing Committee and Vice Chairman of the Anyang Municipal People’s Political Consultative Conference, for serious violations of discipline and law.

The investigation revealed that Lei Ming had lost his ideals and beliefs, strayed from his original mission, and violated political discipline by resisting organizational scrutiny and engaging in superstitious activities. He disregarded the spirit of the central government’s “Eight Provisions,” accepted banquets and travel arrangements that could influence his official duties, and exceeded the standard for public vehicle allocations. He breached organizational principles by concealing property ownership, failing to provide accurate information during inquiries, and improperly promoting certain cadres.

Furthermore, Lei compromised the integrity expected of him by accepting gifts and spending cards in violation of regulations, borrowing housing from those he managed without charge, engaging in profit-making activities, and using his authority to assist others in attracting deposits. He allowed others to cover expenses that he should have borne himself. He also interfered in market economic activities and disciplinary law enforcement, leading to negative repercussions due to his improper performance of duties.

Lei engaged in inappropriate exchanges of power and money, leveraging his position to gain benefits for others in project contracts and business operations while illegally accepting substantial sums of money.

As a result of his severe violations of the Party’s political, organizational, integrity, work, and lifestyle disciplines, Lei Ming faces serious occupational misconduct and is suspected of bribery. His conduct, particularly after the 18th National Congress of the Communist Party, was notably serious with far-reaching negative consequences. Therefore, strict measures are warranted. Following deliberations by the Standing Committee of the Henan Provincial Commission for Discipline Inspection and with approval from the Henan Provincial Committee of the Communist Party, it has been decided to expel Lei Ming from the Party, dismiss him from public office, confiscate his illegal gains, and transfer his criminal allegations to the prosecutorial authority for legal review and prosecution, alongside the relevant assets.

**Interviewer:** You’ve suggested that the Baroque style of Brazilian art during the Portuguese colonial period originated largely from Asia. Why do you think the Baroque and Rococo styles in Brazil were influenced by Asian aesthetics?

**Maristela Carneiro:** The academic consensus in Brazilian art history views the art from the colonial period as a blend of European, Indigenous, and African aesthetics. However, it’s less known that there was also significant Asian influence.

As a former colony of Portugal, Brazilian art and architecture during this period were profoundly shaped by European styles. Baroque and Rococo art emerged in Europe during the 17th and 18th centuries, and Brazil was no exception to this influence. You can observe grand and intricate Baroque and Rococo elements in the churches, homes, and public buildings across the region.

The colonization by Portugal was contemporaneous with its maritime expansion into Africa and Asia. Despite the deeply unequal interactions and violence that characterized these colonial relationships, there was undeniably an exchange of new languages, perspectives, and worldviews. Art, much like any field of knowledge, is fluid and influenced from both ends.

This dual influence can be seen in areas under Portuguese rule, such as Brazil, Angola, India (Goa), and Macau in China. For instance, in Diamantina in Minas Gerais, there are three important streets named “Lower Macau,” “Middle Macau,” and “Upper Macau,” all named after the Chinese city.

This cross-cultural exchange is evident in the concept of “Chinoiseries,” which entails Europeans mimicking Chinese visual art characteristics in their artworks. From the 16th to the 20th century, European fascination with Chinese architecture and art shaped a demand for Chinese products, especially porcelain, among affluent European collectors.

This influenced European art, especially visible in the Rococo style of the 18th century, where many household items and architectural decorations emphasized and imitated Chinese themes, patterns, and styles. As replicas became more common, Chinese narrative forms were established as standard themes, becoming a hallmark of Rococo art. The French term “Chinoiserie” translates directly to “in the Chinese style,” while in Portuguese, it’s referred to as “Chinesice,” meaning “Chinese style.” This aesthetic influence left its mark across Western Europe, and under Portuguese influence, Brazil too was touched by these “Chinese winds.”

**Interviewer:** Can you share some specific examples that illustrate how the Rococo style in Brazil has been influenced by the “Chinese style”?

**Maristela Carneiro:** The influences from Europe, Africa, and Asia made their way to Brazil via transatlantic trade. Thus, the Chinese artistic styles that impacted painting, sculpture, and relief work in the Iberian Peninsula can also be seen in Brazil. In the religious architecture of Bahia and Minas Gerais, for example, there is a rich use of floral and dragon, swallow, and beast motifs.

