Under the background of “cultivating tourism through art and highlighting art through tourism” in the cultural and tourism integration, art has become an important means to activate the new internal driving force of rural cultural tourism. This study selects Maioxi Town, Huzhou City, Zhejiang Province in the Yangtze River Delta region as a typical case. Based on the new endogenous development theory, it constructs a four-dimensional analysis framework of “space - culture - subject - business model”, systematically analyzing how art can activate rural areas and empower the new endogenous development of the cultural tourism industry. The research finds that Maixi Town influences the value concept layer, organizational structure layer, capacity building layer and sustainable driving force layer of the village through artistic practices such as the aesthetic creation of rural space, the artistic transformation of local culture, shaping the internal driving force of rural artistic innovation, and the innovative integration of tourism business models. It integrates art aesthetics, local culture, industrial economy and the concept of sustainable development, achieving new internal development of cultural tourism. This study will summarize the operational mechanism of art intervention in rural practices through the case study of Maioxi Town, with the aim of providing a reference sample for other art intervention in rural areas practices across the country.

宋代山水畫是中國傳統藝術的瑰寶，畫面對鄉村聚落的細膩刻畫，蘊含著豐富的人居環境營造智慧。本文通過解析具有代表性的宋代山水畫中的鄉村聚落圖像，系統提煉其景觀特徵與營造手法，總結其在當代傳統村落景觀營造中的轉譯路徑，為當代鄉村振興背景下的村落更新提供理論支撐與設計啟示。

The leap-forward development of digital technology and the enrichment of application scenarios have provided abundant practical paths for art management, and also unlocked huge imagination space for the creative transformation of the current rural cultural industry. By tracing the development path of art management practice driven by digitalization, this paper explores the continuous empowerment of digital technology in the rural cultural industry from two aspects: the business logic of management and the curatorial strategy of interdisciplinary thinking. It also constructs a contemporary new environment for rural culture in the dimensions of media, technology and art, and systematically analyzes the problems faced by the rural cultural industry in the process of digital transformation, such as weak infrastructure, talent shortage and insufficient integration of technology and content. Finally, it puts forward a trinity countermeasure system, which includes reshaping cognition with digital media, inheriting culture through scientific and technological paths, and creating experiences with artistic creativity. This study provides theoretical reference and practical guidance for realizing the sustainable revitalization of the rural cultural industry.

在鄉村全面振興戰略推進中，紅色文化資源傳承創新是激活鄉村文化基因、賦能可持續發展的核心議題。新時代紅色景觀兼具文化記憶賡續、歷史省思、價值教育等傳統功能，及景觀療愈、情感共鳴等新型屬性，其多維度價值挖掘具重要現實意義。本文立足傳統紅色景觀設計理論與實踐，結合數字化技術賦能的空間設計新路徑，構建“記憶層積、事件複現、儀式再造”三位一體的空間敘事創新策略。該策略通過多維度沉浸式設計實現紅色文化深度轉譯與傳播，既為紅色景觀理論完善、實踐創新提供學理參考，也為鄉村文化、產業、人才振興協同推進提供實踐路徑，助力鄉村全面振興戰略落地與效能提升。

本文以上海市浦東新區老港鎮成日村為田野點，探究紅色文化賦能鄉村振興的實踐路徑。研究發現，成日村通過構建“紅色合夥人”多元協同生態網絡、打造紅色教育研學園實現空間重構等方式，有效破解了文化資源分佈碎片化、文化記憶傳承斷層、人才支撐薄弱等核心振興困境。該實踐為特大城市中鄉村的文化振興提供了可借鑒的“成日經驗”，彰顯了紅色文化在凝聚共同體意識、推動鄉村可持續發展中的重要作用。

In the context of the deepening implementation of the rural revitalization strategy, art therapy, as an interdisciplinary practice integrating psychological intervention and aesthetic experience, has gradually become an important approach to activating endogenous rural vitality and restoring rural cultural ecology. From the perspective of local aesthetics, this study focuses on how art therapy, through the aesthetic reconstruction of rural natural imagery, attachment to the land, and customary traditions, achieves a dual restoration of rural psychological order and cultural identity.

