本文聚焦AI寵物短劇這一新興媒介，探討其如何借技術與敘事策略具象化、視覺化寵物承載的生活美學，在技術革新降低創作門檻，以及現代社會寵物在人類敘事中的重要地位的背景下，AI寵物短劇興起。通過分析生活美學核心與AI語境下擬人化敘事的功能，利用案例解析短劇在敘事內容、情感表達、符號解構重塑方面的特點。最後展望其美學潛能、文化社會影響與跨界應用，同時指出消費化和技術局限等問題，認為其預示著技術承載溫情與重塑審美感知的新美學時代到來。

梁漱溟主編《村治月刊》，任職河南村治學院、主政山東鄉村建設研究院使其理論和實踐的融合得以實現，也凸顯出兩者巨大的張力。梁漱溟以鄒平為實驗縣，以設立鄉農學校為重點，推行了縣政改革和鄉村建設工作，包括縣政府裁局改科、衛生行政、戶籍行政、產業振興、人民生活進步、風俗習慣改善等，目標是“政”“教”“富”“衛”合一。“政”與“教”即是行政機關教育化和教育機關化。村學代替村公所，鄉學代替區公所，縣自治機關的系統就是縣政府——鄉學——村學。“富”即以組織各種合作社和農村金融流通處促進包括農作物優良品種推廣等農業振興事業。“衛”即自衛，組織民眾開展自衛訓練。梁漱溟期待在“中國老道理的真精神裡開出一個新局面”。

“Memory” plays an important role in human psychology and behavior. In its sociological sense, memory links people, places and time, and collective memory has become an important turning point in the current interdisciplinary research of design studies. Currently, the emphasis placed by the design discipline on regional cultural diversity and the humanistic concern spirit of emotions has increasingly highlighted the important manifestations of social collective memory. This study starts from the perspective of collective memory, analyzes the principle mechanism of evoking emotions through collective memory, builds a collective memory construction model of culture-locality, emotion-restoration, and media-selectivity, and based on the planning scheme of “Xin'an County Yushan Town Rural Revitalization Integration and Promotion Area” of Shandong University, establishes cooperation with township government units and enterprise departments, focuses on the spatial media design of Yushan Town in Xin'an County, and based on the field investigation method mainly based on oral history records, extracts design factors that can evoke interpersonal emotions, and explores the memory practice strategies of wall painting design in Yushan Town. The rural art construction work in Yushan Town, Xin'an County has just started, and the lack of regional cultural connotation and the lack of credibility of the organization of art rural construction by people are the problems that need to be urgently solved at present. The artistic practice of exploring collective memory has unique value in reconciling the tension between tradition and modernity and will be conducive to reshaping the cultural subjectivity of rural areas. It provides an innovative path with both theoretical depth and practical significance for contemporary rural art construction and life-oriented and emotional art design practice.

案例項目： 南京郵電大學研究生課程思政示範課程建設項目（30008SFKC25012），南京郵電大學與人民郵電出版社教材研究合作微課題（JCYJ202405），“新華網”數字化課程思政案例資源建設（SZHKCSZ2407），南京郵電大學教學創新攀登計劃項目，南京郵電大學“數智融合課程”項目，南京郵電大學課程思政教育教學改革研究專項課題（KCSZJG202222），南京郵電大學課程思政示範課程建設項目（KCSZSFKC202210）。

The Jiangxia Husi kilns in the Song Dynasty, as a large-scale and technologically distinctive folk porcelain kiln system in the middle reaches of the Yangtze River, their porcelain-making techniques and modeling art are not only the crystallization of material production, but also carry the deep connotations of Jingchu regional culture and ceramic aesthetics during the Two Song Dynasties. Based on archaeological data, combined with historical documents and relevant research results, this paper systematically deconstructs the complete technological chain from raw material mining to finished product firing, and deeply analyzes the formal language and cultural genes of utensil modeling. Studies have shown that the ancient porcelain-making craftsmanship of the Husihu Kiln, which mainly used dragon kilns as its firing equipment, achieved an innovative balance between production efficiency and the expression of craftsmanship quality. The styling systems of blue-and-white porcelain and celadon not only met the daily needs of the people but also embodied the artistic genes of Jingchu culture, providing important material evidence for the study of ceramic history in the Song Dynasty.