In the Museum of the Third Order of Saint Carmel in Cachoeira, Bahia, there’s a fascinating series of “Chinese Christ sculptures.” The creator was a Frenchman who had lived in Macau, Charles Berveiller. This ensemble features seven statues of Jesus Christ, styled with their hair shaved to the forehead, one adorned in a long robe. While they clearly display the exaggerated features of Baroque-Rococo style, they also emanate Chinese influences.

Another notable example is a wooden casket adorned with four lion sculptures located in the Museum of Sacred Art of the Jesuits in São Paulo. These lions bear a striking resemblance to traditional Chinese guardian beasts such as Fu lions, Pi Xiu, and Qilin. Other furnishings in the church also showcase similar decorative styles.

Clearly, these influences were filtered through a European lens. Many artists creating “Chinese style” works may never have encountered genuine Chinese art but were likely inspired by imitations, fully aware that these styles resonated with contemporary audiences.

It’s important to note that this influence was reciprocal. Just as Chinese aesthetics captivated European elites, European tastes also attracted Chinese elites, evident in Emperor Qianlong’s construction of European-style buildings like the “Yuanmingyuan” (Old Summer Palace) in Beijing.

**Interviewer:** What can we learn from the cultural fusion of Brazil with China, as exhibited through the Baroque and Rococo styles? How does that resonate with today’s context?

**Maristela Carneiro:** At the height of European royal power, Lisbon served as a major gateway through which exquisite Japanese artifacts, Indian furniture, and Chinese porcelain entered Europe. In Brazil, colonial elites aspired to replicate the luxurious lifestyles of the Portuguese metropolis as closely as possible, and the “oriental style” became synonymous with grandeur, opulence, and visual delight, transporting a piece of the world from the other end of the globe.

Today, we must question these patterns, recognizing that such efforts to claim non-European cultural elements—whether from China, the Middle East, or Africa—can often be reductive and alienating. They fail to truly reflect the complexities of the cultures represented.

I believe art can teach us a lot about biases, desires, self-expectations, and our expectations of different cultures. In many ways, art is a grand synthesis of the symbols, values, perceptions, and aspirations cherished by the collective. Engaging with art is always a deeper way to understand history, nations, cultures, and how life seeks its place in the world.

Thus, discussions around art and culture inevitably lead to conversations about fusion. Some fusions are forced and rife with asymmetry and violence, but that isn’t always the case. Fusion can serve as a means for diverse cultural lives to flourish, evolve, and diversify. In the realm of art, encounters between different worlds can yield unique visual feasts that will continue to captivate our senses for generations to come.

Reporter: Lu Mei, China News Service

Buddhism on both sides of the Taiwan Strait shares the same roots and source. Despite experiencing complex political changes and social transformations, the transmission and exchange of Buddhism between the two sides have never ceased. Recently, Master Ming Hai, Vice President of the Chinese Buddhist Association and Executive Vice President of the China Buddhist Academy, accepted an exclusive interview with China News Service’s “East-West Dialogue” to reflect on the heritage and exchange of Buddhism between the two sides and called for collaboration within the Buddhist community to contribute wisdom and strength for the development of Chinese culture and the peaceful stability of cross-strait relations.

**Interview Excerpts:**

**China News Service: When and how did Buddhism enter Taiwan? What stages have cross-strait Buddhist exchanges gone through?**

**Master Ming Hai:** Buddhism has always maintained a close connection across the Taiwan Strait throughout history, with distinct characteristics at different stages. Since the Ming Dynasty, Buddhism was introduced to Taiwan through immigrants from the southeastern coast of mainland China—not led by specialized monks but integrated with the immigrants’ lives. Early Buddhist beliefs in Taiwan were quite secular, closely intertwined with folk beliefs and Daoism, resulting in a form of dissemination where “gods and Buddhas were indistinguishable.” During the Qing Dynasty, the government encouraged the development of Buddhism, and exchanges between Taiwan and the mainland increased, creating favorable conditions for the further growth of Buddhism in Taiwan.

