This year is the 'Year of the Horse', and the sixth day of the lunar new year happens to be 'Horse Day'. The dual narrative of time scales jointly expresses cultural memories about human and nature, individual and collective, labor and hope. In traditional society, the protagonist of Ma Ri was never just a horse. 'Yi Fei' is a dialogue between people and the land. Opening the market "is a dialogue between people and society. Horses, as animal power, are the intermediary of all of this. Ma Ri became the day of departure - agriculture began, business travel began, and a year's livelihood began. Today, we rarely rely on the physical strength of horses, but we still need their spirit. This edition invites 5 experts and scholars to join us in appreciating the divine spirit and spring plowing in ancient and modern paintings, witnessing the cultural and creative charm of the Year of the Horse, listening to the voices of the creators of short videos of intangible cultural heritage UP, and truly experiencing the ancient wisdom of "when to start" and "how to start anew". The context has already grown new roots in the soil of the new era. Just like horses on this day, they have transformed from agricultural animal power to cultural power, even though they have changed tracks, running is still an instinct. Bingwu Spring Morning. May we carry forward the spirit of dragon and horse, live up to the times, and live up to our golden years. ——During the Spring Festival, the exhibition hall of the 2026 "Qiji" Cultural and Creative Exhibition at the China Silk Museum is always warm and cozy. A father was admiring Tang Dynasty winged horse brocade with his child, but the child's gaze was drawn to the nearby "Horse Treading on a Flying Swallow" doll - its crooked and silly grin made her smile. In this moment of stillness, it is a vivid portrayal of the cultural and creative boom of the Year of the Horse. The source of this trend is deeply rooted in the collective memory of Chinese civilization. In traditional Chinese culture, horses are not just livestock or mounts, but also spiritual totems. The Book of Changes uses the horse as a metaphor for the health of the heavens, and Confucianism endows it with the virtues of loyalty and bravery. The Tang poem's "spring breeze is proud of the galloping horse hooves" embodies people's longing for progress and understanding. In the Year of the Horse of Bingwu, the "Double Flames Overlap" were referred to as "Fire Horses" by ancient people, adding a cultural expectation of striving for progress. This emotional accumulation spanning thousands of years provides a creative soil for contemporary cultural and creative industries. The key to revitalizing tradition lies in creative transformation and innovative development. The current popular cultural and creative design is precisely the "translator" who delves into tradition and breaks away from it. The "Ma Biao Biao" exhibited at the Shandong Museum of Art is inspired by Qi Baishi's freehand horses. With just a few playful strokes of his mane, the ink painting charm transforms into a friendly desk companion; The "Horse Treading on a Flying Swallow" doll at the Gansu Provincial Museum transforms the sharp movements of cultural relics into cute and adorable shapes, bringing national treasures closer to young people. This transformation breaks away from simple replication and re encodes with modern design language, opening up new entry points for modern people's emotions. The vitality of cultural and creative industries lies more in their ability to move from display cabinets to everyday life. When a bookmark with the words' immediately satisfied 'is inserted into a book page, and a decoration with the words' successful on horseback' adorns a New Year's home, cultural and creative elements go beyond mere ornamental value and become a part of building a sense of personal life ritual. This characteristic of being able to possess, use, and share, through active emotional connection and cultural identity deeply embedded in it, activates creative inspiration, ignites cultural consumption, and deepens the cultural welfare measures of museums. Taking the China Silk Museum as an example, we have set up "micro exhibitions" in public spaces such as airports and subway stations, allowing traditional culture to collide with the daily lives of the public, thereby enhancing the infectiousness, affinity, and vitality of culture. The popularity of Ma Nian cultural and creative industries also reflects the deepening of contemporary people's understanding of "Nian culture". In today's material abundance, people's expectations for the Spring Festival are increasingly inclined towards spiritual satisfaction and emotional sustenance. The Year of the Horse cultural and creative industry, with its distinct auspicious meaning - whether it is the "leading the way" in striving forward or the wish for "success on horseback", it provides a fun carrier to carry good wishes perfectly. Purchasing and gifting a cultural and creative item has surpassed ordinary consumption and become a cultural ritual for participating in New Year's customs, conveying blessings, and settling the soul, satisfying modern people's thirst for a sense of belonging and spiritual anchor. The continuity of this context continues to expand towards a broader world. That Tang Dynasty winged horse, which originated from Silk Road relics and spread its wings