Intangible culture with Related Tags
Heritage with Related Tags
Sacred Island of Okinoshima and Associated Sites in the Munakata Region
Located 60 km off the west coast of Kyushu, Okinoshima is an outstanding example of Japan's sacred island worship tradition. Archaeological sites preserved on the island are almost intact and chronologically document the changes in rituals performed on the island between the 4th and 9th centuries AD. During these rituals, offerings were placed at different locations on the island. Many of them were brought from overseas and were of high quality, evidence of the close exchanges between the Japanese archipelago, the Korean peninsula, and mainland Asia. Okinoshima is part of the Munakata Grand Shrine, which is still considered sacred today.
Imperial College (Confucius Temple)
The Imperial College was the highest institution of learning and educational administration established by the state during the Yuan, Ming and Qing dynasties, also known as "Taixue" and "Guoxue". It was first built in the 24th year of the Yuan Dynasty (1287 AD). It was extensively renovated and expanded during the Yongle and Zhengtong periods of the Ming Dynasty. In the 48th year of the Qianlong period of the Qing Dynasty, a group of royal buildings, "Biyong", were added, forming the current regulations. The overall building of the Imperial College faces north and south, with three courtyards, covering an area of more than 27,000 square meters. The Jixian Gate (the main gate), the Taixue Gate (the second gate), the glazed archway, the Biyong Hall, the Yilun Hall, and the Jingyi Pavilion are arranged in sequence on the central axis. Students who studied in the Imperial College in ancient times were called "jiansheng". The Imperial College not only accepted students from all ethnic groups across the country, but also received foreign students. It played an active role in cultivating talents of all ethnic groups in China and promoting cultural exchanges between China and foreign countries. The main building of the Imperial College has been well preserved for more than 700 years. It is the only intact site of the highest institution of learning in ancient times. The Imperial College is famous for its long history, unique architectural style, and profound cultural connotation. The Confucius Temple covers an area of 22,000 square meters and has three courtyards. The buildings on the central axis are the First Teacher Gate, the Great Success Gate, the Great Success Hall, and the Chongsheng Temple. There are stele pavilions, kitchens, animal husbandry pavilions, and well pavilions on the east side of the front courtyard; there are stele pavilions and Zhizhai Hall on the west side, and there is a Zhijing Gate connected to the Imperial College. On both sides are 198 steles with inscriptions of Jinshi from the Yuan, Ming and Qing dynasties, engraved with the names, native places, and rankings of 51,624 Jinshi, which are precious physical materials for studying my country's imperial examination system. Outside the Great Success Gate are the Qianlong Stone Drum and two related Qing Dynasty stone tablets. The main buildings in the central courtyard are the East and West Verandas and 13 Imperial Stele Pavilions; the Chongsheng Temple in the backyard is an independent courtyard, forming a complete ancient building complex of the Confucius Temple in Beijing.
Gedi Ancient Town and Archaeological Site
The abandoned town of Gedi is not far from the sea, separated from the coast by the remnants of coastal forest. From the 10th to the 17th century, it was one of the most important Swahili cities on the East African coast. During that time, Gedi was part of a complex international trade and cultural exchange network across the Indian Ocean, connecting coastal African centers with Persia and other regions. The city walls clearly outline the outline of this rich town, which retains the remains of residential, religious and town buildings, as well as an advanced water system. The ancient town of Gedi fully reflects the characteristics of Swahili architecture and urban planning, and the building materials used include coral limestone, coral mortar, earth mortar, wood, etc.
Archaeological Zone of Paquimé, Casas Grandes
The Paquime da Casas reached their peak in the 14th and 15th centuries, playing a key role in trade and cultural exchange between the Pueblo cultures of the American Southwest and northern Mexico and the more advanced civilizations of Mesoamerica. The vast remains (only a part of which has been excavated) clearly testify to the dynamism of this culture, which was perfectly adapted to its material and economic environment, but which suddenly disappeared at the time of the Spanish conquest.
