文德 加 DE Jia

不到4個(gè)月的時(shí)間，已經(jīng)有三次了——我說(shuō)的是進(jìn)入中國(guó)院線上映的寶萊塢電影——聚焦印度社會(huì)貧富差距下教育問(wèn)題的影片《起跑線》在中國(guó)熱映之時(shí)，由中國(guó)文聯(lián)、中國(guó)影協(xié)與印中電影友好協(xié)會(huì)聯(lián)合舉辦的2018中國(guó)國(guó)際電影節(jié)在印度歷史文化名城與旅游勝地——拉賈斯坦邦首府齋浦爾舉辦，《捉妖記》《狼圖騰》《滾蛋吧！腫瘤君》《大唐玄奘》《一代宗師》等票房口碑雙贏的中國(guó)電影向印度觀眾展示了中國(guó)電影的成就。

中印電影文化交流由來(lái)已久——早在上世紀(jì)七八十年代，《大篷車》《流浪者》等印度經(jīng)典電影在中國(guó)熱映。而在當(dāng)下，隨著《神秘巨星》《小蘿莉的猴神大叔》《摔跤吧！爸爸》登上中國(guó)大銀幕，兩國(guó)電影文化交流迎來(lái)更為廣闊的空間。

不僅是電影，新世紀(jì)以來(lái)，中印兩國(guó)文化亦攜手同行。甚至，不僅是新世紀(jì)以來(lái)——就像有些中印關(guān)系專家所分析的：中國(guó)與印度數(shù)千年唇齒相依而鮮有戰(zhàn)亂，數(shù)千載文化相融而鮮有對(duì)壘，在世界史上亦屬罕見(jiàn)。究其原因，兩國(guó)民間的文化藝術(shù)交流一直如同生機(jī)勃勃的河流，從青藏高原，從喜馬拉雅山脈流到兩國(guó)民眾心間。

地域相近，人文相親。中印兩國(guó)在數(shù)千年歷史中一直有著“文化共情”。兩千多年來(lái)，從秦漢到隋唐、到宋元，兩國(guó)文化始終包容互通、相輔相成：中印交流肇始于秦代，到兩漢時(shí)逐漸頻繁，在隋唐時(shí)趨于高潮，宋元時(shí)更加深入。在這2000多年的交往史中，文化交流是柱石。正如魯迅先生曾說(shuō):“印度則交通自古，貽我大祥，思想信仰道德藝文，無(wú)不蒙貺，雖兄弟眷屬，何以加之?！薄谟《鹊姆鸾?、音樂(lè)、舞蹈、天文歷算、文學(xué)語(yǔ)言、建筑和制糖技術(shù)傳入中國(guó)的同時(shí)，中國(guó)的造紙、蠶絲、瓷器、茶葉、音樂(lè)等亦傳入印度，中國(guó)的《二十四史》和高僧大德梯山航海留下的文獻(xiàn)與游記，更成為印度構(gòu)建古代歷史的基礎(chǔ)。

“身毒在大夏東南可數(shù)千里，其俗土著，大與大夏同，而卑濕暑熱云。其人民乘象以戰(zhàn)，其國(guó)臨大水焉……”中國(guó)人對(duì)印度的認(rèn)識(shí)，以《史記·大宛列傳》的明確記載為肇始，一個(gè)荒幻博遠(yuǎn)、氣候濕熱的印度那時(shí)就出現(xiàn)在中國(guó)人的視野中；《史記·大宛列傳》則記載張騫在大夏國(guó)（今伊朗、阿富汗一帶）看到了中國(guó)蜀地出產(chǎn)的蜀布和邛竹杖，當(dāng)?shù)厝烁嬖V他，這是從身毒國(guó)販賣來(lái)的。《史記》的這兩條材料是中國(guó)與印度文化交流的最早最可靠的文字記載。

泰戈?duì)栐L華期間，與林徽因、徐志摩合影Tagore takes photos with LIN Huiyin and XU Zhimo during his visit to China

僅從《史記》的記載中，我們就可以知道，早在張騫通西域之前，中國(guó)的西南地區(qū)和印度之間就已經(jīng)有了貿(mào)易往來(lái)。毫無(wú)疑問(wèn)，這種往來(lái)必定是建立在彼此了解和信任的基礎(chǔ)之上、經(jīng)過(guò)長(zhǎng)時(shí)間的接觸和交往才能實(shí)現(xiàn)的。

