A total of 56 paintings from Russia's State Tretyakov Gallery are now on exhibition at the Capital Museum in Beijing as this year marks the 75th anniversary of China and Russia establishing diplomatic ties.

The exhibition, titled The Soul of Russia, is running from September 15 to December 8. It features 56 masterpieces by prominent Russian artists such as Ilya Repin, Ivan Shishkin, Vasily Tropinin, Ivan Aivazovsky and Vasily Surikov, covering more than 500 years of Russian art history - from the 16th century to the present. 

"The Chinese viewer can experience a retrospective of Russian art from iconic paintings to the second half of the 20th century," Director of the State Tretyakov Gallery Elena Pronicheva told the Global Times through an interpreter. 

"Regardless of the historical period, visitors will see the ideals that Russia lived by during this historical period and through."

Jointly organized by the Capital Museum and Russia's State Tretyakov Gallery, the exhibition spans diverse themes and styles, illustrating the rich cultural heritage and artistic diversity of Russia. 

The artworks are divided into four sections: landscapes, portraits, daily life, and historical scenes, offering a comprehensive look into Russia's natural beauty, people, and history.

High-profile artworks include Lenin in Smolny and Portrait of A.M.Gorky by Isaak Brodsky, Portrait of Anton Chekhov by Osip Braz, and Stormy Sea by Aivazovsky.

2024 and 2025 have been designated as Years of Culture between China and Russia.

"Culture as a kind of social sphere helps us get to know each other better, because we are neighbors," Pronicheva told the Global Times.

"Besides borders, we are also quite close to each other in thinking, we have a lot in common." 

This exhibition aims to deepen cultural exchange between China and Russia.

It offers Chinese audiences a rare perspective on Russian art and culture while fostering mutual understanding between the two nations.

"Through our exchanges with the Russian side, we are able to deepen our understanding of each other and of ourselves. This is an expression of the mutual learning between civilizations and the coexistence of cultures," Yu Runsheng, a professor of the Central Academy of Fine Arts, told the Global Times. 

"That we are able to organize such an exhibition demonstrates that our understanding of Russian painting and the entire history of Russian art has surpassed previous levels."

Previous exhibitions held in China featuring Russian paintings from the Tretyakov Gallery were mainly focused on a single topic rather than presenting a more comprehensive view like the current exhibition, according to Yu. 

He noted that the theme and overall outline of the exhibition were proposed by a Chinese academic team before communicating with Russian institutions, selecting the pieces they could provide to finalize the exhibition.

The Tretyakov Gallery is one of the most prominent art museums in Russia, renowned for its vast collection of Russian fine art. 

Founded in 1856 by merchant and art collector Pavel Tretyakov, the gallery houses over 180,000 works, spanning from early religious iconography to contemporary art.

In 1949, the Soviet Union became the first country in the world to establish diplomatic relations with the People's Republic of China. 

Since then, Russian art has had a lasting impact on Chinese artists.

Chinese tennis star Zheng Qinwen eased past 71st-ranked Kamilla Rakhimova of Russia with 6-1, 6-1 in the second round of a highly anticipated match at the China Open on Saturday. 

The match attracted more than 12,000 fans to the 15,000-capacity Diamond Court at the National Tennis Center in Beijing. 

Making her debut at this year's China Open thanks to a first-round bye as the fifth seed, Zheng said she was satisfied with her performance on Saturday after suffering frustrations since the US Open.

"I'm very satisfied with today's overall performance. I always practice with male players during training, and I often get beaten, which is frustrating, but today's match went really smoothly. I haven't had such a smooth match in a long time, especially since every match at the US Open was tough," Zheng said after the match. 

"I was surprised to see so many fans at the venue today, and I really appreciate everyone's support. I hope I can go further in the China Open, so you all can have more opportunities to watch me play."

Saturday's match was only Zheng's second appearance in the tournament after a surprising first-round exit in 2023. Zheng is currently ranked No.7 in the world, going up from world No.23 at this time same time in 2023. 

Zheng will take on 25th seed Dayana Yastremska of Ukraine in the third round. 

Zheng has expressed a desire to shift her focus away from the overwhelming glow of her Olympic gold medal in the women's singles and instead focus on her WTA Tour events, as her objective for the rest of the season is clear: to secure a spot in the year-ender WTA Finals. 

Zheng currently sits at No.9 in the Race to the Finals, trailing US players Emma Navarro and Danielle Collins by 498 and 108 points, respectively. 