Baekje Historic Areas
Located in a mountainous area in west-central Korea, the property comprises eight archaeological sites dating from 475 to 660 AD, including Gongsanseong Fortress and royal tombs in Songsan-ri associated with the capital Ungjin (present-day Gongju), Busosanseong Fortress and administrative buildings in Gwanbuk-ri, Jeongnimsa Temple, royal tombs and Naseong walls in Neungsan-ri associated with the capital Sabi (present-day Buyeo), royal palaces in Wanggung-ri associated with the second capital Sabi, and Mireuksa Temple in Iksan. Together, these sites represent the late period of the Baekje Kingdom (one of the first three kingdoms on the Korean peninsula, from 18 BC to 660 AD), during which there was a great deal of technological, religious (Buddhist), cultural, and artistic exchange between the three ancient East Asian kingdoms of Korea, China, and Japan.
Historic Centre of Macao
Macau is a lucrative port with strategic importance in the development of international trade. Since the mid-16th century, Macau has been under Portuguese rule until 1999 when it was returned to China. The historic center of Macau, with its historic streets, residential, religious and public Portuguese and Chinese buildings, is a unique testimony to the intersection of Eastern and Western aesthetic, cultural, architectural and technological influences. The site also houses a fortress and a lighthouse, the oldest in China. It bears witness to one of the earliest and most lasting contacts between China and the West, based on the dynamism of international trade.
Gonbad-e Qābus
Built in 1006 AD as the tomb of Qaboos ibn Washemjir, a Ziyarid ruler and man of letters, this 53-meter-high mausoleum is located near the site of the ancient city of Jorghan in northeastern Iran and bears witness to cultural exchange between the nomadic peoples of Central Asia and the ancient civilization of Iran. The tower is the only remaining evidence of Jorghan, a former center of art and science that was destroyed during the Mongol invasions of the 14th and 15th centuries. It is an outstanding, technically innovative example of Islamic architecture that influenced religious architecture in Iran, Anatolia, and Central Asia. Built of unglazed fired bricks, the monument’s complex geometry forms a tapered cylinder 17-15.5 meters in diameter, topped by a conical brick roof. It illustrates the development of mathematics and science in the Muslim world at the turn of the first millennium AD.
Melaka and George Town, Historic Cities of the Straits of Malacca
The historic towns of Malacca and Georgetown, on the Straits of Malacca, have developed trade and cultural exchange between the East and the West for more than 500 years. Asian and European influences have endowed these towns with a unique multicultural heritage, both tangible and intangible. Malacca’s government buildings, churches, squares and fortifications showcase the early stages of this history, originating from the Malay Sultanate in the 15th century and the Portuguese and Dutch periods beginning in the early 16th century. Georgetown features residential and commercial buildings that represent the British era in the late 18th century. The two towns form a unique architectural and cultural townscape unmatched anywhere in East and Southeast Asia.
Beijing Shunyi International Flower Port
Beijing International Flower Port is the only professional flower industry park in Beijing planned by the Beijing Municipal Government. It is one of the important functional groups of the 7th China Flower Expo 2009 hosted by Beijing and a window for the development of Beijing's flower industry. During the Flower Expo, Beijing International Flower Port undertakes the tasks of displaying Beijing's industrial parks and outdoor flower displays for enterprises, and is also responsible for promoting and carrying forward the flower culture of the capital. At present, Flower Port has gradually become the production, research and development, display and trading center of flowers in Beijing, as well as the leisure, sightseeing and cultural exchange center of flowers. Beijing International Flower Port is located in Yangzhen, Shunyi District, with a total planning area of 4 square kilometers. It is the only professional flower industry park in Beijing. It is adjacent to Muyan Road in the east and Baima Road in the south. It is 39 kilometers away from the city center, 20 kilometers away from the Capital Airport, and only 5 minutes away from the Beijing Olympic Games water sports venue. It has a superior location and convenient transportation. It is an important node in the eastern development belt of Shunyi District and an important model for the development of modern sightseeing agriculture in the capital. Beijing International Flower Port is an important functional group of the 7th China Flower Expo 2009 hosted by Beijing. It is a window for the development of Beijing's flower industry and is responsible for promoting and carrying forward the flower culture of the capital. At present, Flower Harbor is gradually developing into a production, R&D, display and trading center of flowers in Beijing, as well as a leisure sightseeing and cultural exchange center of flowers. It will fully integrate park construction and landscape resources, cultivate flower exhibition brands, create a new flower industry system, build a flower production R&D center, seed center, leisure experience center, and build an international conference city, so that the Flower Expo will never end in Shunyi.