佛教的誕生和發(fā)展讓中國(guó)與印度的文化交流更為頻繁和密切。談及中印佛教交流史，鳩摩羅什的貢獻(xiàn)不能不提。他精通梵文和漢文，在長(zhǎng)安的八年中，共翻譯了印度佛經(jīng)98部，計(jì)425卷。包括《大品般若》《法華經(jīng)》在內(nèi)的許多重要佛經(jīng)都出自羅什之手，他的翻譯工作不僅傳播了佛教經(jīng)典，而且還大大提高了中國(guó)學(xué)者的梵文水平。印度僧人來(lái)中國(guó)傳教也引發(fā)了中國(guó)僧人不斷前往印度取經(jīng)的壯舉——公元399年，東晉法顯等從長(zhǎng)安出發(fā)，經(jīng)西域至天竺，游歷20多個(gè)國(guó)家，收集了大批梵文經(jīng)典，前后歷時(shí)14年，游30余國(guó)，與同道共譯《摩訶僧祗律》《僧祗比丘戒本》《大般泥洹經(jīng)》《雜藏經(jīng)》，并撰寫了游歷天竺的游記作品《佛國(guó)記》。

法顯的印度之行，在中國(guó)佛教史和中印文化交流史上寫下了輝煌的篇章，他的開(kāi)創(chuàng)精神，激勵(lì)著一代又一代的中國(guó)僧人西去求法；唐貞觀元年，高僧玄奘為探究佛教各派學(xué)說(shuō)分歧，一人西行五萬(wàn)里，歷經(jīng)艱辛到達(dá)印度佛教中心那爛陀寺取經(jīng)。前后17年，他學(xué)遍了當(dāng)時(shí)的大小乘各種學(xué)說(shuō)，共帶回佛舍利150粒、佛像7尊、經(jīng)論657部，并長(zhǎng)期從事翻譯佛經(jīng)工作，成為佛教史上與鳩摩羅什、真諦、不空齊名的四大翻譯家之一。他的《大唐西域記》記述了他西游親身經(jīng)歷的110個(gè)國(guó)家及傳聞的28個(gè)國(guó)家的山川、地邑、物產(chǎn)、習(xí)俗等。玄奘西行印度，文化影響卻遠(yuǎn)播華夏大地、日本、韓國(guó)、印度乃至全世界——就如同印度史學(xué)家阿里1978 年寫給季羨林的信中所言：“如果沒(méi)有法顯、玄奘、馬歡的著作，重建印度史是完全不可能的?！?/p>

就在中國(guó)向印度汲取宗教文化與藝術(shù)上精華的同時(shí)，中國(guó)文學(xué)也受到了印度文學(xué)的影響。從南北朝起，印度的寓言、童話和小故事大量涌入中國(guó)；到了唐代，印度文學(xué)對(duì)唐代最有特征的文學(xué)體裁— —傳奇文有著重要影響，傳奇文也向印度古典文學(xué)一樣，以一個(gè)事物為線索，將幾個(gè)不相干的小故事串起來(lái)；內(nèi)容上，中國(guó)文學(xué)則向印度引入了鬼魂、龍女、夢(mèng)等元素。

與此同時(shí)，中國(guó)古代四大發(fā)明也在滋養(yǎng)著印度文明的發(fā)展。隨著絲綢之路的開(kāi)辟，中國(guó)紙便逐漸流向國(guó)外，成為絲路當(dāng)中的重要商品。在11 世紀(jì)以前，印度都是沒(méi)有紙的，他們常用的是白樺樹(shù)皮，印度佛經(jīng)幾乎都是用貝葉抄寫。中國(guó)的紙和造紙術(shù)先由內(nèi)地傳入新疆，再由新疆傳入印度。造紙術(shù)傳入印度后，印度紙寫本的數(shù)目逐漸增多。

直至清末，印度和中國(guó)相繼淪為西方列強(qiáng)的殖民地和半殖民地，卻沒(méi)有正式而直接的文化往來(lái)。直到1924年，受中國(guó)學(xué)者徐志摩、梁?jiǎn)⒊热搜?qǐng)，印度詩(shī)哲羅賓德拉納特·泰戈?duì)栆試?guó)際大學(xué)代表身份率領(lǐng)6人代表團(tuán)訪華，才溝通了幾乎中斷的文化聯(lián)系，并帶來(lái)了突破宗教層面的文化交流。