研究旨在應對現代性語境裡“人與自然疏離、自我與意義割裂”的雙重異化狀況，跨越傳統藝術療愈以個體心理修復為核心的人類中心主義瓶頸。研究將生態美學、深度生態學、具身認知、行動者網絡等理論及中華器物的智慧進行融合，創新性構建 “生態具身療愈”（Ecological Embodied Therapy, EET）新範式。該范式將陶藝的物質性、過程性、關係性實踐與生態認同建構深度耦合，以跨學科方法論為支撐，推動個體從 “小我” 向 “生態大我” 的意識轉化，實現身心整合與生態認同的雙重目標。研究構建了包含“生態美學 - 療愈機制 - 關係建構 - 本土智慧”的四維理論框架與“時間性 - 空間性 - 物質性 - 社群性”四維療愈矩陣，結合景德鎮“景漂”群體、金繕修復、3D打印陶瓷項目等典型案例，系統闡釋EET的哲學基礎、核心框架與實踐路徑，最終為攻克現代性生態危機、重構人與自然的和諧共生關係，提供源自中華傳統的學術方案與實踐路線。

This paper focuses on the integrated development of urban and rural areas in Anhui. Based on an analysis of the current situation and problems, it proposes strategies from aspects such as strengthening county-level economies, optimizing resource allocation, promoting factor flow, advancing rural revitalization, and improving public services. The aim is to explore an urban-rural integration development path that suits Anhui's reality, promote common urban-rural prosperity, and provide references for regional coordinated development.

China has the largest number of AD patients in the world, and addressing their health and care needs has become an important issue of public concern. This study, based on Maslow's hierarchy of needs theory, explores the design strategies for the health and care landscape spaces for AD patients in rural areas. By creating different landscape spaces in rural health and care landscapes, it aims to help slow down the progression of AD patients' conditions. Through plant configuration, interactive devices, and spatial intervention, it can alleviate patients' anxiety, improve their mood, enhance their memory, and promote social interaction. The results show that the creation of health and care landscapes not only helps improve patients' physical and mental health but also provides new ideas and supplements for the construction of rural AD health and care spaces.

In response to homogenization and cultural alienation arising from externally driven landscape-making in contemporary rural construction, this study seeks to explore a new pathway for endogenous rural development grounded in “living aesthetics.”The study employs action research and comparative case study methods to conduct an in-depth analysis of two micro-intervention rural construction practices in which the author directly participated. The findings indicate that rural cultural resilience and a sense of emotional belonging do not stem from large-scale external construction but are deeply embedded in distinctive and vibrant “everyday narratives.”Villagers’ life trajectories, memories attached to old objects, wisdom derived from daily labor, and neighborhood ecological ethics contain rich aesthetic value, yet these qualities are often overlooked in conventional design processes. Accordingly, the paper distills a design strategy that replaces “planning” with “awakening.”This strategy argues that future rural design trajectories should shift from external landscape production toward the activation and resonance of internal living aesthetics. This shift relies on a social design approach centered on “narrative excavation” and the “performance of the everyday,” which activates villagers’ agency and thereby cultivates place-based communities with stronger cultural resilience and emotional attachment. This study offers a practical framework for future rural design that goes beyond physical environmental transformation and targets emotional resonance and cultural regeneration, providing important theoretical and practical reference for promoting sustainable rural development within the context of urban-rural integration.

In the context of the comprehensive implementation of the rural revitalization strategy, rural ecological aesthetic education, as an important carrier of ethnic cultural inheritance and educational equity, is becoming increasingly prominent. However, in reality, challenges such as uneven resource distribution, insufficient integration of education, and intergenerational transmission gaps still exist. This article uses ecological aesthetics as the theoretical framework and proposes a logical chain of "ecological aesthetics—ecological aesthetic education—AI empowerment, " systematically exploring the applicability and practical pathways of artificial intelligence in rural ecological aesthetic education. Through a comparative analysis of Jingdezhen ceramics and Miao batik, the study finds that Jingdezhen ceramics has formed a relatively mature model in the integration of industry and education and digital innovation, while Miao batik holds unique advantages in ecological wisdom and cultural connotation, but lacks systematic inheritance. Based on the insights from these cases, the study suggests that, in promoting AI empowerment in rural ecological aesthetic education, it is essential to adhere to the value orientation of ecological aesthetics and construct a systematic path from five dimensions: value guidance, educational innovation, collaborative mechanisms, digital communication, and risk prevention, to achieve the organic unity of technology application, ecological protection, and cultural inheritance.