China Red Sandalwood Museum
Going east along Chang'an Avenue, on the north side of the Gaobeidian exit of the Beijing-Tong Expressway, you will see a large group of Ming and Qing Dynasty buildings, which is the China Red Sandalwood Museum. It was built by Ms. Chen Lihua, member of the National Committee of the Chinese People's Political Consultative Conference, Chairman of Hong Kong Fuhua International Group, Honorary Doctor of Humanities of Savannah College of Art and Design, and Vice Chairman of the Board of Directors, with an investment of more than 200 million yuan. It is a key project of Beijing to pay tribute to the 50th anniversary of the founding of the People's Republic of China. The China Red Sandalwood Museum is the first and largest private museum in China that integrates collection and research, display and exhibition of red sandalwood art, and appreciation of traditional Chinese classical furniture. It fills a gap in the Chinese museum community. The China Red Sandalwood Museum itself can be called a perfect and spectacular handicraft. The design of this 25,000 square meter museum is grand and exquisite, with an antique and modern atmosphere. The main entrance alone uses more than 400 cubic meters of wood, and all of it is a pure wooden structure. The four pillars supporting the gate are 8 meters high and 0.6 meters thick. Both the scale and the material are rare in Beijing's antique buildings. The five-story main building uses the grinding brick joint technology, with no error of millimeters. The square in front of the museum, which is more than 1,000 square meters, is paved with large blue bricks, which were only used by the royal family in the past and then soaked in tung oil. Chen Lihua hired woodworking experts, tile experts and painting experts who worked in the Palace Museum at the beginning of the founding of the People's Republic of China to guide the entire project. These experts have always been called "living national treasures". The exhibition hall of the China Red Sandalwood Museum covers an area of 9,569 square meters. There are central halls, exhibition halls, conference halls, VIP halls, multi-function halls and temporary exhibition halls, where you can enjoy: the Ming and Qing furniture collected by Director Chen Lihua for decades; the fine traditional furniture produced under the careful guidance of Director Chen Lihua for nearly 30 years; Buddhist cultural artworks; traditional furniture materials, shapes and structures; carving techniques; in addition, you can also appreciate the miniature Chinese ancient architectural landscape: the corner towers of the Forbidden City, the Qianqiu Pavilion and Wanchun Pavilion in the Imperial Garden of the Forbidden City, which fully demonstrate the royal style; the archway of Longquan Temple in Wutai Mountain, Shanxi, with 320 dragons in different postures, exquisite round sculptures, reliefs and openwork sculptures, which are rarely seen in the world; the quaint Beijing courtyard, the Feiyun Tower in Shanxi that rises into the sky, and the large-scale architectural model of the ancient city gate of old Beijing... These artistic treasures that convey oriental charm are all made of precious red sandalwood. Over the years, China Red Sandalwood Museum has been adhering to the business philosophy of "inheritance, development and innovation", working silently on inheriting and promoting the traditional Chinese furniture art, and making it flourish. It is precisely because of the foresight of Director Chen Lihua that the red sandalwood carving craft, which was on the verge of extinction, has been rescued, protected and innovated. In September 2011, the "red sandalwood carving skills" applied by China Red Sandalwood Museum were included in the third batch of national intangible cultural heritage list by the State Council. In 2012, it was designated by the Beijing Municipal Government as a demonstration base for the productive protection of Beijing's intangible cultural heritage. As an important cultural landscape in Beijing, China Red Sandalwood Museum was