作為民國(guó)時(shí)期唯一一位來(lái)自亞洲殖民地國(guó)家的諾貝爾獎(jiǎng)到訪者，文學(xué)交流盡管不是泰戈?duì)栐L華的主要目的，但這對(duì)轉(zhuǎn)型時(shí)期的中國(guó)文學(xué)走向產(chǎn)生了重大影響。作為亞洲第一個(gè)諾貝爾文學(xué)獎(jiǎng)獲得者，泰戈?duì)柕牡絹?lái)掀起中國(guó)學(xué)界譯介與研究他的熱潮。徐志摩、王統(tǒng)照、冰心等一批被泰戈?duì)柕脑?shī)所迷戀的忠實(shí)追隨者在其左右不時(shí)與之交換心得，因喜愛(ài)泰戈?duì)栠M(jìn)而模仿進(jìn)行文學(xué)創(chuàng)作，日后引領(lǐng)了中國(guó)文學(xué)特別是詩(shī)歌改革的發(fā)展方向。

泰戈?duì)栐谌A期間，為慶祝他的64歲生日，徐志摩、林徽因等人用英文演出了他編寫的話劇《齊德拉》，成為中印文化史上由中國(guó)人上演印度戲劇的“第一次”。京劇大師梅蘭芳應(yīng)泰戈?duì)栔莩觥堵迳瘛?，泰戈?duì)栙潛P(yáng)了梅蘭芳的精湛表演，并希望梅蘭芳能到印度演出，讓印度觀眾領(lǐng)略中國(guó)京劇的風(fēng)采；同時(shí)，梅蘭芳采納了泰戈?duì)栆约t、綠、黃、黑、紫等重色表現(xiàn)美麗的神話意境和詩(shī)人豐富想象力的建議，對(duì)布景做了更貼近劇情的改進(jìn)，取得了良好效果。

泰戈?duì)枌?duì)中國(guó)繪畫興趣濃厚，所到之處也受到中國(guó)畫界的熱烈歡迎。泰戈?duì)栆坏缴虾＃嗄戤嫾覄⒑Ｋ诰蜑槠鋭?chuàng)作了兩張速寫，杭州西泠印社贈(zèng)送他刻有“泰戈?duì)枴比齻€(gè)字的印章，北京畫界則專門舉辦了歡迎畫展。

泰戈?duì)柕脑L華，不僅促使一批中國(guó)學(xué)生赴印度留學(xué)，而且由泰戈?duì)柾苿?dòng)建立的印度國(guó)際大學(xué)中國(guó)學(xué)院還邀請(qǐng)?jiān)S多中國(guó)學(xué)者和藝術(shù)家到印參觀訪問(wèn)，為一大批中國(guó)文化藝術(shù)界人士赴印交流提供了便利條件。其中最著名的例子，就是畫家徐悲鴻受泰戈?duì)栄?qǐng)，于1939年至1940 年擔(dān)任中國(guó)學(xué)院客座教授，而此時(shí)也是徐悲鴻創(chuàng)作空前高產(chǎn)的階段。在印期間，徐悲鴻畫了很多速寫及素描，從當(dāng)?shù)仫L(fēng)土人情到各種動(dòng)物，從偉人肖像到印度風(fēng)景，從學(xué)校音樂(lè)課到自畫像，均入畫圖，并創(chuàng)作了《泰戈?duì)栂瘛贰陡实叵瘛贰队《葖D女》《喜馬拉雅山之林》等作品。他的名作《愚公移山》中的人物模特多由印度人充當(dāng)，位于圣地亞克的印度國(guó)際大學(xué)學(xué)生甚至爭(zhēng)做模特。畫作中還有位很像魯智深的人物，曾被徐悲鴻反復(fù)描繪，其原型是學(xué)校的一名廚師。徐悲鴻每次請(qǐng)他做模特，他都很高興，并且隨叫隨到。曾有人問(wèn)徐悲鴻為何要在中國(guó)歷史題材作品中加入印度人形象，他說(shuō)：“雖是印度人，但都是勤勞的勞動(dòng)者，形象不同于中國(guó)人，意義卻是一樣的?！?/p>