This paper analyzes the essential differences between design and art, pointing out that art centers on subjective spiritual expression, while design is inherently oriented to rationally solving real-world problems. The two disciplines differ drastically in their value orientations and practical logics. Design is not a subordinate branch of art; instead, it is an interdisciplinary discipline integrating art, science, engineering, and humanities, which has already laid the academic foundation and gained practical significance for becoming an independent discipline category. Based on the adjustment of the national discipline catalog and the development trend of design science, this paper proposes to take design science as the guidance, and promote the disciplinary breakthrough through three paths: cognitive disembedding, education model innovation and industrial ecosystem construction. It advocates the implementation of the “Design + X” interdisciplinary integrated training model, driving design to shift from visual beautification to scientific decision-making, and from the end of the industrial chain to top-level planning. Furthermore, it strives to build an independent disciplinary ecosystem with scientific rationality, artistic warmth, systematic capability and practical implementation effect, enabling design discipline to act as the core engine for supporting new quality productive forces, empowering industrial upgrading and social governance.

This study focuses on the adaptive reuse of idle buildings in traditional villages of southern Anhui from the perspective of Huizhou cultural translation, exploring the balance between cultural expression and functional adaptation. Taking Yanchi Village in Xiuning County, Huangshan City as a case study, a dual-subject demand framework for residents and tourists was established, and the Kano model was introduced to analyze the nonlinear relationship between cultural-spatial attributes and user satisfaction. Based on 200 valid questionnaires processed through SPSSAU, the findings show that Huizhou architectural form, material texture, and local material use are identified as “must-be attributes”, the absence of which significantly reduces satisfaction. Cultural symbol presentation and storytelling activities are classified as “one-dimensional attributes”, which strongly enhance satisfaction, whereas excessive commercialization and non-authentic expressions lead to “reverse attributes”. The results also reveal that residents emphasize functional authenticity and daily adaptability, while tourists value aesthetic novelty and cultural experience. Accordingly, a three-level cultural translation design framework—“basic preservation, experiential enhancement, and contextual shaping”—is proposed to achieve a dynamic balance between authenticity and innovation. This research enriches the application of cultural translation theory in architectural renewal and provides methodological support for the revitalization of traditional villages and the contemporary expression of Huizhou culture.

本文從闡述古樹名木保護傳承中華優秀傳統文化等意義入手，描述了江蘇古樹名木保護基本情況和鄉村古樹名木保護基本措施，分析了挖掘古樹名木文化價值存在的不足，提出了挖掘傳承古樹名木文化，助力江蘇鄉村振興的相關舉措，要強化傳承文化的生態基礎，促進生態振興；融入古樹名木文化，推動產業振興；淬煉利用古樹名木文化內涵，提升文化振興；以古樹文化為媒彙聚培養人才，促進人才振興；抓好契機注入文化凝聚力，夯實組織創新，推動江蘇鄉村振興。

Taking the “Sichuan Good Governance” platform in Sichuan Province as a case study, this paper explores the aesthetic practices of digital rural governance from three dimensions: functional beauty, emotional beauty, and spiritual and cultural beauty, based on the theory of life aesthetics. The study finds that the “Sichuan Good Governance” platform enhances governance efficiency by optimizing interface design, boosts villagers’ sense of participation through gamified incentives, and promotes cultural identity and traditional heritage through digital means, thereby achieving an aesthetic transformation of governance. The research suggests that digital rural governance should not only meet functional needs but also focus on emotional experiences and cultural belonging, facilitating a shift in governance models from a management-oriented to a service-oriented approach.

From the perspective of ecological sustainable design concept, this paper analyzes the design intention, principle and material application of traditional packaging. Around the understanding of its cognition and methodology, from the two aspects of "traditional and modern packaging design concept of human, material, nature intercommunication", "traditional and modern packaging design in the creation of a diversified future", the traditional design culture inheritance and modern packaging innovation design methods and paths are explored layer by layer. To provide a perspective on the role of modern packaging design consciousness in social change, so as to expand the scope of packaging innovative design research and practice to meet the needs of complex future ecological environment sustainable development.