Zheng's Finals campaign was made easier ahead of Saturday's match after compatriot and veteran Zhang Shuai defeated Navarro on Friday in the first round.

A total of 5,000 Chinese couples tied the knot simultaneously in 50 places from across the country on Sunday as the nation eagerly awaits the 75th anniversary of the founding of the People's Republic of China (PRC). The couples celebrated their love on the day, marking a significant chapter in their lives. 

Themed "a celebration by families and the nation to witness happiness together," the group wedding is the largest ever in scale held by the Chinese authorities since the founding of PRC. 

At 50 wedding venues set up in provinces, autonomous regions, municipalities, Xinjiang Production and Construction Corps, the special administrative regions of Hong Kong, Macao and Taiwan region, the 5,000 couples dressed themselves up in Chinese traditional wedding gowns, held flowers, exchange gifts, and solemnly read their wedding vows, China Women's News reported.

In addition to their vows to stay together and grow old together, the newlyweds also issued a proposal for simplifying wedding procedures and oppose high betrothal gifts, according to Beijing Daily. 

The symbolic significance of this group wedding in promoting marriage customs reform, advocating a new culture of marriage and childbearing, while supporting the happiness of marriages and families are self-evident, the Beijing Daily reported. 

A couple from Ji'an in East China's Jiangxi Province told the media that the essence of marriage lies in the love and commitment between two people, whereas high "caili," or betrothal gifts from the bridegroom to the bride's family, often place a financial burden on young people, even affecting the happiness of their marriage, according to China Women's News. 

Their opinion echoed with a bride named Yan Huiyin from Northeast China's Heilongjiang Province, who thought that finding a soulmate with whom one can share the rest of their life is always the most important value of the marriage. 

Demographic expert He Yafu, who has long tracked marriage registration data, stated that one reason for the declining marriage rate in China in recent years is the high cost of weddings, particularly in rural areas where the practice of high "caili" was more common.

"This group wedding aims to promote the reform of outdated customs and encourage simplified wedding practices, opposing high-priced betrothal gifts and extravagant ceremonies. One of its goals is to advocate for reducing the cost of marriage and increase the marriage rate," He told the Global Times on Sunday. 

The venue in North China's Inner Mongolia Autonomous Region saw the largest number with 300 newlywed couples.

US banking institution Citigroup has been working to set up a standalone securities firm in China, but it "has hit a roadblock with US regulators after the Federal Reserve imposed a penalty on the bank for its data management and risk controls," Bloomberg reported on Monday, citing people familiar with the matter. The Global Times reached out to Citi China, but it declined to comment.

Specifically, Citi hasn't yet received a clearance letter from the US Federal Reserve verifying its regulatory standing, as required by Chinese authorities, the report said.

Under Chinese law, foreign banks must meet several conditions to establish onshore operations, including having no major regulatory fines in the past three years. However, Citi was hit with a combined $136 million in fines in July and was instructed to resolve its data management problems at home, according to the Bloomberg report.

Notably, the report said that officials at the China Securities Regulatory Commission have reiterated their support for the bank's expansion, while the bank also said that it has no plans to pull its application, though the report added that the situation is fluid and could change.

In response to the Global Times' inquiry over the report on Monday, Citi China declined to comment, while referring to a pair of recent media interviews with Lu Xuan, president of Citi China.

In an interview with the Securities Times published on Friday, Lu said that Citi will continue to embrace opportunities from China's financial opening-up and was actively applying for securities and futures licenses. "In the long run, I believe China will become more important in Citi's global network," Lu said in the interview.

The remarks underscore Citi and other foreign financial institutions' great interests in the Chinese financial market amid China's continuous opening-up. After China lifted foreign ownership limits on securities and fund management firms in 2020, Citi submitted an application for a securities license for underwriting yuan-denominated shares and to conduct trading for clients, among other businesses. Two other US investment banks, JPMorgan and Goldman Sachs have been approved for fully owned securities firms in China.

Experts said that China's continuous opening-up, including in the financial industry, has and will continue to provide great opportunities for foreign businesses, including those from the US.

"China's commitment to opening-up is very clear and firm. Our market opening-up measures, coupled with the vast size of the Chinese market, have attracted the interests of many foreign investors," Zhou Mi, a senior research fellow at the Chinese Academy of International Trade and Economic Cooperation, told the Global Times on Monday, noting that China's opening-up has been expanded to more areas.