泰戈?duì)柕脑L華，就像他的中文名字“竺震旦”一樣，將幾乎中斷的中印文化之橋重新搭建。時(shí)隔近百年，我們回顧這一文化盛事時(shí)，仍然可以感受到它帶給中印文化交流的深遠(yuǎn)影響。新中國(guó)成立和印度獨(dú)立后，兩國(guó)文化交往再度繁榮。近些年來(lái)，中印兩國(guó)的“文化月”“友好年”、美食節(jié)、文物展、新書(shū)發(fā)布、研討會(huì)等活動(dòng)不勝枚舉。而“竺震旦”的文化意義，就如同印度著名經(jīng)濟(jì)學(xué)家賈伊拉姆·拉梅什首創(chuàng)的“CHINDIA”（“中印大同”）一樣——希望把中國(guó)和印度之間的界限拆除，兩個(gè)國(guó)家變成和諧相處的一個(gè)文化整體。

回顧中印兩國(guó)無(wú)比可貴的文化交流史，我們不難發(fā)現(xiàn)，民間的文化交流無(wú)疑是合作的天然基礎(chǔ)，是共同前進(jìn)的有利資源。深厚的文化積淀，悠久的歷史傳統(tǒng)，是中印兩國(guó)人民寶貴的精神財(cái)富。21世紀(jì)以來(lái)，中印兩國(guó)都獲得了經(jīng)濟(jì)騰飛的良好機(jī)遇，以至于國(guó)際上各國(guó)都不約而同地矚目亞洲，矚目這兩個(gè)人口眾多、地大物博的文明古國(guó)，也都在熱議，21世紀(jì)到底是屬于中國(guó)還是屬于印度——似乎，這個(gè)問(wèn)題遠(yuǎn)沒(méi)有答案，而如今，中國(guó)與印度，都正在信心十足地致力于民族的偉大復(fù)興。

大國(guó)之交，貴在交心。在全球命運(yùn)共同體的語(yǔ)境下，中印之間的民間交流，更能凸顯“以智慧管控分歧、以情懷合作發(fā)展”的文化優(yōu)勢(shì)，更能使中印兩國(guó)的友好關(guān)系不斷加強(qiáng)，就像黃河和恒河一樣奔流不息，永遠(yuǎn)向前——如同印度網(wǎng)站livemint上說(shuō)的：這是“跨越喜馬拉雅山的握手”。

It’s already been three times in less than four months--- what I am talking about is the Bollywood movies entered into the Chinese cinemas--- asHindi Medium, a movie focusing on the issue of education under the gap between the rich and the poor in India’s society, prevails across China, the 2018 China International Film Festival, jointly organized by China Federation of Literary and Art Circles and India-China Film Friendship Association has been held in Jaipur, a historical and cultural resort and the capital city of Rajasthan. A series of Chinese films winning both box office and reputation have showcased the achievement of China’s filmmaking industry to the Indian audiences, includingMonster Hunt, Wolf Totem, Go away Mr.tumour, Xuan Zang, The Grandmasterand others.

The cultural exchanges between Chinese and Indian films have been long-established—as early as the 1970s and 1980s, classic Indian films, such asCaravanandThe Trampwere most popular in China. And in the moment, with the screening of Indian movies in China, such asSecret Superstar，BajrangiBhaijaan，

Dangal, the film culture exchanges between the two countries have ushered in a broader space.

Not only movies, the cultures of China and India have been marching hand in hand since the beginning of the new century.Even earlier than the new century---as some experts in China-India relations have analyzed: China and India sharing borders had few wars in thousands of years of history, during which the cultural integration emerged substantially, most rare in the world history.The reason is that the cultural and artistic exchanges between the two countries have always been the same as the vibrant rivers, flowing from the Tibetan Plateau and the Himalayas to the hearts of the two peoples.

Geographical similarities, humanities closeness. China and India have been keeping the "cultural empathy" for thousands of years. For more than two thousand years, from the Qin and Han dynasties to the Sui and Tang dynasties and to the Song and Yuan dynasties, the culture of the two countries has always been inclusive and complementary. The China-India communication initiated in the Qin Dynasty, gradually became more frequent during the Han and Tang dynasties, culminated in the Sui and Tang dynasties and became more in-depth during the Song and Yuan dynasties.In this 2000-year history of exchanges, cultural exchanges have been remaining the pillars.As Mr. LU Xun once said: "India has been well linked with China since the ancient times, it’s thinking, belief, moral and arts have benefited China as brother."--- While India's Buddhism, music,dance, astronomical calendar, literary language, architecture and sugar making technologies were introduced into China,China’s papermaking, silk, porcelain, tea and music were also introduced to India.China’sTwenty-Four Historiesand the documents and travel notes left, a great monk after his sailing course have become the basis for India’s building of ancient history."India is thousands miles away to the southeast of Daxia,remaining primitive alike Daxia. Humid weather, people are good at riding elephants, and the country is bordering water…"Chinese people's beginning to know India is based on the clear record ofShi Ji·DawanLiezhuan, an imaginary, distant India with hot climate then appeared in the eyes of Chinese people.The document records that ZHANG Qian discovered the silk cloth and bamboo sticks produced in China's Sichuan area in Daxia(present-day Iran and Afghanistan). Locals told him that these were India through trading. The two pieces of information in theShi Jiare the earliest and most reliable written records of cultural exchange between China and India.