rated as a national 4A-level tourist unit by the National Tourism Administration at the end of 2003. It has received tourists and dignitaries from all over the world. Former German Chancellor Helmut Kohl, former Romanian Prime Minister Adrian Nastase and his wife, Thai Princess Maha Chakri Sirindhorn, Sri Lankan Speaker Chamal Rajapaksa and others have visited China Red Sandalwood Museum and happily left messages, giving high praise and appreciation to the museum. In order to better spread the traditional Chinese red sandalwood culture overseas, the China Red Sandalwood Museum has held a tour exhibition with the theme of "The Secret of Red Sandalwood" in the United States, Japan, South Korea, Malaysia, Taiwan, Guangzhou and other countries and regions, introducing China to the world and displaying the traditional Chinese classical furniture culture, which has been highly respected and recognized by local people from all walks of life. At the same time, the China Red Sandalwood Museum has also built a bridge for cultural exchanges between the East and the West in another form. Several world-class museums, including the Palace Museum in Beijing, the Dresden State Art Collection in Germany, the Smithsonian Institution in the United States, the Chateau de Chambord in France, and the Kyushu National Museum in Japan, have collected large red sandalwood art treasures from the China Red Sandalwood Museum. Zheng Xinmiao, then Vice Minister of the Ministry of Culture of China and Director of the Palace Museum, praised this initiative for making an important contribution to the spread of Chinese traditional culture to the world. In the future, the China Red Sandalwood Museum will continue to take the protection of historical heritage and the promotion of Chinese traditional culture as its mission. It will fully and highly display the charm of red sandalwood art and reproduce the glory of traditional Chinese furniture!
Armenian Monastic Ensembles of Iran
The Armenian monastic complex in Iran is located in the northwest of the country and consists of three Armenian Christian monastic complexes: the Monastery of Saint Thadius, the Monastery of Saint Stepanos and the Church of Zor-Zor. These buildings - the oldest of which is the Monastery of Saint Thadius - are built on ancient structures dating back to the 7th century AD and are examples of outstanding universal value in the Armenian architectural and decorative tradition. They bear witness to important exchanges between Armenia and other regional cultures, especially Byzantine, Orthodox and Persian. As the main area of the Armenian cultural space, located on the southeastern edge of Armenia, the monasteries were the main centers for the dissemination of this culture in the region. They are the last regional remains of this culture, which still retain a satisfactory level of integrity and authenticity. Moreover, as a local pilgrimage, the monastic communities are living witnesses of the Armenian religious traditions over the centuries.
Protective town of San Miguel and the Sanctuary of Jesús Nazareno de Atotonilco
Built in the 16th century to protect the royal inland routes, the fortified city reached its peak in the 18th century, when many outstanding religious and civic buildings were built in the Mexican Baroque style. Some of these buildings are masterpieces of the transition from Baroque to Neoclassicism. The Temple of the Society of Jesus, 14 kilometers from town, was also built in the 18th century and is one of the finest examples of Baroque art and architecture in New Spain. It consists of a cathedral and several chapels, all decorated with paintings by Rodriguez Juárez and murals by Miguel Antonio Martínez de Pocasangre. Due to its location, San Miguel de Allende became a melting pot of cultural exchange between Spanish, Creole and Amerindian peoples, and the Temple of Jesus of Atotonilco is an outstanding example of cultural exchange between Europe and Latin America. Its architecture and interior decoration reflect the influence of the teachings of St. Ignatius de Loyola.