After the signing of the Treaty of Shimonoseki in 1895, Taiwan was ceded to Japan; however, culturally, the people of Taiwan, especially monks, did not experience a break or isolation from the mainland. Many Taiwanese monks strengthened their interactions with the mainland to resist the Japanese colonial authorities’ influence on Buddhism, maintaining a close connection. During the Republic of China period, prominent Taiwanese monks actively came to the mainland for study and invited mainland monks to Taiwan for teachings. For instance, Master Tai Xu engaged with Taiwan’s Buddhist community through poetry and writings, while visits by Daojie Master and Zhang Zongzai showcased the close ties between celebrated figures from both sides.

After 1949, due to political changes, cross-strait Buddhist exchanges faced a period of stagnation. In 1987, following the lifting of martial law in Taiwan, tentative contacts began primarily under the guise of family visits. The Abbot of Zhongtai Chan Temple, Master Wei Jue, articulated a shared sentiment among the Buddhist communities on both sides, stating, “Before the two sides communicate, religion should connect; before religion connects, Buddhism should pave the way.” In 1989, Master Hsing Yun from Fo Guang Shan led a “promoting the Dharma family visit group” back to the mainland and was warmly welcomed by key leaders, opening a new chapter in cross-strait exchanges.

In 1990, Taiwan’s relevant departments allowed various Buddhist groups to send representatives to the mainland, marking a new phase of interaction. Senior monks from the Taiwan Buddhist community, including Elder Jingliang of the Chinese Buddhist Association and Master Sheng Yen of Dharma Drum Mountain, visited the mainland to seek their roots and make connections, while leaders like Masters Hsing Yun and Sheng Yen actively promoted exchanges. With the realization of comprehensive and direct “three links” between the two sides, Buddhist exchanges expanded significantly, not only through increased movement between monks and believers but also through academic and cultural exchanges such as forums and seminars.

Notably, in 2002, the sacred relic of Famen Temple was invited collectively by the Taiwanese Buddhist community to Taiwan for tour and worship. During the 37 days in Taiwan, millions came to pay their respects, significantly enhancing the emotional bond between people on both sides and embodying a shared vision of peace.

The Chinese Buddhist Association has always placed great importance on friendship and exchanges with the Taiwanese Buddhist community, engaging in extensive cooperation in areas like monk education, charity work, and cultural arts.

**China News Service: What role has Buddhist exchange played in promoting the development of cross-strait relations?**

**Master Ming Hai:** Buddhist exchanges are a crucial part of cultural interaction between the two sides, gathering consensus, uniting public sentiment, and strengthening faith for peaceful stability, prosperous development, and the well-being of the people.

The exchange of Buddhism across the strait is vital for the inheritance and development of Buddhist culture. After Buddhism was introduced to China from India and developed over thousands of years, it has deeply rooted itself in the land, becoming an indispensable part of Chinese culture. As a shared cultural heritage, its inheritance requires the joint effort of the Buddhist communities on both sides. Through exchanges, practitioners can learn from each other’s experiences in religious practice and cultural heritage, strengthening their ability to tackle contemporary challenges facing Buddhism. Taiwan’s Buddhist community has many advanced experiences in organization and social charity, whereas mainland Buddhism has accumulated rich resources in temple construction and classic studies. By engaging in regular visits, ceremonies, and discussions, both sides can leverage each other’s strengths, thereby advancing the continuous development of Buddhist culture and making positive contributions to the prosperity of Chinese culture.

Moreover, Buddhist exchanges can transcend geographical and political barriers, linking the people of both sides. Through pilgrimages and visits, these interactions have facilitated countless grassroots exchanges, improving mutual understanding. Taiwanese believers visiting sacred sites in the mainland, like Putuo Mountain and Wutai Mountain, or venerating ancestral halls, experience the ancient history and cultural legacy, while mainland devotees visiting Taiwan can witness its active engagement in social charity and environmental efforts. These reciprocal interactions deepen the understanding of each other’s cultural lifestyles, helping to eliminate misunderstandings and foster respect.

As Buddhism shares common roots, it embodies the historical and cultural memories of both peoples. Through exchanges, they can jointly inherit and promote Buddhist cultural heritage, enhancing their sense of identity and belonging to Chinese culture. Buddhist culture is expressed not only in rituals and practices but also in art, architecture, and music. The Buddhist communities have organized arts exhibitions and concerts, highlighting Buddhism’s significant role in cultural exchanges. These events have further illuminated the deep connections between the two sides.

Buddhism emphasizes compassion and peace, serving as a resource for resolving conflicts and fostering dialogue. The exchange and cooperation between the two sides’ Buddhist communities contribute not only to the peaceful development of cross-strait relations but also provide a model for global interreligious dialogue.