From the records of theShi Jialone, we know that right before ZHANG Qian’s traveling to the Western Regions, China's southwest region and India already established trade relations.There is no doubt that such contacts must be based on mutual understanding and trust after a long period of contact and interaction.

The birth and development of Buddhism has led to more frequent and close cultural exchanges between the two countries. Upon mentioning the history of bilateral Buddhist exchanges, the contribution by Kumārajīva cannot be ignored.He was proficient in Sanskrit and Chinese. In his eight years staying in Chang'an, he translated a total of 98 Buddhist scriptures from India, totaling 425 volumes. Many of the important Buddhist texts, including the Mahāprajāpāramitāsūtra and Saddharmapundarika-sutra were translated by him.His translation efforts not only spread Buddhist classics, but also greatly enhanced the level of Sanskrit amongst Chinese scholars.The fact that Indian monks came to China for missionary has also led to the feats of Chinese monks continuing to travel to India to learn from monasteries. In AD 399, Fajin and other officials from the Eastern Jin dynasty set out from Chang’an and traveled to more than 20 countries through the Western Regions to India to collect a large number of Sanskrit classics. In their 14-year-long journey, he has traveled more than 30 countries,and co-translatedMahasangha-vinaya,upasam!panna,Maha^-parinirva^n!aandZaCang Jingwith his peers and composed the Journey to Buddhist Countries, a work of his travel log.

FA Xian’s trip to India has written a brilliant chapter in the history of Chinese Buddhism and the history of cultural exchanges between China and India. His pioneering spirit has inspired generations of Chinese monks to seek for the West.In the first year of Zhenguan of Tang dynasty, Xuan Zang, the great monk,traveled 50,000 miles to the West all by himself to explore the divergent approach of Buddhism factions, and went through the hardships to reach the Nalanda Temple, the Buddhist center of India. In the 17 years all through that period, he learned all various theories of Mahayana and HinayanaBuddhism, bringing back 150 Buddhist relics, 7 statues of Buddha and 657 classics.He has long been engaged in the translation of Buddhist sutras and has become a Buddhist monk in the history of Buddhism,together with other great translators as Kumārajīva, paramārtha and Amoghavajra. His book, The Western Regions of the Tang Dynasty, describes the mountains, valleys, properties, customs and etc. of the 110 countries he has personally experienced and the 28 countries he has heard of. Xuan Zang traveled to India to the west and its cultural influence spread far away to the land of China, Japan, South Korea, India and even the whole world. Just as India’s historian Ali wrote to JIXianlin in 1978, “If there were no great works of FA Xian, XUAN Zang and MA Huan, it is utterly impossible to reconstruct the history of India."

While China was drawing the essence of religious culture and art from India, the Chinese literature was also influenced by its Indian counterpart. Fables, fairy tales and short stories of India have flooded into China from the Northern and Southern Dynasties. By the Tang Dynasty, Indian literature had an important influence on the most characteristic literary genre of the Tang Dynasty—the legendary literary, which was like the Indian classical literature, using a single object as a clue to connect several irrelevant stories together. In terms of content,Chinese literature has introduced elements, such as ghosts,dragon girls and dreams to India.

1924年4月，印度詩(shī)人泰戈?duì)栐L問(wèn)北京，與梁思成(左一)、林徽因(右二)、徐志摩(右一)合影In April, 1924, Indian poet Tagore visited Beijing,took photo with Liang Sicheng (No.1 from left),Lin Huiyin (No.2 from right) and Xu Zhimo(No.1 from right).