The Silk Roads: Zarafshan-Karakum Corridor
The Zarafshan-Karakum Corridor is the throat of the Silk Road in Central Asia, connecting other corridors from all directions. It is 866 kilometers long, with rugged mountains, fertile river valleys and uninhabited deserts along the way. It first extends from east to west along the Zarafshan River, then turns southwest and crosses the Karakum Desert along the ancient caravan route to the Merv Oasis. From the 2nd century BC to the 16th century AD, the corridor became the main channel for communication between the East and the West and the trade of large quantities of goods on the Silk Road. It witnessed human travel, settlement, conquest, and defeat, and thus developed into a melting pot of ethnicities, cultures, religions, and technologies.
Beijing Ceramic Art Museum
Beijing Ceramic Art Museum is a cultural and artistic institution with knowledge, education, popular science and mass appeal that promotes ceramic culture, appreciates ceramic art, conducts ceramic education and experiences ceramic life. It is a large-scale activity platform and a national AAA scenic spot that integrates product display, ceramic education, learning practice, cultural exchange, leisure and entertainment, and shopping experience. Based on the five national development concepts and the functional positioning of the capital's "four centers", Beijing Ceramic Art Museum is pioneering and innovative, building six modules of art, education, technology, life, tourism and animation with "ceramics +" as the industrial center, and making every effort to create an industrial cluster of education and training, cultural creativity, technological innovation, eco-tourism and animation communication with ceramic culture as the main line.
Proto-urban Site of Sarazm
Sarazm, meaning "where the land begins", is an archaeological site that bears witness to the development of human settlement in Central Asia between the 4th millennium BC and the end of the 3rd millennium BC. The site shows the early development of proto-urbanization in the region. The settlement is one of the oldest in Central Asia, situated between mountainous areas suitable for nomadic herders to raise livestock and a large valley suitable for the development of agriculture and irrigation by the first settled populations in the region. Sarazm also testifies to the existence of commercial and cultural exchanges and trade relations with peoples of a vast geographical area, stretching from the steppes of Central Asia and Turkmenistan to the Iranian plateau, the Indus Valley, and even as far as the Indian Ocean.
Archaeological Sites of the Island of Meroe
The archaeological site of Meroe, a semi-desert landscape located between the Nile and Atbara rivers, was the heart of the Kingdom of Kush, a major power from the 8th century BC to the 4th century AD. The site includes the royal city of the Kushite kings at Meroe near the Nile, and the nearby religious sanctuaries of Naqqa and Sufra. It was the seat of the rulers who occupied Egypt for nearly a century and contains, among other remains, pyramids, temples and civil buildings, as well as major facilities related to water management. Their vast empire stretched from the Mediterranean to the heart of Africa, and the site bears witness to the exchange of art, architecture, religion and language between the two regions.
Odessa Historic Center
The historic centre of Odessa, part of the Black Sea port city developed on the site of Khazimbe, is a densely built area planned according to classicist guidelines and characterized by buildings of two to four storeys and wide vertical streets lined with trees. The historic architecture reflects the city's rapid economic development in the 19th and early 20th centuries. The site includes theatres, bridges, monuments, religious buildings, schools, private palaces and tenement houses, clubs, hotels, banks, shopping centres, warehouses, the stock exchange and other public and administrative buildings designed by architects and engineers, mostly from Italy but also from other nationalities. Eclecticism is the main feature of the historic city centre architecture. The site bears witness to the city's highly diverse ethnic and religious communities and is an outstanding example of cross-cultural exchange and the development of a multicultural, multiethnic Eastern European city in the 19th century.
Bolgar Historical and Archaeological Complex
The site is located along the Volga River, just south of its confluence with the Kama River, south of Kazan, the capital of Tatarstan. It contains the remains of the medieval city of Bulgar, an early settlement of the Volga-Bulgar civilization, which existed between the 7th and 15th centuries AD and was the first capital of the Golden Horde in the 13th century. Bulgar represents centuries of historical and cultural exchange and transformation in Eurasia, playing a key role in the formation of civilizations, customs and cultural traditions. The site provides remarkable evidence of historical continuity and cultural diversity. It is a symbolic reminder of the Volga-Bulgar people's acceptance of Islam in 922 AD and remains a holy place of pilgrimage for Tatar Muslims.