本文聚焦於科技創新在長三角鄉村產業中的應用與實踐，深入分析了當前長三角鄉村產業發展現狀，詳細闡述了科技創新在提升農業生產效率、推動農產品加工升級、拓展鄉村新業態等方面的重要作用及應用實踐。通過對政策支持、創新平臺建設、人才培養等多方面的探討，提出了進一步強化科技創新驅動長三角鄉村產業發展的策略，旨在為長三角鄉村產業與文化新藍圖的構建提供有力的科技支撐，促進鄉村經濟的高質量發展。

From the perspectives of theoretical construction and methodological exploration, this paper systematically elucidates the application value and implementation approaches of topology in the study of artistic rural development. By analyzing the theoretical coupling mechanism between topology and artistic rural development, the paper proposes the core concept of a“cultural topology relationship network”and establishes an analytical methodology that encompasses three dimensions: cultural gene encoding, spatial relationship analysis, and dynamic adaptability assessment. This research overcomes the limitations of traditional artistic rural development studies, which rely on static descriptions and case-based experiences. It offers relational thinking and systematic analysis tools, providing a new paradigm for the transition of artistic rural development from practical exploration to theoretical construction. The paper also explores the potential applications of topological approaches in optimizing rural cultural infrastructure networks and establishing mechanisms for cultural heritage preservation and innovation, thus offering new theoretical perspectives and methodological support for the revitalization of rural cultures.

“與眾樂樂”是一種具有普適性的社會文化運作模式，但因種種認識的偏差而終不得正確執行與實現其藍圖，由此，就歷史經驗之得失並不斷否定之，進而推導出必要與充分滿足人人之生理需要、心理需要和情感需要，試圖以全覆蓋的形式達到人人從生理需要的充分必要滿足到心理需要的充分必要滿足，再到情感需要的充分必要滿足以實現人們生活滿足的普適性，其作用、價值和意義，是根據人的自然和社會存續邏輯建立的“與眾樂樂”的社會生態。

The cultivation and trade of flowers in the Ganzhou region of southern Jiangxi have a long history, with jasmine and orchids being particularly notable. During the Ming and Qing dynasties, this gave rise to the distinctive cultural brand and economic-geographical marker known as “Zhangjiang jasmine, Gongjiang orchid.” This study finds that the flower industry in Qing?dynasty southern Jiangxi had already formed a complete industrial chain encompassing “specialised cultivation - technological storage and transport - branded marketing - consumption embedded in daily life.” Its economic model, characterised by “shipping goods by boat to the Jianghuai region and reaping profits year after year,” along with a socio?cultural landscape in which flower culture was deeply interwoven with everyday headdress adornment, Qixi (Double Seventh) Festival customs, scholar?studio furnishings, literati poetic exchanges, and even urban toponymy, represents a quintessential example of regional flower culture in pre?modern China. By re?examining the cultural genes of “Zhangjiang jasmine and Gongjiang orchid” through the dialectic of inheritance and innovation, this paper offers significant scholarly value and practical relevance for constructing a flower?culture discourse system with distinctively Chinese characteristics.

Against the backdrop of the continuous advancement of ecological civilization construction and the in-depth implementation of the “Beautiful China” strategy, public art is shifting from mere landscape decoration toward a comprehensive medium that integrates cultural communication, spatial construction, and value guidance. Floral culture embodies the ecological philosophy of “unity of heaven and humanity” and “endless life and growth,” serving as an important bridge between traditional aesthetic resources and contemporary urban spaces. Based on the theoretical perspective of the transformation of public art from “productive aesthetics” to “receptive aesthetics,” and combined with the symbolic system of floral culture, the formal characteristics of floral sculpture, and representative case studies, this paper analyzes the practical foundations and implementation mechanisms of integrating floral sculpture into ecological civilization construction. The study finds that floral sculpture can facilitate the contemporary transformation of floral culture from traditional aesthetic imagery into public ecological narratives through visual symbol translation, the shaping of place identity, public participation and interaction, institutional coordination and support, and digital communication expansion. In doing so, it plays a positive role in enhancing the quality of urban spaces, strengthening ecological aesthetic awareness, and promoting cultural identity construction. This paper further proposes that efforts should be grounded in regional floral cultural resources, with emphasis on localized expression, the use of ecological materials, and a public-oriented approach, thereby promoting floral sculpture as an important practical medium through which floral culture contributes to the construction of a Beautiful China.

Against the background of China’s urban renewal shifting from spatial expansion to quality-oriented improvement, and with the advancement of the Beautiful China initiative, the coordination between ecological value and cultural value has become a key issue in high-quality urban development. Pocket parks, as frequently used urban micro-spaces, still tend to emphasize landscape form over cultural expression, while Chinese traditional famous flowers face the dilemma of being “suitable but underused” and “usable but insufficiently optimized.” Taking Shanghai as an example, this study integrates field investigation, plant configuration statistics, analysis of 1,387 questionnaires, and policy analysis, and introduces ERG theory to conduct a multidimensional assessment. The aim is to reveal the coupling imbalance between Chinese flower culture and pocket parks. The results show that insufficient institutional support, inadequate plant configuration, discontinuous flowering periods, mismatch between public demand and cultural supply, and weak operation and maintenance jointly restrict the coordinated realization of ecological and cultural values. Accordingly, this study proposes systematic strategies involving policy guidance, operational mechanisms, technical support, plant selection, and spatial coordination, so as to promote the transformation of Chinese traditional famous flowers from landscape elements into cultural carriers and enhance the integration of ecological and humanistic values.

