Foshan Woodblock Painting is a kind of well-known folk woodblock paintings of South China. It is mainly produced in Foshan City, Guangdong Province, Consequently it was named Foshan Woodblock Painting.\nThere has been much important research on the history of Chinese New Year pictures, but there are still different opinions on how to rescue New Year pictures from the brink of disappearance and how to fit them into the modern life. As far as Liu Zhongping can see, the revival of New Year pictures is not something that can be achieved by making one or two field visits and publishing one or two articles, but something that needs to be acted out. That is to say, it is necessary to carry out social practice that help to activate traditional culture with a focus on inheritors rather than researchers.\nIn this regard, from the “Intangible Cultural Heritage Inheritors’ Training Program” to the “Revitalization Program of Chinese Traditional Crafts” to the recent “New Year Pictures Back to Spring Festival”, some explorations and attempts have been made around the inheritance and innovation of New Year pictures. From inheritor’s study and training to holding exhibitions and cross-disciplinary dialogues, from developing experience-oriented craft courses to developing new products and expanding sales channels, under the guidance of the intangible heritage protection concepts of “Seeing People, Seeing Things, Seeing Life” and “Leading by Usage” in the new era, New Year pictures practitioners, local people and all stakeholders have gradually regained confidence in the revival of New Year pictures.\nThe first step is always the hardest. On top of a good start, further progress is needed. It’s imperative to know the sticky issues and difficulties and come up with targeted, creative and feasible solutions. As a practitioner, She takes the liberty of thinking about several key points in practice, offering advice and suggestions to practitioners and decision-makers, and hoping to contribute to the revival of New Year pictures. China has entered the twenty-first century. The social scenes that endow New Year pictures with meaning year after year have vanished. It is very difficult for us to ask people to change their house gates back to the old-fashioned style, and it is also very difficult for young people to observe the traditional festival customs. However, what we can do is not only to enshrine New Year pictures in museums, but also to keep pace with the times and find a place for New Year pictures in modern life.\nThrough her effort and hardwork, she focuses on the innovation of Foshan Woodblock Painting and meets the needs young people She updates some painitngs, such as the mobil phones shell, schoolbags, notebooks as well as painitng gift packs. By the resurrection of the gods through a number of newly designed derivatives,now the paitings are popular among the local people. And she believes her master's dream as well as hers of continuing and spreading the national intangible cultural heritages have been realized

Fabric making art has been known in the territory of Uzbekistan since ancient times. Initially fabrics were weaved only from cotton. But in the first and second centuries bce, due to trading along the Great Silk Road, our ancestors learned the secrets of weaving silk fabrics.\n\nThis film includes some of the thirty-two stages involved with making abr fabrics. Rasuljon Mirzaahmedov is the representative of the ninth generation of abr makers. He revived various secrets of abr making as the result of his research on Uzbek fabrics being kept not only in the museums of Uzbekistan but also in Moscow and Saint-Petersburg and in other cities of Europe. As follow up his studies he established ikat weaving workshops in many regions of Uzbekistan as well as in neighboring countries.