Gu'an County Qujiaying Ancient Music Hall
Qujiaying Ancient Music is one of the oldest music in China. It was founded during the Yuan and Ming Dynasties and originated from Buddhist temple music. It is the product of the exchange of music between the north and the south since the Song and Yuan Dynasties. It has the simplicity and roughness of northern music and the gracefulness and tranquility of southern music. The Qujiaying Concert was first built during the Yongle period of the Ming Dynasty and the Jiaqing period of the Qing Dynasty. What can be verified is a "sky tent" destroyed during the "Cultural Revolution". The "sky tent" is a tent used for concerts. The side strips are embroidered with words: It is unknown how many years this association has been in existence since its inception. It was about to be lost during the Jiaqing period. Now it is supported and funded by certain people, and it was revived during the Xianfeng period. According to this, the Qujiaying Concert has existed in the middle of the Qing Dynasty. So far, the concert has been renewed five times. The third, fourth and fifth renewals were in the third year of Xianfeng (1853), the 37th year of the Republic of China (1948) and 1980 respectively. These three scores are still intact.
Botou Mosque
Botou Mosque covers an area of 11,200 square meters, with nearly 200 houses and a construction area of 2,919.78 square meters. Botou Mosque is the main place for normal ethnic and religious activities of the Hui Muslim people in Botou, and it is also a window for Botou City's foreign cultural exchanges. Especially since the 2004 TV series "National Hero Ma Benzhai" was filmed in Botou Mosque, it reproduced the growth experience of the martyr Ma Benzhai in Botou Mosque during his youth, and also reproduced the battle process of Ma Benzhai using this place as his main base. Botou Mosque sits west and faces east. The main gate is three rooms wide and ten meters high. It has a single-eaved hip roof, an ancient shed, a glazed tile roof, red doors and copper decorations, and the door is inscribed with "Hua Zhao Wuji" in regular script, and "Mosque" is hung in black and gold above. There is a side door on each side, followed by blue bricks and tiles, carved walls, and the facade is quite imposing. Botou Mosque is located at the southern end of Qingzhen Street in Botou City, 40 kilometers north of Cangzhou City, and 5 kilometers west of the "Nanpi" exit of the Beijing-Shanghai Expressway. It was first built in the second year of the Yongle reign of the Ming Dynasty (1404 AD), and was rebuilt during the Jiajing reign (1521-1567) and Wanli reign (1572-1620 AD) of the Ming Dynasty. It was expanded during the Chongzhen reign, and repaired to varying degrees during the Jiaqing, Xianfeng, Guangxu and Republic of China reigns of the Qing Dynasty. It is said that in the late Ming Dynasty, Emperor Chongzhen brought a large amount of wood from the south to the north via the canal to repair the Jinluan Palace. When the ship passed Fengjiakou in Botou, Li Zicheng had already led the peasant uprising army to capture Beijing. At that time, the Hui officials in Botou, the Imperial Censor Shi Sanwei and the Ministry of Rites Yu Jideng, used this batch of wood to repair the mosque.