This research aims to deeply explore the inheritance and revitalization of flower intangible cultural heritage, traditional flower events, and flower custom culture, so as to excavate their profound cultural connotations and contribute to the continuation and development of Chinese excellent traditional culture. Through various research and analysis methods such as field research, in - depth interviews, comparative research, and empirical creation, an in - depth investigation was carried out on the Chahua Festival of the Yi people in Tanhua Township, Dayao County, Chuxiong Prefecture, Yunnan Province, and a systematic analysis was carried out in combination with relevant theories and literature. The study found that flower intangible cultural heritage and related cultures face difficulties such as limited inheritance methods and a shrinking audience during the inheritance process. To this end, effective inheritance and revitalization strategies such as combining with modern design, integrating with the tourism industry, developing cultural and creative products, and strengthening educational inheritance are proposed, providing theoretical and practical references for the sustainable development of flower intangible cultural heritage, traditional flower events, and flower custom culture.

Peony is an important cultural symbol and spiritual symbol of the Chinese nation. As the “Capital of Peonies in China”, Heze has the world's largest, most complete variety and most complete industrial chain of peony industry. Based on the author's two field investigations in Heze and in-depth participation in peony international communication activities, this paper systematically sorts out the development status of Heze peony in industrial foundation, cultural heritage, urban integration and other aspects, and analyzes the problems in its internationalization process, such as insufficient brand value mining, scattered international image, and weak standard discourse power. Supported by theories of cultural communication, industrial upgrading, design innovation and civilized mutual learning, the study proposes that the internationalization of Heze peony needs to lead the promotion of brand value with top-level design, realize value sublimation by building world-class cultural IP, creating core cultural landmarks and strengthening international authoritative image; and constructs a “four-dimensional collaboration” international implementation path from four dimensions: cultural image expansion, international language innovation, whole-chain product design and global civilization sharing, so as to promote the transformation of Heze peony from product export to cultural export and from industrial cooperation to civilized mutual learning. It helps Heze build a world-famous cultural business card, industrial benchmark and highland for civilized mutual learning, and provides practical reference for the internationalization of China's characteristic flower industry and the global communication of Chinese culture.

As one of the most representative core images in the Chinese floral cultural system, the peony stands as a rare floral symbol in ancient Chinese literature that simultaneously embodies aesthetic value, historical narrative, attachment to country, and enduring communicative power.Taking all types of writing of peony imagery in ancient Chinese literature as its research subject, this paper systematically sorts out the imagery’s millennium-long evolution. On this basis, it focuses on expounding four dimensions of cultural representations formed by the peony imagery: the mirror projection of prosperous-era totems and dynastic vicissitudes; the dual unity of wealth and spirit; the profound metaphor for female love and romantic consciousness; and the aesthetic expression of the refined and the popular in secular life.Meanwhile, in response to the practical demands for the innovative development of flower culture, this paper probes into the research on peony literary heritage.

花卉文化的當代價值正經歷從“資源依賴”向“場景資產”的範式轉換。本文以無錫蠡園首屆“紫陽花開，錦繡前程”繡球花節為例，從文旅場景營造視角，分析主題園林花展的空間敘事與體驗設計邏輯，提出“三境一體”模型（物境·情境·意境）。實踐表明，繡球花耐蔭喜濕的特性與江南梅雨季高度契合，有效突破了傳統景區“雨天無遊客”的瓶頸。通過色彩漸變花境（藍白→粉紅→深紅）與節慶情感敘事（兒童節、端午節、考試季）的融合，蠡園在19天展期內接待遊客17.9萬人次，其中端午節大雨（45—50mm）當日入園仍達4500人，在無錫各景區中一枝獨秀。研究認為，花卉文化的場景化轉型本質是將植物學意義上的“花”轉化為承載情感價值的“媒介”，其成功關鍵在於空間敘事、文化轉譯與情感供給的三重協同。

