From the comprehensive protection of ancient cities in Suzhou, to the inheritance and innovation of porcelain making techniques in Jingdezhen through the Eight Directions Craftsmanship, and to the exhibition of innovative museums in Xi'an that keep up with market trends... In the protection, inheritance, and utilization of cultural heritage, cultural soft power hones cultural and tourism hard skills, radiating more lasting charm. As people's tourism demand shifts from sightseeing to deeper travel experiences, historical and cultural tourism continues to heat up. Cultural heritage embodies the imprints of time and profound connotations, unique and unparalleled. But its integration with tourism is not an easy task that can be achieved overnight. How to make cultural heritage emit lasting charm and how to refine cultural soft power into hard work for developing tourism are the problems faced by many historical and cultural ancient cities. The reporter walked into Suzhou City in Jiangsu Province, Jingdezhen City in Jiangxi Province, and Xi'an City in Shaanxi Province to see how an ancient street block, an old craft, and a historical exhibition attract tourists to visit a city. Suzhou - Bring the complete "Su style life" into reality. On weekends during summer vacation, the Pingjiang Historical and Cultural District in Gusu District, Suzhou is bustling with activity. At No. 38 Daru Lane, an old house covering an area of over 1000 square meters, many tourists are making Taohuawu woodblock New Year paintings under the guidance of intangible cultural heritage inheritors. The stone path, small bridges and flowing water, here basically continues the overall layout in the Southern Song Dynasty's "Pingjiang Map". Strolling through the Pingjiang Historical and Cultural District, the sound of Pingtan is gentle and elegant, and the exquisite and unique craftsmanship of Su embroidery. The World Cultural Heritage Couple Garden, together with 20 cultural relics protection units at all levels, constitutes a 'Jiangnan Cultural Museum without walls'. Tourists come here not to see scattered historical sites or fragments of relics, but to experience the complete "Su style life" of "enjoying the freshness of the four seasons, living in the beautiful gardens and forests, listening to the elegance of Kunqu opera, and using the beauty of Su craftsmanship". This is also a microcosm of the protection of the ancient city of Suzhou. As a national historical and cultural city, Suzhou has fully preserved the layout, texture, and lifestyle of the ancient city in its rapid development, which is one of the main reasons why the ancient city of Suzhou maintains its lasting appeal. But achieving overall protection is not easy. This cannot be separated from the rigid constraints brought by local regulations represented by the "Suzhou National Historical and Cultural City Protection Regulations". Gu Donghuai, Director of the Legal Work Committee of the Standing Committee of the People's Congress of Gusu District, introduced that since 2014, Suzhou has summarized the experience of ancient city protection and promulgated and implemented the "Suzhou National Historical and Cultural City Protection Regulations" in 2018, which clarifies the objects, scope, and specific methods of ancient city protection. In fact, since obtaining local legislative power in 1993, Suzhou has successively formulated more than 10 local regulations to protect ancient buildings, gardens, ancient trees, Kunqu opera, and Grand Canal culture, forming three special legislations for ancient cities, towns, and villages, reflecting the idea of overall protection of ancient cities. Protection is a prerequisite for activation and utilization. On Pingjiang Road, there are standardized requirements for how to repair old houses, what kind of shops can be opened, and how to decorate shops, which require strict argumentation Suzhou urban planning scholar Ruan Yongsan introduced. Taking No. 38 Daru Lane as an example, this old house was first built in the Yuan Dynasty, rebuilt in the Qing Dynasty, and underwent protective repairs in 2005. In 2022, the old house underwent comprehensive maintenance again, and the repairs were carried out in accordance with the original shape and using the original craftsmanship as much as possible. After carrying out repairs that do not change the original state of the cultural relics and require minimal intervention, this antique and bustling old house was finally built today. It is reported that in Gusu District, where the ancient city of Suzhou is located, nearly 300 ancient buildings and houses have been repaired and protected and have the conditions for revitalization and utilization, of which 96 have been revitalized and utilized. In the first half of 2024, Gusu District has received 30.58 million tourists. Jingdezhen - Attracting Creative Young People with Old Crafts. Li Jie, 34 years old this year, came to Jingdezhen after