to fly, was born as a messenger of cultural exchange. Today, through international cultural exchange platforms such as the Silk Road Week, this iconic steed is given a new mission for the times. In the series of international activities in 2026, the Year of the Horse Cultural and Creative Industry will play a light and powerful role as a cultural ambassador, using common design language to narrate human common emotions about progress and auspiciousness, and transmitting Eastern wisdom of harmony and coexistence on the stage of civilization mutual learning. The popularity of cultural and creative works in the Year of the Horse is a dialogue that spans ancient and modern times, a practice that connects halls of worship and daily life. It is profound due to its cultural heritage, vibrant due to innovative design, thriving due to its integration into daily life, warm due to carrying the customs of the New Year, and broad due to its global perspective. When we choose a cultural and creative item for the Year of the Horse during the Chinese New Year, what we hold is not only an object, but also a key to interpreting traditional codes and sensing the pulse of the times. The sound of horse hooves, which travel through time and space, has merged into the rolling spring tide of the new era, and is stirring up cultural confidence with the strong voice of dragon and horse spirit, heading towards a more magnificent journey. The author is the director of the China Silk Museum. In ancient China, agriculture was the foundation of the country. Spring planting, summer growth, autumn harvest, and winter storage were all related to the timing of the seasons. The poem in Han Yu's "On the Sixth Day of the First Month" in the Song Dynasty, which reads "The water is flowing and adding to the secluded streams, and the grass is tender and evenly distributed," captures the characteristics of early spring when water is "alive" and grass is "alive," and the phenology of starting a year of farming. In old customs, the sixth day of the first lunar month is the day when farmers prepare for spring plowing. Spring plowing "is also an important theme in ancient Chinese painting, with rich connotations. After careful sorting, it mainly formed three main lines. Encouraging agriculture has been a fundamental national policy of emperors throughout history, and spring plowing themed paintings have been passed down from generation to generation. The painting "Farming and Weaving" by Lou Tang of the Southern Song Dynasty, accompanied by poetry and paintings, promotes agricultural knowledge, showcases the production process, and promotes farming techniques, and is a representative of it. Emperor Gaozong of Song Dynasty declared the imperial harem, which played an important role at that time and was also imitated by later generations. Cheng Qi from the Yuan Dynasty, Jiao Bingzhen, Chen Mei, and others from the Qing Dynasty all had imitations of their paintings. Kangxi also wrote prefaces for Jiao Bingzhen's paintings and composed poems for each painting to "praise his diligence and hardship". Unlike the pragmatic needs of emperors in governing the country, the spring plowing paintings by literati and painters are more of a humanistic representation. The weight of agriculture, the difficulties of farming, and the dreams of the countryside are condensed into a sense of compassion for agriculture and a romantic mood, emerging in paintings. In the Yuan Dynasty, Wang Meng's painting "Spring Plowing at the Mouth of the Valley" depicts a valley with towering peaks and valleys, covered in trees, flowing streams, flat fields, and thatched cottages, creating a scene of clear mountain scenery and vibrant vitality. There are many character activities in the painting, with farmers helping plow and plant seedlings in the fields, highlighting the theme of "spring plowing"; The scholar holding a staff and observing from Tian Cheng can be described as a self portrait of the painter. From the name of the painting, it can be inferred that the artistic conception was inspired by the story of Zheng Zizhen, who lived in seclusion at the mouth of the southern mountain valley during the Western Han Dynasty, farming and reading. Li Bai has a poem that goes: "Zheng Zizhen at the mouth of the valley plowed on the rocks. He was famous in the capital, and all the people in the world were from his hometown. He couldn't even get up, and the clouds were suitable for him." Wang Meng expressed his desire for seclusion by returning to the mountains and forests, leisurely wandering in the fields, and getting close to the farmers. The Ming Dynasty's Shen Zhou's "Farming and Reading Map" focuses on the integration of farming and reading. The courtyard in the center of the picture is built in the deep mountains, with one person sitting alone indoors, which is a typical reading pattern of a study in landscape paintings. Outside the courtyard gate, a person was walking towards a field with a hoe. There is a distant mountain, with flowing water and farmers cultivating the land. Shen Zhou wrote a poem titled 'Two horned yellow cattle, a scroll of books; the roots of the trees open and read, leaving behind the late plowing. Do not rely on the words of the ruler to achieve fame and fortune, and cover up the remnants of the poem to compose poems about emptiness', conveying the main idea that paintings should also be cultivated and read. There