Paeonia lactiflora is a traditional Chinese flower with rich historical and cultural significance. In recent years, diverse localized practices have emerged in Inner Mongolia, integrating peony flower culture into the rural revitalization process. By examining four types of local peony flower culture practices in Inner Mongolia, this paper analyzes their cultural logic and revitalization pathways, and identifies the positive role of flower culture in revitalizing local resources and deepening the integration of agriculture, culture, and tourism. Meanwhile, the study finds that current practices still face challenges such as insufficient depth of cultural narrative, an imbalanced industrial chain structure, and a structural shortage of professional talent, which hinder the sustained advancement of flower culture in empowering rural revitalization. To address these issues, this paper proposes four optimization pathways: deepening the cultural narrative system, extending the flower culture industrial chain, cultivating interdisciplinary talent, and establishing protection mechanisms for wild resources. These measures aim to promote the sustainable development of peony flower culture and contribute to rural revitalization in Inner Mongolia.

The craftsmanship of Yangzhou Tongcao Flower Making Technique is a provincial level intangible cultural heritage in Jiangsu Province, known for its long history, vibrant colors, lifelike forms, and everlasting nature. At present, this craft faces inheritance dilemmas including a gap in inheritors, market shrinkage, and weak publicity efforts. In recent years, three young inheritors, Zhu Xin, Wang Yunyu, and Cui Fangning have respectively explored three different approaches: short-video dissemination, technique improvement and product innovation, and spatial operation with experience economy, achieving notable results. This paper compares the inheritance paths of these three inheritors and extracts feasible strategies for floral intangible cultural heritage crafts facing similar predicaments, thereby providing impetus for the transmission of traditional Chinese floral culture.

2026 marks the 114th anniversary of Alan Turing’s birth. With the comprehensive popularization and booming development of artificial intelligence, there is a widespread lack of historical tracing and cognitive disconnection in society, while the public generally ignores Turing’s foundational contributions to intelligent civilization. From the perspective of the International Society for Design Science, this paper interprets the in-depth digital metaphor of the 114th anniversary and systematically sorts out fourteen key iterations of human intelligent civilization from 1912 to 2026. It explains the core value of Turing machine and Turing test, and combs the academic context of Turing’s machine intelligence theory and Qian Xuesen’s Lingjing theory, verifying the founding mission of ISDS-Meta established in 2022. The paper argues that the impetuous AI era needs to return to scientific origin and humanistic connotation. Looking back on Turing’s scientific spirit can provide theoretical support and value guidance for the integrated development of artificial intelligence, Lingjing technology and metaverse, and promote the rational and sustainable development of digital civilization.

荷花作為中國傳統十大名花之一，承載著深厚的文化底蘊與獨特的審美價值。荷花花藝歷經千年演變，從早期的宗教供花逐步發展為兼具藝術欣賞、文化傳承與生活實用功能的綜合藝術形式。上海荷花睡蓮展作為國內具有影響力的花卉展會，為荷花花藝提供了重要的展示與傳承平台。本文系統梳理荷花花藝的發展歷程，深入分析荷花花藝在上海荷花睡蓮展的廳堂展覽展示、景點打卡點營造、生活美學科普互動等多維角色，旨在揭示荷花花藝在當代花展中的價值實現路徑，為傳統花藝的傳承與創新提供參考。

Zhang Jian, the top scholar in the late Qing Dynasty, a modern industrialist in China, and the founder of the Nantong Museum, had one major hobby throughout his life: planting trees. Observing the lush vegetation and the vitality of the wind, he often “felt joy and sang about it, ” and his poems about plants surpassed those of many ancient poets. His lifelong passion and emotional attachment to the surrounding plants were often expressed in his poems and songs. His understanding of plants and mastery of plant metaphors were deeper than those of other literati of his generation and even of many poets throughout history. There are as many as 258 plant species mentioned in Zhang Jian’s poems, which always capture the characteristics of natural scenery, reveal new insights, and have a unique charm. Among them, there are mainly 17 poems that involve the word “peng, ” while the word “peng” appears a total of 2 times in the Book of Songs. What exactly is the plant referred to in Zhang’s poems and the “peng” in the Book of Songs? This article intends to make a superficial comparative exploration, providing a better understanding of the original meaning of the glorious literary masterpiece, the Book of Songs, from one aspect. It aims to illustrate the importance of naming and interpretation, and to seek expert advice. Furthermore, it aims to build a bridge between readers and Zhang Jian’s poems that connects botany, museology, and literature, enhancing the pleasure of reading Zhang Jian’s poems and studying him.