In addition to opening-up in the financial industry, China has also taken a slew of opening-up measures in other industries. In September, China's State Council issued a guideline on high-level opening-up in the services sector, containing 20 specific measures including improving the negative list mechanism for cross-border trade in services.

Meanwhile, China and the US have also set up a bilateral Financial Working Group to discuss financial issues of mutual concern. In August, Chinese and US officials held the fifth meeting of the Financial Working Group in Shanghai, where the two sides signed a document on enhancing cooperation on financial stability.

US barriers

However, in stark contrast to China's continuous opening-up, the US has also been continuously intensifying its crackdown campaign against China by imposing a series of restrictions on normal business cooperation. In August, 2023, the US moved to ban new US investments in China's "sensitive high-tech industries."

By setting up more barriers, the US will not only undermine bilateral cooperation but also deprive its companies of opportunities in the vast Chinese market, Chinese experts said.

"It is clear that the US is continuously tightening restrictions on bilateral investment," Xin Qiang, a scholar and expert on US studies at Fudan University, told the Global Times on Monday.

Xin said that while it remains unclear whether the US regulators' reported move on Citi is a targeted move against the US bank's China operation, it is clear that relevant US regulatory actions have caused uncertainty surrounding specific business operations, which is concerning.

As the Mid-Autumn Festival concluded and the National Day holidays approach, more and more travelers have chosen mountain hikes as a ­favorite pastime. The rise of "hiking companion" services, which, while not a formal profession, has gained significant attention due to increasing demand, particularly on social media platforms.

Sun Menglei, a college student from Zhengzhou, Central China's Henan Province, told the Global Times that he began offering hiking companion services because of his passion for outdoor activities. 

Over the just-concluded Mid-Autumn holidays, Sun received numerous requests, especially for popular routes like Mount Songshan's Luya Waterfall and Taishi Mountain, a peak of Mount Songshan. On Monday, he had even seven bookings.

Just like Sun, most hiking companions are current or recent university graduates who are enthusiastic about outdoor sports and possess in-depth knowledge of local mountain ranges. 

Zhang Yuliang, a graduate from Tai'an, East China's Shandong Province, told the Global Times that as a local resident, he is ­well-acquainted with Mount Taishan. 

His primary clients are first-time visitors to the area, and he often assists by carrying their bags, allowing them to focus on the challenges of reaching the summit.

It is reported that more than 300 university students are working part-time as hiking companions in the area of Mount Taishan, charging between 100 to 300 yuan ($14-$42) per service. Social media platforms have seen a surge in posts sharing experiences and tips about using these services.

Apart from providing hiking assistance, some companions offer additional services. Sun, for instance, provides photography services alongside hiking assistance. 

"Some of my clients are white-collar workers who don't have time to plan their trips or might lack the willpower to finish the climb. My companionship and encouragement help them overcome difficulties and isolation, making the journey to the top more enjoyable," he said.

Many hiking companions have some level of professional sports training, which enables them to offer expert guidance. Their familiarity with the terrain and weather conditions allows them to tailor routes based on clients' physical abilities, minimizing risks such as injury or getting lost.

While the service is gaining popularity, there are potential challenges. To address safety concerns, Sun has implemented a reservation and deposit system, ensuring a structured and safe experience for his clients. 

According to the Xinhua News Agency, hiking companion services are part of a trust-based ­economy. Tourists should negotiate key aspects of the service, such as fees and liability, with their companions. Tourism and market regulators could develop model contracts for hiking companion services to provide standardized references and guidance for both tourists and service providers.

Despite potential legal and trust issues, Sun values the emotional fulfillment he gains from this work. 

"Helping clients reach the summit and seeing their joy and pride when they take in the view gives me a real sense of accomplishment," he said.

In the opening of the second chapter of the Chinese AAA game Black Myth: Wukong, players find their character, "The Destined One," gravely injured on the yellow sands, was only saved by the mournful strains of the folk drama in the north of Northwest China's Shaanxi Province, or Shanbei in Chinese, performed by the headless monk. The evocative lines "Success and failure, life and death, all are beyond reason," and the poignant, melancholic tone of the performance resonate deeply with players.

This piece, lasting less than two minutes, has garnered over 10 million views on social media. It was performed by Xiong Zhuying, the inheritor of the art of Shanbei storytelling, a kind of intangible cultural heritage.

