The inaugural Liangzhu Forum in Hangzhou, Zhejiang Province, recently concluded with a grand finale, hosting over 300 guests from across the globe. This event served as a vibrant platform for cultural exchange and scholarly discussion, significantly contributing to the global understanding and appreciation of Chinese culture.
In addition to the main forum, two key sub-events enriched the experience. The first gathered 43 young sinologists from around the world, while the second brought together artists from 83 countries, each depicting their vision of “China” through various mediums. The forum facilitated a melting pot of perspectives, as participants from diverse countries like Poland and Uganda engaged in discussions on intricate aspects of Chinese culture and showcased their talents on traditional Chinese rice paper, known as xuanzhi.
A highlight of the forum was the “Dialogue of Young Sinologists in the New Era,” launched on Friday. The agenda spanned a broad spectrum of topics, including history, philosophy, sociology, and media studies, focusing on China. The cross-disciplinary nature of these discussions underscored the multifaceted evolution of Chinese civilization, which encompasses not just cultural but also comprehensive societal progress. This complexity was echoed by German expert Hannes Wolfgang Reinhard, who remarked on the challenge of encapsulating the intricacies of China in mere texts.
A notable mention was made by Filippo Costantini, a representative from Costa Rica, a Belt and Road Initiative partner country. He shared how the initiative had kindled a deeper interest and love for Chinese culture among Costa Ricans, previously less familiar with the distinctions between China, Japan, and South Korea. The cultural exchange fostered through co-published books and the China-Costa Rica research center was hailed as both inspiring and necessary.
The forum also delved into the reasons behind other countries’ desire to collaborate with China. Adil Kaukenov, chief researcher from the Kazakhstan Institute for Strategic Studies, attributed this eagerness to “mutual trust.” He highlighted cultural similarities, such as the shared appreciation for naan flatbread, which bring countries like China and Kazakhstan closer, both emotionally and culturally.
Digital channels were recognized as powerful tools in spreading Chinese culture, especially among the youth. Albert Kozik, a young Polish sinologist, emphasized the growing fascination with Chinese culture through these platforms. At the forum, visitors enthusiastically captured and shared their experiences, like a young Thai visitor whose social media posts about the nearby Liangzhu Museum garnered unexpected popularity. His awe at the ancient jade wares reflected a broader global intrigue with China’s cultural heritage.
The Silk Road Artists’ Rendezvous, another significant event, offered international artists tours of Chinese cities and an introduction to traditional art forms like landscape painting and calligraphy. One striking piece was UBUNTUNGUMUNTU, a painting by Ruganzu Bruno. T from Uganda, which included a layer of Ugandan bark cloth to symbolize the connection between Chinese and African cultures. The forum also featured emotional moments, like New Zealand painter Kate’s reaction to Zao Wou-ki’s art, which she described as the power of sharing humanity.
The Liangzhu Forum, named after the ancient 5,000-year-old archaeological ruins known for their jade culture, offered a profound look into the genteel and harmonious nature of Chinese civilization. It underscored the Chinese cultural spirit, aptly summarized by the saying, “Not a ‘king,’ just ‘jade,'” highlighting a preference for harmony over hegemony. This event not only served as a platform for cultural exchange but also as a testament to the enduring impact and relevance of Chinese culture in the global context.
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