are also many excellent works that depict the real life of farming in rural areas. The lively and fresh scenery of spring plowing, with smoke warming the soil and the people's air moving, and a new plow breaking through spring plowing, is a subject that painters are happy to create. The anonymous painting "Geng Huo Tu" from the Song Dynasty is one of the earliest surviving works depicting farming scenes. On the small fan, the rice production process from spring plowing to autumn harvest is depicted. Spring plowing is depicted on the right side of the picture, vividly reflecting the agricultural production and cultivation techniques of the Song Dynasty, including plowing, transplanting, and irrigation with water. In the painting "Spring Plowing" by Dai in the Ming Dynasty, the mountains are towering, the old trees are lush, peach blossoms are in full bloom, the streams are rushing, and the breath of spring is overwhelming. The main characters in the picture are two farmers wearing hats, one of whom is tending to cows and plowing in the field, bowing down to plow; A person sits on the slope under a tree, bending down to tidy up their shoes, with farming tools placed beside them. Move and rest, the farming scene is relaxed and relaxed. On the wooden bridge at the bottom right, there is a boy carrying a basket, standing and bending down. It is unclear whether it is the rushing water or the swimming small fish, which attracts his attention and has a childlike charm. The accurate representation of spring plowing labor in the painting comes from the painter's meticulous observation of rural life; And the idyllic scene reflects the yearning for a peaceful life. Whether it is the governance strategies of emperors, the self indulgence of literati, or the depiction of farming life by painters, all indicate the important position of spring plowing in the lives of ancient people. It reflects people's collective recognition of diligent labor, genuine longing for a happy life, and sincere expectation for national peace and security. Times have changed, the rural landscape has undergone tremendous changes, farmers' lives are becoming increasingly new, and agricultural technology is becoming more modern. However, the natural sequence of responding to the times has not changed. The beautiful mountains and rivers, traditional virtues, and beautiful prayers remain unchanged. From ancient times to the present, "spring plowing" has always been a vibrant production scene on rural land, an artistic painting with innovative ideas created by painters, and a warm home root in people's hearts. The author, a researcher at the Zhejiang Academy of Social Sciences, injects new connotations into the New Year's flavor. During the Chinese New Year, with the opening of five exhibitions, the National Art Museum of China welcomed a new wave of exhibition enthusiasm. This lively scene is just a vivid silhouette of the cultural phenomenon of celebrating the New Year in museums. With the development of the times, the Spring Festival has been endowed with multiple connotations beyond the festival itself. Simple eating, drinking, and entertainment cannot carry all people's imagination of a "meaningful year". The traditional way of celebrating the Chinese New Year, which used to focus on family reunions and regional customs, is now shifting towards a "cultural year". In this contemporary narrative of Spring Festival culture, museums and art galleries respond to the times and carefully plan special exhibitions for the New Year, playing an important role in revitalizing New Year customs and continuing cultural heritage. The highly anticipated Spring Festival special exhibition has become a part of the Spring Festival themed cultural activities in various regions, as well as a comprehensive reflection of urban vitality and people's livelihood temperature. In the year of the Horse of Bingwu, Junye flourished. With this as the focus, the National Art Museum of China has planned to launch the "Pentium and Innovation" exhibition, paying tribute to the old artists and expressing the meaning of the Spring Festival reunion. Old artists are the backbone of Chinese art, guiding the development of Chinese art with their spirit of pursuing excellence and striving for perfection in their studies and art. The "Pentium and Innovation" exhibition gathers important representative works from over a hundred accomplished old artists and contemporary masters, including classic masterpieces by Mr. Jin Shangyi, Quan Shanshi, Yang Lizhou, Jia Youfu, as well as innovative works inherited by middle-aged and young masters. The two complement each other and outline the development of modern Chinese art. Like the fragrance of orchids, like the flourishing of pine trees. The river flows endlessly, reflecting the clear waters. Through the exhibition, the audience can not only feel the spiritual spirit of the artist, but also the positive atmosphere of Chinese culture. Zodiac culture is an important component of Chinese cultural genes. The zodiac themed exhibition is an indispensable highlight in all previous Spring Festival special exhibitions. During this year's Chinese New Year, horse culture themed exhibitions from various regions are even more diverse and colorful. Exhibition of "Junchi Yunzhang" at the National Art Museum of China, featuring "Ten Thousand Horses Galloping", "Pine Wind Enjoying Horses", and "Border Frontier"