Among all of the striking and exciting elements global gamers reflected on, they shared a common feeling of "ruggedness and desolation" upon hearing the piece of Shanbei storytelling for the first time.

"The traditional elements I used to perform have taken on a new life in the game. Although it may seem very traditional, this collision has actually created something popular that resonates with all audiences," Xiong told the Global Times.

As traditional art forms nowadays struggle to find their place in modern media spaces, Xiong's combination of Shanbei storytelling with modern gaming has attracted world attention. International players, despite not being fluent in Chinese, or Putonghua, find themselves captivated by the rhythm and emotion conveyed, listening to it repeatedly and moving to its beat.

"This collaboration has really made me feel that what is ethnic is also universal," Xiong said.

Extensive revisions

It all began in 2022 when the game's production team reached out to Xiong with an intriguing proposal.

"I was thrilled at the prospect," Xiong recalled. "Shanbei storytelling is a vital part of our cultural heritage, and I saw this as an opportunity to introduce it to a broader audience."

The initial challenge was to adapt the traditional lyrics and performance style to fit the game's narrative. Xiong noted that the original lyrics provided were somewhat rigid and didn't quite capture the essence of Shanbei storytelling.

"The lyrics need to rhyme, with seven characters per line, and be catchy and easy to sing," Xiong explained. He noted that the musical style should allow one person to play multiple roles, expressing a range of emotions like joy, anger, and sorrow. The performer should shift between being a storyteller and the characters within the story, jumping in and out of different roles, reflecting a style of dynamic character portrayal.

After extensive revisions and numerous performances, Xiong crafted a version that harmonized with the game's aesthetic while preserving the integrity of the traditional art form.

The new form complements the eerie and otherworldly environment of the game. Xiong noted that the northwestern singing style and pronunciation have an inherent bleakness that aligns with the character's state.
A long path

In 2016, Shanbei storytelling was included in the first batch of the National Intangible Cultural Heritage List in China. This significant form of traditional narrative art in the vast and remote area in Northwest China is particularly popular in northern Shaanxi, including areas like Yan'an and Yulin.

Historically, performances were conducted by blind artists, who sang and played instruments such as Sanxian, a three-stringed traditional Chinese lute, or pipa, a four-string plucked lute. It was not only a form of performing art, but also a way to make a living.

"I was exposed to this art form from a young age," he recalled. "Listening to cassette tapes of Shanbei performances and attending local shows instilled in me a deep appreciation for this tradition." He then met his master at a temple fair. The master told him that he might make a better living if he learned Shanbei storytelling.

His professional career began in 2009 when he joined the Hengshan District Cultural Center as a special artistic talent. Over the years, Xiong has refined his craft and expanded the boundaries of Shanbei storytelling. His performances have earned him accolades and opportunities to showcase his art on international stages, including at the Chinese Quyi (folk art forms) Festival in Paris and the Bachshi International Art Festival.

But he still went through a very tough period.

"I could barely support my family at the time, but it was the passion and the opportunity that made me persist," Xiong said.

The opportunity Xiong got was to perform for the animated film Xuanmen: The Faces of All Living Beings. The success of this project, which combined Shanbei storytelling with animation, bolstered Xiong's confidence in cross-genre fusion.

"When I first combined Shanbei storytelling with animation, I wasn't sure how it would be received. But the positive response gave me the confidence to explore other innovative collaborations," Xiong said.

For Xiong, innovation is not about abandoning tradition but rather enhancing it. His approach involves blending traditional Shanbei storytelling with modern elements, including rap and pop music.

"After the collaboration, I found innovation is crucial to keeping Shanbei storytelling relevant," he said.

Beyond his professional achievements, Xiong is also deeply committed to preserving and promoting Shanbei storytelling. He also noted that once the excitement dies down, he wants to actively teach and mentor the younger generations to ensure that the art form continues to thrive.

As the Chinese AAA game Black Myth: Wukong gains widespread popularity, its unique artistic style and profound cultural depth have invigorated the cultural and creative market.

A representative inheritor of the Chinese intangible cultural heritage of boxwood carving, Ye Xiaopeng's original boxwood carving of Sun Wukong, or Wukong, also known as the Monkey King become highly sought after.

Originating in East China's Zhejiang Province, the craft of boxwood carving uses boxwood, known for its tough, smooth texture, fine grain, and yellow hue reminiscent of ivory. Over time, the wood darkens, acquiring a unique and rustic charm.