**China News Service: Looking ahead, how can the Buddhist communities on both sides jointly promote excellent traditional Chinese culture and peaceful development of cross-strait relations?**

**Master Ming Hai:** Promoting excellent traditional Chinese culture and advancing peaceful cross-strait relations is a vital mission for both sides’ Buddhist communities. We believe that further strengthening communication and cooperation at all levels is essential. The Buddhist associations should fully utilize various platforms and mechanisms for exchanges through events, seminars, and lectures, learning from each other’s achievements in Buddhist research, cultural inheritance, and talent cultivation. Exploring better ways to promote the Dharma and advance Chinese culture collectively is essential. We should encourage and support mutual visits between Buddhist organizations on both sides to enhance understanding of each other’s Buddhist practices and cultural nuances. This will help break down barriers, build trust, and lay a solid foundation for the peaceful development of cross-strait relations.

As a treasure of Chinese culture, Buddhism’s profound cultural heritage and widespread social influence provide rich resources and inspiration for cultural transmission and innovation. Buddhist murals, sculptures, music, and literature are crucial components that not only reflect the deep meanings of Buddhist teachings but also embody the uniqueness of Chinese culture. Through enhanced collaboration, the two sides’ Buddhist communities can showcase the diversity and inclusiveness of Chinese culture to the world, bolstering cultural confidence and collaborating on the preservation and publication of Buddhist texts, ultimately contributing to the Heritage and dissemination of Chinese culture.

Buddhism’s teachings on compassion and equality resonate well with the goal of peaceful cross-strait relations. By strengthening interactions, the Buddhist communities can foster understanding and trust, providing spiritual support to resolve differences and promote collaboration. Additionally, leveraging their influence, these communities can disseminate messages of peace within society, creating a favorable atmosphere for integration and development in cross-strait relations.

Looking ahead, we hope that the Buddhist communities on both sides can join forces and work together to contribute their wisdom and strength towards the development of Chinese culture as well as the peaceful stability of cross-strait relations.

**Interviewee Profile:**

**Master Ming Hai** graduated from the Philosophy Department of Peking University in 1991 and became a monk under Master Jing Hui in 1992. He has lineage in Linji and Cao Dong schools of thought. He currently serves as Vice President of the Chinese Buddhist Association and Executive Vice President of the China Buddhist Academy, as well as the abbot of Bailin Zen Temple in Hebei. He is a member of the National People’s Congress and a standing member of the Hebei Provincial Political Consultative Conference, also serving as editor of “Dharma Sound (English)” and “Dharma Source” journals. He has published works including “Buddhist Language of Huadu” (edited), “Zen Heart: Three Noes”, “Talks on the Gateless Barrier”, and “Outline of Life Zen” (chief editor).

In a recent interview, Oxfam’s senior climate justice policy adviser, Chiara Liguori, discussed the alarming findings of a new report that highlights the significant impact of the wealthy elite on global carbon emissions. The research reveals that the carbon footprint of the world’s richest 1% is exacerbating issues like hunger, poverty, and premature death.

Liguori explained that the extravagant lifestyles of billionaires—characterized by luxury yachts and private jets—are making it increasingly difficult to maintain global temperature increases below 1.5C. The stark reality, according to the Oxfam analysis, is that if everyone emitted greenhouse gases at the rate of an average billionaire, we would exhaust our carbon budget in less than two days. This is a shocking contrast to the current projection of four years if emissions remain steady.

As governments gear up for budget announcements, including the UK’s upcoming fiscal plan and the Cop29 climate summit in Baku, Oxfam advocates for substantial taxation on extreme wealth. Liguori emphasized that higher taxes on ultra-rich individuals could fund the transition to renewable energy and provide support for those most affected by climate change.

The report highlights that the fifty wealthiest billionaires produce more carbon in less than three hours than an average British person emits over their entire lifetime. On average, billionaires take 184 private jet flights annually, resulting in emissions equivalent to what an average person would create in 300 years. Notably, Jeff Bezos’s private jets accrued almost 25 days in the air within a year, releasing as much carbon as a typical Amazon employee would in 207 years.