Wuqiang New Year Painting Museum
Wuqiang New Year Painting Museum is the first special museum of New Year paintings in China. It is located in Wuqiang County. It is not only a symbol of the hometown of New Year painting art, but also an art hall for displaying and studying farming culture. The museum covers a total area of 25,100 square meters, with a building area of more than 5,400 square meters. The museum has more than 10,000 cultural relics. There are currently 5 exhibition halls and an antique New Year painting workshop, which has well protected and inherited the ancient craft of woodblock printing, one of the "four great inventions" handed down from generation to generation. The exhibition is divided into six parts: (1) The origin and development of New Year paintings; (2) The glorious achievements in history; (3) Modern and contemporary Wuqiang New Year paintings with revolutionary traditions; (4) The new pattern of the current development of New Year paintings; (5) The colorful New Year paintings in various places; (6) Traditional craft workshops. The entire exhibition is novel and unique, full of the new era atmosphere and strong national and folk characteristics. It has strong knowledge, artistry, fun and participation. It is not only a special place for patriotism education using excellent traditional culture, but also a frontier for protecting, inheriting and promoting folk art. Since its opening in 1992, Wuqiang New Year Picture Museum has received attention and support from all walks of life at home and abroad. In 1993, it was named "Hometown of Woodblock New Year Picture Art" by the Ministry of Culture; since 1999, Wuqiang New Year Picture Museum has been designated as a patriotism education base in Hebei Province, a national key museum, a national defense education base in Hebei Province, a national AA-level tourist attraction, and an education practice base for 17 higher art colleges such as the Central Academy of Fine Arts. It has successfully held three New Year Picture Art Festivals and hosted the 17th Annual Meeting of the Folk Crafts Committee of the China Arts and Crafts Association. Nearly 100 news media have given special introductions. Wuqiang New Year Picture Museum has become a window for foreign cultural exchanges in Hengshui and even Hebei Province, receiving more than 100,000 tourists each year, with a huge impact at home and abroad. Wuqiang New Year Picture Museum has always paid attention to strengthening the research and protection of traditional culture, and has successively compiled books such as "Hebei Wuqiang New Year Pictures", "Wuqiang Ancient Edition Folk Door Paintings", "Wuqiang Ancient Edition Lantern Square New Year Pictures", "China Wuqiang Folk Shenma", "China Wuqiang New Year Picture Art", and "China Woodblock New Year Picture Collection·Wuqiang Volume". At the same time, more than 100 papers have been published at home and abroad, and the research results are remarkable. The R&D center has successively developed dozens of marketable products such as New Year picture calendars, screens, porcelain plates, hangings, gift hardcover paintings, etc. In 2006, a set of 4 special stamps of Wuqiang woodblock New Year pictures were first issued, opening up a new market for New Year pictures. In 2007, it jointly developed and printed "Wuqiang New Year Pictures Ancient Books Rare Edition" with Beijing Library. It is currently co-producing a 100-episode Wuqiang New Year picture animation "Legends of Painting Village" with Hebei University of Science and Technology, and co-filming a 50-episode TV series "New Year Pictures from Wuqiang" with CCTV, which will soon be launched on the market. With the museum as the leader, it has driven the production and sales of more than 40 New Year picture workshops in the county. The annual output value reaches 10 million yuan. The Wuqiang New Year Painting Museum has been increasing its foreign cultural exchange activities year by year. In recent years, it has successfully held Wuqiang New Year Painting exhibitions in the National Art Museum of China, the National Museum, the Central Academy of Fine Arts, the Tianjin Academy of Fine Arts, Hebei Normal University, Taiwan, Hong Kong, Macau, and other places. It has also held New Year Painting exhibitions in Singapore, France, Spain, Belgium, South Korea, Japan and other countries, which have impressed hundreds of millions of domestic and foreign audiences. Qi Gong, He Jingzhi, and Zhang Ding wrote the name of the museum, and famous artists such as Ding Cong, Fang Cheng, and Feng Jicai wrote inscriptions to praise Wuqiang New Year Painting. Wuqiang New Year Painting has a long history and is profound. In 2003, it was selected as one of the first ten pilot projects of the Chinese National Folk Culture Protection Project, and in 2006 it was selected into the National Intangible Cultural Heritage List. More than ten Wuqiang New Year Painting artists were rated as folk arts and crafts artists, Ma Xiqin was rated as an outstanding inheritor of Chinese folk culture, and Guo Shurong was rated as a national arts and crafts master. In the past seven years, more than 100 news media outlets, including CCTV, Tianjin TV, Hebei TV, Hong Kong Phoenix TV, and Japan Broadcasting Association, have filmed special programs on Wuqiang New Year paintings and broadcast them during prime time. The reputation of Wuqiang New Year paintings has grown and their influence has been far-reaching.