"Boxwood grows slowly, and the material is limited. The manual carving process is time-consuming and labor-intensive. Initially, I just wanted to showcase a few works featuring China's superhero, Sun Wukong. But after the game became a hit, these works were snapped up in an instant," Ye told the Global Times.

When discussing the boxwood carving's rise in popularity, Ye believes that the integration of traditional craftsmanship with digital technology has drawn more young people to the practice, enabling a "seamless connection" between intangible cultural heritage and modern aesthetics. This fusion breathes new life into traditional crafts, making them trendy.
Contemporary feel

"Boxwood carving can draw inspiration from modern media like Black Myth: Wukong. Artisans should seize the opportunity to create works that retain their cultural essence while resonating with contemporary tastes," Ye said. "When creating the Monkey King, I focused on expressing his inner spirit and contemporary significance through details. For example, the Monkey King wears a purple-gold crown and armor, exuding a mighty presence that symbolizes a spirit of perseverance and bravery."

Ye explained that this piece combines traditional boxwood carving techniques such as clay modeling, ­initial shaping, and final detailing, while also incorporating modern elements like gilding the ends of the Golden Cudgel, Wukong's magical weapon, enhancing the work's beauty and value. This blend not only preserves the essence of traditional craftsmanship but also gives the piece a contemporary feel.

"As inheritors of intangible cultural heritage, we are responsible for helping more people understand and appreciate traditional art. I strive to promote boxwood carving, bringing it to life in modern society," Ye said.

"In contemporary society, the role of traditional craftsmanship is not only to preserve heritage but also to innovate. We must innovate and seek ways to collaborate with the industry, creating works that the public loves, accepts, and resonates with," he noted.

To appeal to younger audiences, Ye recently designed the "Dragon Egg Baby," which features a moveable "lucky bead," with monthly sales exceeding 5,000 units. A symbol of literary achievement, the "Wenchang Star," launched during the high school and college entrance exam season, and followed current trends.

When the Chinese animated film I Am What I Am was released in Japan in 2023, Ye quickly designed and crafted a boxwood carving of a Chinese lion. To add a playful touch, the lion was fitted with a hanging string and bells, making it suitable both as a handheld toy and as a wearable accessory.

In Chinese culture, the lion traditionally symbolizes auspiciousness and good fortune. The sales team also created slogans that appeal to young people, such as "When the bell rings, wealth comes your way," helping the lion carving to become a hit, with sales reaching 60,000 units in a single month.
Pulse of times

"Traditional craftsmanship plays a crucial role in continuing culture in contemporary society," Ye told the Global Times. "Some people might associate boxwood carvings with being outdated or unfashionable," Ye noted. "While figurines are popular among young people, boxwood carvings can also keep up with trends."

It is said that the first generation of Ye family boxwood carvers was born in a rural area. As a child, he encountered a statue sculptor who came to the village to make Buddha statues. Impressed by the boy's talent, the sculptor took him on as an apprentice, setting him on the path of professional boxwood carving.

"I've always believed that traditional handicrafts are not meant to be appreciated in isolation; they need to resonate with the times and meet modern needs," Ye said.

As a professor, Ye encourages his students to create freely in their work, and has brought together a team of young teachers with study backgrounds in countries like Italy, Finland, and Japan. Additionally, he has collaborated with Chinese business associations in over 10 countries, including Italy, France, and Spain, to establish the Maritime Silk Road Cultural and Creative Industry Institute.

"I strive to balance preservation and innovation through a young design team, combined with the digital economy, and new media promotion," Ye said.

"It is undeniable that the rapid dissemination of digital products has accelerated the internationalization of our traditional culture. If we can feel the pulse of the times and ride the wave of digitalization, traditional handicrafts can still achieve revival under new historical conditions."

Editor's Note:

The escalation of recent tensions between China and the Philippines raises concerns among neighboring countries in the South China Sea. How will the Philippines' provocations, instigated and supported by the US, affect the situation in the South China Sea in the rest of 2024? Why does ASEAN hope that the situation will be contained? 

In the "ASEAN Perspective on the South China Sea" series, we collect wisdom and insights from former diplomats and scholars from ASEAN member countries. In an interview with Global Times (GT) reporter Wang Wenwen, Benedict Weerasena (Weerasena), research director of Malaysia-based Bait Al Amanaha, an independent research institute, said that the key to managing the situation in the South China Sea is peaceful dialogue. 