When asked about potential solutions, Liguori pointed out the pressing need for governments to implement new taxes on climate-destructive luxury items such as private jets and superyachts. She stressed that action is essential, particularly as Oxfam’s findings suggest that the consumption emissions of the richest 1% could lead to 1.5 million additional deaths by 2100.

Liguori concluded by underscoring the urgent dual need to address both climate change and rising inequality. She noted, “This report demonstrates that implementing fairer taxes on extreme wealth is critical to accelerating climate action and combating inequality. These luxury items are not merely symbols of excessive wealth; they pose a direct threat to both humanity and the planet.”

On October 14th, during an interview in Haikou, a second-year university student from Hyogo Prefecture, Japan, named Enka Fukumoto shared her excitement about visiting China for the first time. “China is vast and culturally diverse, with rich traditions among its various ethnic groups. I’m really looking forward to experiencing the local customs and flavors here in Hainan,” she remarked.

On the same day, a youth exchange program from Hyogo Prefecture was launched in Haikou, featuring 14 Japanese students engaging in cultural exchanges at Hainan Vocational College of Commerce. Since establishing a friendly province-to-county relationship in 1990, Hainan Province and Hyogo Prefecture have been working closely together in fields like economy, culture, and education.

As part of their program, the students participated in activities including the Li ethnic group’s unique bamboo pole dance, learning about Li culture, and experiencing traditional Chinese tea culture. Under the guidance of teachers, the Japanese students colored the Li totem—known as the “Powerful God”—using brushes, and eagerly practiced writing their names in a celebratory art booklet.

Nao Tanaka, a senior at Kobe City University of Foreign Studies, expressed her appreciation for the beautiful traditional attire of the Li people and found the symbolism of the “Powerful God” to be quite intriguing. She mentioned that she had previously studied in Beijing for a year and had traveled to Inner Mongolia, Tianjin, and Hubei, developing a strong interest in Chinese theatrical arts, such as Peking opera and Sichuan opera.

Matsumoto Takeki, the leader of the Japanese delegation and president of the Japan-China Friendship Association in Hyogo Prefecture, noted that many Japanese youth have limited knowledge about China. He hopes this trip will encourage open communication among students from both countries, fostering friendship through mutual understanding.

During their five-day stay in Hainan, the Japanese students will engage in interactive activities at local universities, visit key areas of the Hainan Free Trade Port, explore beautiful rural settings, and savor local Hainanese cuisine. Tadaaki Ohno, a second-year student at Kansai University of Foreign Studies, expressed his hope that this experience will enrich his perspective, improve his Chinese language skills, and help him understand the different lifestyles of the Chinese and Japanese people.

In a recent interview, we explored BenQ’s exciting new promotional efforts in North America, celebrating the Double Ten Festival. This marks a first for the company, which has launched significant discounts on two of its mobile projectors: the GS50 LED Camping Projector and the GP100A LED Mobile Projector, with prices dropping as low as 28% off.

As a response to increasing consumer demand during Amazon’s Prime Day, BenQ is seizing this opportunity not just to celebrate but to expand its footprint in the North American market. The promotional period runs from October 10 to 17, with the offer available for online orders with home delivery across the United States.

BenQ has shifted its focus towards household products in recent years, actively developing offerings that cater to everyday living, gaming, and entertainment needs. With many North American families adopting a camping lifestyle, these mobile projectors provide an ideal solution for outdoor movies, as well as entertaining experiences at home. Their combination of high-quality visuals and sound enhances the overall quality of life.

The GS50 LED Camping Projector is designed to be portable and rugged, featuring water resistance (IPX2) and operating on AC 100 to 240V with a power consumption of 65W. It boasts a resolution of 1080P and brightness of 500 ANSI lumens. With its built-in Android 10.0 and an Android TV stick (QS02) included, it is perfect for spontaneous outings.

Originally priced at $799, the GS50 is now available for $599, accompanied by an outdoor carry bag and a 100-inch projection screen—a $200 value. However, only 40 units are available, and interested buyers can access this deal by visiting the provided link and entering the discount code “Taiwan1010GS50.”

The second featured product, the GP100A LED Mobile Projector, transforms small spaces into luxurious mini-theaters, projecting a 120-inch image from just 3.2 meters away. Also equipped with the Android TV stick, this projector offers a powerful brightness of 1000 ANSI lumens, enabling crisp, vibrant color reproduction. It includes a 2.1 channel 20W speaker and features an automatic game mode for seamless operation.

