文博会观察｜什么是“有文化”

At the ICIF inaugurated on May 22nd, culture was no longer a static memory displayed in glass cases but an "immersive dialogue" accessible, experiential, and shareable for all: visitors could explore the charm of museums in VR to achieve "cross-time resonance" with ancient figures, watch young people line up for pulse diagnosis by renowned Shandong traditional Chinese medicine practitioners, witness Egyptian exhibitors printing hieroglyphic names on-site, and see fashion design association presidents "reconstruct" traditional patterns through modern design.

在5月22日启幕的深圳文博会上，文化不再是陈列在展柜里的静态记忆，而是一场全民可触摸、可体验、可传播的 “沉浸式对话”：观众既能在VR中找寻博物馆的魅力，与古人实现 “跨时空共鸣”，也能围观年轻人排队请山东名中医把脉问诊，更能看到埃及展商现场给大家打印象形文字的名字，还有服装设计协会会长用时尚设计 “重构” 传统纹样。

As AI "Yuanbao" becomes a "new agricultural tool" boosting rural revitalization, and as the century-old tracks of the Guangzhou-Sanshui Railway interweave with the turf of the football field to evoke cultural memories, this grand event is showcasing the vitality of China's cultural industry through innovation in a groundbreaking manner—transitioning from "niche to mass" and "domestic to international." It is not just a "cultural calling card" presented to the world but also a bridge enabling traditional and future cultures, as well as Eastern and Western civilizations, to "meet each other halfway.

当 AI “元宝” 成为助力乡村振兴的 “新农具”，当百年广三铁路的铁轨与足球场的草皮交织出文化记忆，这场盛会正以 “从小众到大众、从国内到国际” 的破圈姿态，展现中国文化产业在创新中迸发的活力 —— 它不仅是一张递向世界的 “文化名片”，更是一座让传统与未来、东方与西方 “双向奔赴” 的桥梁。（来源：闪电新闻）