Engaging as much as possible in diplomacy is essential, and all parties should exercise restraint, despite the threat of tensions escalating, he noted.  

GT: Since last year, tensions in the South China Sea have been escalating. In a recent move, the Philippines made provocations at Xianbin Jiao in the South China Sea, with its ship continuously and dangerously approaching China Coast Guard ships that were conducting normal navigation. What do you think of the Philippines taking these provocative actions?

Weerasena: I believe that it's a reassertion on the Philippines' hedging strategy. The competitive game between China and the US has contributed to the Philippines' hedging strategy against China while ensuring that its ties with the US remain positive.

If we look at the past two decades, we can see that there have been three key phases of the Philippines's hedging pattern against China. 

The first phase, from about 2001 to 2010, can be characterized by cooperative behavior over confrontational behavior with China. The next phase, from 2010 to 2016, saw a shift toward confrontational behavior over cooperative behavior. Finally, in the third key phase, from 2016 to 2022, a moderation of oppositional behavior can be seen. 

Looking at these phases, it is clear that the Philippines in the past two decades has definitely been influenced by domestic changes in governance as well as external factors with regards to how it has addressed the issue in the South China Sea. 

The Philippines has repeatedly made public statements confirming that it is pursuing diplomacy over military action in response to rising maritime tensions. This is the position that most Southeast Asian countries take. I hope that the Philippines is sincere and this commitment is backed up with action.

GT: To what extent will the Philippines' actions regarding the South China Sea disputes and its leaning toward the US affect ASEAN as a whole?

Weerasena: I think the foundational point to remember is that all ASEAN members exercise their own foreign policies. Because of this, it is hard to dictate what each member state should or should not do.

That being said, the Philippines' actions regarding the South China Sea have definitely somewhat impacted ASEAN unity and centrality. This has led to potential fragmentations. 

For example, we can see slight fragmentation between Singapore and the Philippines. In other words, ASEAN unity, or the way ASEAN sees foreign policy, has been somewhat impacted by the developments in the South China Sea.

I also believe that this will influence how ASEAN, as a whole, navigates its relationships with external powers, both in the short term and the long term, particularly in terms of how ASEAN responds to both China and the US. 

Furthermore, it has definitely impacted ASEAN's position and influence as a negotiator in global forums and as a regional convener, as different member states have adopted different foreign policies for their own national interest. 

However, I don't think ASEAN's influence and impact are in danger of being completely undermined. Definitely, fragmentation is what's happening now, and I think that this fragmentation will continue in the near future. Nevertheless, I do not believe this fragmentation will lead to a complete breakdown of the role of ASEAN.

GT: What is the key to managing the situation in the South China Sea?

Weerasena: For me, above all, it's peaceful dialogue. Engaging as much as possible in diplomacy is essential, and all parties should exercise restraint, despite the threat of tensions escalating. 

Of course, I understand that this is much easier said than done. That's why the second thing we need to manage is the code of conduct. ASEAN really needs to speed up the negotiations with China regarding the code of conduct to mitigate the risk of conflicts in this highly contested South China Sea. 

There have been challenges in finalizing the code of conduct, which policymakers say will be completed by 2026. I think to facilitate this process, two things need to happen. First, greater trust needs to be built between the nations, especially among ASEAN member states and China. Second, the participants need to be willing to sign a legally binding agreement. I think this will definitely be a make-or-break situation for the effectiveness of the code of conduct.

GT: China and Malaysia have maintained friendly relations despite the South China Sea issue. What can the Philippines learn from this? 

Weerasena: I think Malaysia has always positioned itself as equidistant between the US and China. It's maintaining a neutral position on a macro level while seeking inclusive but selective multi-layered partnerships with competing powers across micro-level domains.

I think that Philippines should commit as much as possible to being consistent on neutrality. Of course, as a third party and analyst, I can't dictate how the Philippines should decide on its foreign policy. However, I think it's very important for every ASEAN member state to continue pursuing a neutral equidistance stance between the major powers in the region.

Of course, we will still be committed to protecting our sovereignty, sovereign rights and interest in the maritime areas, in the South China Sea. But we must always remember that any issues, any matters and any conflicts must be resolved peacefully and constructively. And this is in accordance with the universally recognized principles of the international law, including in 1982 UNCLOS. 

I think it's very important that we uphold this "rules-based order" that we have in the South China Sea, to resolve disputes through peaceful means via existing platforms and diplomatic channels, without compromising our principled positions.