The GP100A’s regular price of $899 has been discounted to $649, which reflects a 28% reduction. It also comes with the same bundle offer of a $200 Elite 100-inch projection screen, a carry bag, a pillow, and a cushion. This promotion is available through the provided link, using the code “Taiwan1010GP100A,” and is valid until October 17.

With innovative products like these, BenQ is clearly focused on enhancing both the camping experience and home entertainment for families across the United States.

The recent National Day holiday has spotlighted the term “culture + tourism” as a key driver for various attractions across the country. Red tourism, visits to ancient towns, and museum outings have all surged in popularity. Historical cultural districts, intangible cultural heritage performances, and innovative cultural experiences are emerging regularly, each showcasing the modern allure of Chinese culture in unique ways. This trend isn’t new; it has deep roots and is palpable in many aspects of daily life. It draws from the past, rich in history and tradition, while closely connecting to contemporary times.

One prominent goal is to “bring to life the cultural relics housed in museums, the heritage displayed across vast lands, and the ancient texts written in old books.”

Vibrant culture may manifest differently for each individual; it could be a historic cultural district, a well-preserved village, a stunning intangible heritage performance, or an elegant traditional gown. Over the past few years, significant progresses have been made in projects like the Chinese Civilization Exploration and Archaeology China, focusing on the overall protection and dynamic inheritance of historical cultural districts and villages. To date, around 139,000 ancient texts and special collection documents have been released as digital resources. This ongoing quest for the “codes” of civilization clarifies the threads of Chinese culture, guiding its legacy and development. The popularity of poetry, the rising interest in cultural museums, and the innovation in cultural products have all flourished. More and more people are curating their own “home museums” using cultural creative products, adorning themselves in designs inspired by classic styles from places like Mogao Caves and Sanxingdui, thus embracing the essence of national trends in fashion. The enthusiasm for traditional culture remains high as it weaves into daily life, enriching personal experiences.

“Our ancestral culture, a treasure passed down through generations, must be held close, modernized, and celebrated.”

Since last year, the small city of Jingdezhen has suddenly gained attention, drawing roughly 60,000 individuals, known as “Jing Drift,” who flock here to “play with clay.” They are not just seeking a relaxed lifestyle but are also exploring new entrepreneurial paths. Jingdezhen’s artistic vibe has captured the spotlight on various platforms, showcasing the limitless creativity of artisans and the vast potential of ceramics. Similarly, in Caoxian, with a mature garment-making industry, the surge of traditional Chinese cultural trends and the rise of e-commerce have transformed the local market, paving the way for the flourishing “Hanfu economy.” Today, over 2,000 Hanfu businesses and 14,700 online stores operate, employing nearly 100,000 people. These traditional crafts passed down by ancestors are like treasures waiting to be reimagined into something extraordinary.

“Artistic expression is the clarion call of the times, reflecting and shaping the aesthetic spirit of an era.”

In recent years, a colorful range of Chinese stories have emerged in various art forms, incorporating a plethora of contemporary elements. The Yue opera adaptation of “New Dragon Gate Inn” has captivated audiences from the 90s and 00s; dance dramas like “Dream of the Red Chamber” and “Only This Green” continue to attract attention; and the standalone game “Black Myth: Wukong” has taken cultural confidence to the international stage, combining alluring historical sites with Eastern philosophy.

At every major film release period, domestic films consistently top the box office, with popular hits emerging each season. This year’s National Day box office reached 2.1 billion yuan, with domestic films accounting for approximately 95.87% of the total, at 2 billion yuan. Homegrown creators are shifting away from merely catering to Western perceptions of “Oriental elements,” focusing instead on producing works that genuinely reflect the contemporary spirit of China. Films like “The Volunteer Army 2” resonate with national and ethnic responsibility, while “The Wandering Earth,” cloaked in a sci-fi narrative, still embodies the spirit of resilience. The emotional connections and resonance these works foster with audiences are what give domestic productions their unique competitive edge, uniting us in our collective advancement.

“Chinese-style modernization cannot be separated from the inheritance and promotion of outstanding traditional culture.” Today’s Chinese culture is both trendy and stylish, seamlessly blending with the zeitgeist, embracing cutting-edge technology and art, and radiating renewed vitality. It permeates every corner of life, nourishing the spirit of the Chinese people.