graduating from the Art and Design major at Chongqing Jiaotong University. His porcelain design incorporating the nine color deer elements from Dunhuang murals has become a very popular work. Popular because of creativity. I combine traditional classic elements with current aesthetic tastes to design blue and white porcelain, which is quite innovative, "said Li Jie. In Jingdezhen, there are over 60000 young craftsmen like Li Jie. They come from all over the country and even the world, bringing new ideas and techniques to Jingdezhen's ceramic art and industry with their burst of creativity, achieving a positive interaction between the protection and inheritance of ceramic culture and the development of cultural tourism industry. Among the craftsmen from all directions, some innovate art and design, while others create novel scenes. In the historical and cultural district of Taoyangli in Jingdezhen, the world's largest existing firewood kiln, Xujiayao, has been re fired for the sixth time since its reconstruction. At the command of the kiln master, the steaming kiln fire was ignited. The lively and spectacular scene has attracted many young craftsmen and tourists who come to learn. At the Taoxichuan Ceramic Market in Jingdezhen, rows of stalls are filled with creative ceramics of various shapes and colors. Each unique creative ceramic market attracts tourists from home and abroad to 'go to the town to market', "said Sheng Jingjing, Director of the Jingdezhen Municipal Bureau of Culture, Radio, Television, Press, Publication and Tourism. Tourists not only want to see and explore, but also want to experience hands-on. Yang Nengji, a young craftsman from Jiangsu, keenly discovered this market demand and opened an art studio in Jingdezhen, providing courses such as ceramic molding, painting, decoration, and firing for people who want to learn and experience porcelain making skills. Young ceramic practitioners who come to Jingdezhen, in the process of inheriting their old crafts, update their design concepts and firing techniques while creating new scenes for spreading ceramic culture, making Jingdezhen's traditional porcelain making skills' alive 'and' trendy 'in the inheritance, thus attracting more young people Zhao Lantao, Vice Dean of the School of Fine Arts at Jingdezhen Ceramic University, said. Xi'an - How to make history exhibitions keep up with market trends and make more people fall in love with museums? This is a question that Shaanxi History Museum Qin and Han Hall (hereinafter referred to as "Qin and Han Hall") has been thinking about when designing exhibitions. After conducting in-depth research, we found that visitors to museums are no longer satisfied with taking photos and checking in, but rather hope to understand the history and culture behind cultural relics in a more immersive and interactive way. This requires museums to reasonably arrange exhibitions based on in-depth research on the characteristics and value of cultural relics, and to tell the stories of cultural relics in a way that is easy to understand and enjoyable for the audience Introduction by Ren Xueli, Director of the Exhibition Department of Shaanxi History Museum. By understanding the needs of the audience and keeping up with market trends, the Qin Han Pavilion has greatly enhanced its attractiveness through the use of reproduction techniques and installation design. The music and dance figurines in the display cabinet are projected onto the wall, transforming into graceful dancers dressed in Hanfu; In the round mirror opposite, the figure of a modern dancer quietly appears, making the audience unable to help but be immersed in it. This is a scene from the "Technology and Beauty" exhibition hall of the Qin Han Pavilion, which brings back the ancient audio-visual feast to the audience. The Han Dynasty music and dance scenes in the museum's reference materials are made to "dance" with the help of multimedia technology, allowing the audience to intuitively experience the charm of Han Dynasty music and dance. Some cultural relics have relatively dull historical knowledge behind them, while the Qin and Han museums use installations to concretize history and make exhibitions more interesting. For example, a certain interactive device includes several window sashes with strong damping design, symbolizing the difficulties and obstacles encountered in the reform of various countries. Only the window representing the reform of Qin can be completely pushed open, symbolizing the success of the reform, "said Ren Xueli. At the Qin and Han Museum, there are many multimedia interactive installations that complement cultural relics, interpreting the vast themes in a visible and perceptible way. Targeting the needs of the audience, feeling and keeping up with market trends, and using various means to innovate exhibition design, the Qin Han Pavilion has attracted 450000 visitors since its opening in May this year. (New Society)