This paper takes the 3rd “Model of Small Town Aesthetics” released at the 6th Anren Forum in Anren Ancient Town, Chengdu in October 2021 as the research object. Firstly, it introduces the background, establishment time, initiators, purposes and influence of the “Model of Small Town Aesthetics” collection and release activity. Founded in 2019, this activity is jointly initiated by the China Cultural Promotion Association and other parties in response to the rural revitalization strategy, and has produced 20 aesthetic models. With the theme of “Beauty for Common Prosperity”, the 3rd session has attracted wide attention from the public.Next, the paper elaborates on the selection process of the 3rd session, including the number of collected cases, the selection procedure, the core indicators, as well as the characteristics, details and evaluations of 10 award-winning small towns (such as Nanling New Village in Henan Province and Chuanjiang Town in Sichuan Province), demonstrating their construction achievements in ecology, culture, industry and other aspects. At the same time, it mentions that the activity has carried out publicity in collaboration with social media platforms and compares the theme and concept of the 2nd session.Furthermore, the paper analyzes the achievements and problems in the current transformation of rural towns, points out the problems such as industrialized transformation and cultural displacement in some areas and their causes, and introduces the evaluation system of the “Model of Small Town Aesthetics” selection. It clarifies the weight and specific indicators from four major sectors: culture, planning, industry and media, and emphasizes the aesthetic concepts of “small yet beautiful” and “integration of three aspects (life, ecology and production)”.Finally, the paper proposes that rural areas should realize the transformation from “beautiful villages” and “pleasant villages” to “aesthetic villages”, focus on cultural preservation and modernization, and contribute to the construction of “Aesthetic China”.

自聯合國人居署提出建設包容性城市目標至今已逾廿載，就上海看，“硅巷”模式下的城市街區建設發展已顯現規模效應。為了更精准應對生物多樣性目標，實施需求差異化服務，科創文創融合背景下，城市更新設計從業者正在進一步把建設著眼點從宏觀規劃下沉到城市生活細節。包容性設計作為一種應用型策略，在城市設計面板中投影出街區中全齡、全納群體的針對性研究變得越來越精細起來，並因此構建出蟄伏於各類軟、硬城市要素中的“街區之尾”。面對這條科創文創相集合的長尾，通過柔性更新，人們可以編織出足以輻射整個城市的網格，觸發街區龐大的需求利基，增進社會整體包容，進而成為城市創新源頭，實現包容性城市可持續發展，也由此能為包容性設計在地化應用辟出蹊徑。

Through multiple field investigations and research in Sangyuanpu Village, Lishui District, this study reveals that the elderly and children constitute one-third of the village's total population. The mass migration of young laborers has led to idle resources, resulting in dual economic and educational stagnation. Extensive literature review uncovers that Sangyuanpu Village traces its origins to the Southern Song Dynasty. However, current architectural disorganization and inconsistent landscape presentation have marginalized its cultural value, causing the gradual disappearance of distinctive cultural features. Against the backdrop of rural revitalization strategies, this paper re-examines Sangyuanpu Village's cultural heritage and proposes a spatial planning and design solution for its cultural district.

Against the backdrop of the comprehensive advancement of the rural revitalization strategy and the rapid development of AI technology, rural construction is confronted with the dual propositions of protecting traditional styles and integrating modern elements. Based on the concept of “Infinite Design” and with scientific design as the core guidance, this paper systematically explores the cognitive framework and implementation path of future rural construction by combining international experience and domestic practice. Firstly, it defines the core connotations of “Infinite Design” and “Future Countryside”, and clarifies that scientific design needs to take into account both hardware development and software guidance. Secondly, from the perspective of tourism development, it analyzes the existing problems in rural areas, compares the common laws of Japan's “One Village, One Product” policy and China's rural revitalization strategy, and reveals the core contradictions such as rural hollowing and aging after the rapid economic development. Thirdly, it proposes that rural revitalization should take “revitalizing culture and developing industries” as the key, adhere to the three principles of “tranquility, cleanliness, and ambiance”, and construct a design system around the three core axes of rural tourism: “culture, life, and environment”. Finally, taking the Xiaomeixi Project in Longgong Village, Shangping Township, Yong'an City, Fujian Province as an example, it expounds on the specific practices of rural ecological protection, architectural transformation, homestay development, and five-sense experience design, providing a referenceable operational model for future rural construction. The research shows that future rural construction needs to be supported by scientific design, integrate modern elements on the basis of protecting the authenticity of rural areas, realize sustainable development through cultural inheritance and industrial innovation, and finally achieve the rural tourism development goal of “letting tourists come happily and return touched”.