Illustration: Liu Rui/GT

This year marks the 50th anniversary of the discovery of the Terracotta Warriors, one of the greatest archaeological finds of the 20th century. On Sunday, an international conference on protecting the Qinshihuang Mausoleum and its surrounding heritage site was held. 

That same day, an exhibition also opened at the Qinshihuang Mausoleum Site Museum in Xi'an, Northwest China's Shaanxi Province, to commemorate the 50th anniversary of the discovery and excavation of the iconic Terracotta Warriors. It is also the first exhibition of its kind to showcase such a broad selection of artifacts - 230 pieces from significant discoveries made over five decades. 

In 1974, local farmers accidentally unearthed clay fragments while digging a well, leading to the discovery of the Terracotta Warriors.

Around 2,000 life-size clay warriors and numerous weapons have been unearthed from three pits surrounding the tomb of Emperor Qinshihuang of the Qin Dynasty (221BC-207BC), the first emperor of a unified China. The army of Terracotta Warriors was added to the UNESCO World Heritage List in 1987.

After 50 years of excavation and research, over 10 above-ground building sites and more than 500 underground burial pits and tombs have been discovered in the mausoleum. Over 50,000 relics have been unearthed.

As we reflect on this half-century of excavation and preservation, it's clear that the Terracotta Warriors have evolved into more than just an archaeological marvel - they have become a cultural icon for China and the world. The influence of the Terracotta Warriors goes far beyond their historical and artistic value. 

Li Gang, director of the Qinshihuang Mausoleum Site Museum, captured the significance of the Terracotta Warriors perfectly when he described them as a "wonder in the history of world heritage exhibitions" and a "gold business card" for Chinese cultural heritage diplomacy.

"They play an irreplaceable role in enhancing the shared identity of the Chinese nation, promoting cross-cultural exchange, and contributing to global cultural heritage governance. By telling the story of these ancient warriors, they have made a unique contribution to fully, comprehensively, and authentically showcasing both ancient and modern China," said Li.

Over the past 50 years, archaeologists have revealed the complex layout of the mausoleum, centered around the emperor's burial mound and surrounded by inner and outer walls, burial pits, and accompanying tombs. 

The artifacts from the site offer a glimpse into the technological, material, and institutional advancements that emerged around unification of China under Qinshihuang.

Opening Sunday, the exhibition showcases 230 relics from significant discoveries made over five decades. The exhibition uses innovative display techniques, such as large-scale models, digital interaction, and live broadcasts, to present the mausoleum's history, design, and cultural value from multiple perspectives. 

Notably, the artifacts on display, including those unearthed from the eastern gate of the outer city, the tomb's architectural remains, and accompanying tombs, are being presented to the public for the first time. 

According to Ye Ye, deputy head of exhibition department of the Qinshihuang Mausoleum Site Museum, the exhibit follows the design philosophy of the mausoleum, highlighting its grand layout, ceremonial buildings, burial pits, tombs, and unearthed artifacts, vividly portraying the rich political, economic, military, and artistic life of the Qin Dynasty.

The global appeal of the Terracotta Warriors has been evident since their first overseas exhibition in Japan in 1976. Since then, the artifacts from the site have traveled to 49 countries and nearly 200 cities, with 277 exhibitions drawing in more than 20 million visitors, according to media reports. These international tours have played a crucial role in spreading Chinese culture, history, and values across the globe. 

Beyond their cultural significance, the Terracotta Warriors have been a key player in promoting international cooperation. The year 2024 also coincides with the 45th anniversary of the establishment of the Qinshihuang Mausoleum Site Museum. 

The museum has signed cooperation agreements and memorandums with institutions from countries including Germany, Belgium and the UK, advancing China's principles of heritage protection on the global stage. These collaborations help promote China's conservation methods.

The Terracotta Warriors site not only allows visitors to witness the "Eighth Wonder of the World," but also provides a model and experience for the protection and display of large-scale archaeological heritage in China. 

In many ways, the preservation of the Terracotta Warriors symbolizes the broader advancements in China's cultural heritage field. From the painstaking eight-year restoration of the bronze chariots and horses to the use of advanced technology to stabilize fragile artifacts, the outstanding technology and craftsmanship not only demonstrate the dedication of cultural heritage workers but also highlight the pursuit of excellence in China's cultural heritage preservation efforts.