Under the impetus of the rural revitalization strategy, the recreational spaces for children in rural areas are constantly being updated. The caring design of these spaces has a profound impact on children's development. Taking Huzi Town as an example, this study explores the influence of caring design in recreational spaces on children's development and the construction of social capital in the community. The research results show that caring design helps to enhance children's recreational experience, strengthen their social interaction skills, and promote interaction between families and the community. Caring design is not only of great significance to children's healthy development but also provides new ideas and directions for the future construction of recreational spaces for rural children.

Centered around the core concept of “dual perspectives,” this paper introduces two rural design practices—the Villagers' Menu in Yaoli Village and the Life Atlas in Xiayang Village—exploring design as a medium to connect people with place, and stories with reality. In Yaoli Village, Shanzhen Town, Huzhou City, Zhejiang Province, the Villagers' Menu originated from the renovation project of Grandma Qiu's Noodle Shop. Addressing issues such as the difficulty of choice and lack of emotional connection in traditional text-based menus, it employs a dynamic collage narrative centered on “people + life scenarios + stories.” By incorporating the profiles, life scenes, recommended dishes, and colloquial recommendations of three types of villagers—native villagers (born and raised), long-term residents (settled due to marriage or work), and new villagers (artistic rural builders and entrepreneurs)—the design breaks the flat and monotonous nature of traditional menus. It allows diners to experience the warmth of local culture while selecting dishes, thereby deepening their identification with and sense of belonging to the village culture.In Xiayang Village, Xiaofeng Town, Anji County, Zhejiang Province, the Life Atlas focuses on rural individuals, using collage to depict their connections with their living environment, personal stories, and other people. Printed on acrylic and embedded in wooden installations, these portable and “inconspicuous” structures blend into the rural landscape. Viewers, from an observational standpoint, witness the overlay effect of collage photographs and the actual environment, prompting reflection on rural life and fostering an emotional connection with the locale. Simultaneously, it stimulates thoughts on the future involvement of diverse actors in rural development.The two designs represent complementary approaches: one “internally-focused” on personal stories and emotions, the other “externally-oriented” emphasizing the multidimensional relationships between people and their environment. Together, they reshape the visibility and possibilities of rural spaces.

Based on the Shanghai Declaration on Rural Design (released in September 2024) and the Dingshan Declaration on Rural Design (released in October 2020), this paper systematically explores the definition, necessity of construction and practical paths of rural design studies with Chinese characteristics. The paper points out that rural areas have the characteristics of integrity and complexity; even around international metropolises, high-quality rural environments remain scarce resources. Promoting the comprehensive revitalization of rural areas requires the holistic design of all elements and interactive design between urban and rural areas. Currently, the design system serving cities is relatively complete, while rural design faces problems such as disconnected theories, confused thinking and lack of talents. Therefore, it is urgent to construct rural design studies centered on agricultural industry and farming culture and emphasizing urban-rural integration. In terms of construction paths, it is necessary to strengthen theoretical research to form an interdisciplinary theoretical system, build a rural design education system to cultivate professional talents who "love rural areas, understand farmers and master agriculture", establish industry associations, formulate laws, regulations and standard systems, and set up a registered rural designer system to provide institutional guarantees. Meanwhile, practical innovation should be promoted through pilot demonstration projects, and the main role of farmers should be fully exerted. This paper aims to provide theoretical support and practical guidance for rural revitalization and promote in-depth integration and shared development between urban and rural areas.

This paper interprets the cultural spirit of Zhou Wuzhong's "On the Five-Star Sacred Lotus". As the 29th-generation descendant of Zhou Dunyi, Zhou Wuzhong wrote this article imitating the style of "On the Love of Lotus", shaping the "Tai-chi Lotus" into a cultural carrier. The article first describes the form of the sacred lotus, such as "straight stems, green leaves, bright flowers and fresh fragrance", highlighting its "difference from other flowers"; then explains the connotation of "sacred", pointing out that it inherits Zhou Dunyi's gentlemanly tenet of "growing out of mud without being stained", conforms to the five-element theory in "Taiji Diagram Explanation", traces the old traces of "Five-Star Mound" and inherits the cultural context of 29 generations; finally elevates the meaning, stating that the sacred lotus is "not only a gentleman, but also a carrier of cultural context", and calls on viewers to think about its origin. Its core cultural spirit is adhering to the gentleman culture, respecting the historical roots and consciously continuing the cultural context.

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。

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.

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。

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。

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.

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.

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。

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.

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.

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.

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.

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.

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.

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.

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.

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。