敦煌莫高窟第45窟——彩塑一鋪(盛唐)Cave 45, Dunhuang Mogao Grottoes-Caisu Yipu(Prime time of Tang Dynasty)

Meanwhile, the four great inventions in ancient China also nourished the development of Indian civilization. With the opening of the Silk Road, Chinese paper has gradually flown abroad, becoming an important commodity in the Silk Road.Before the 11thcentury, there was no paper in India. They used birch bark as Indian Buddhist scriptures were almost all copied by coryphaumbraculifera; China's paper and papermaking techniques were first introduced from the inner land to Xinjiang and then to India. After papermaking was introduced to India,the number of paper copies has increased gradually.

Until the late Qing dynasty, India and China successively became colonies and semi-colonies of Western powers, but there was no formal and direct cultural exchange. Until 1924, the Indian poet Robindranath Tagore led a six-member delegation to China as a representative of the international university by the invitation of Chinese scholars XU Zhimo, LIANG Qichao and others. The nearly interrupted cultural contacts have resumed while bringing the cultural exchanges surpassing the religious culture.

As the exclusive visitor from Asian colonial countries during the period of the Republic of China, literary exchange, though not the main purpose of Tagore’s visit, had a major impact on the direction of Chinese literature during the transition period. As the first Asian Nobel Prize winner in literature, Tagore’s arrival has ignited the upsurge of translation and research in Chinese academic circles. XU Zhimo, WANG Tongzhao, BING Xin and other loyal followers, who were infatuated with his poetry,exchanged their experiences from time to time. The course of literary creation due to passion to Tagore has later led the development of Chinese literature, especially in terms of poetry reform.

During his stay in China, XU Zhimo, LINHuiyin and others have performed his playChitrain English to celebrate his 64thbirthday,becoming the “first” of Indian drama in the history of Chinese and Indian culture. Peking Opera master MEI Lanfang performed Luo Shen by the demand of Tagore, who praised MEI’s superb performance and hoped that he would perform in India to give the Indian audiences a glimpse of the style of Chinese Peking Opera; meanwhile, MEI Lanfang adopted the Tagore’s suggestions as employing the colors of red, green,yellow, black and purple to present the beautiful scenes of mythology and poet's richimagination, and improved the scene to make it more closely to the plot with good results.

Tagore’s interest in Chinese painting was most strong and his visit has also been warmly welcomed by the Chinese painting community. When arriving in Shanghai, the young artist LI UHaisu has created two sketches for him. The Hangzhou Xiling Seal Club gave him a seal with the word "Tagore" inscribed in three Chinese characters. And the Beijing painting community specially organized a welcome exhibition.

Tagore’s visit to China not only prompted a group of Chinese students to study in India, but the Chinese Academy of Indian International University supported by Tagore also invited many Chinese scholars and artists to visit the country, providing convenience to a large number of people from Chinese cultural and artistic circles for exchanges in India. One of the most famous examples is that the painter XU Beihong was invited by Tagore to serve as a visiting professor at the Chinese Academy from 1939 to 1940. It was also the period that XU was in an unprecedented stage of high production.During his time in India, XU Beihong has painted a lot of sketches and drawings into his collections, ranging from local customs to animals,portraits of great people to landscapes, school music lessons to self-portraits, and created works as thePortrait of Tagore,Gandhi, India Women, The Forest of the Himalayasand others.Many of his characters in the famous workHow Yukong Moved the Mountainswere performed by Indians. Students at the Indian International University in Saatiniketan were even competing to be his models. In the painting, there was a person who was very similar to LU Zhishen, who was repeatedly depicted by XUBeihong. His prototype was a chef at the school,who was very happy whenever XU asked him to be themodel.Some people once asked why XU Beihong wanted to add Indian images to Chinese historical works. He replied: "Although Indians, they are all hardworking people, their image is different from that of the Chinese people, but the significance is the same."

Tagore’s visit to China, just like his Chinese name "ZHU Zhendan", has rebuilt the almost-interrupted bridge of culture between China and India. Nearly a hundred years have passed,we can still feel the far-reaching impact it has brought to China-India cultural exchanges upon reviewing this cultural event.After the founding of New China and the independence of India, the cultural exchanges between the two countries flourished again. The recent years have witnessed numerous"Cultural Month", "Friendship Year", food festivals, cultural relics exhibitions, new book launches and seminars between China and India.However, the cultural significance of "ZHU Zhendan" is just like CHINDIA (Great Connection between China and India) pioneered by the famous Indian economist Jairam Ramesh hoping to remove the boundary between the two nations, and turn the two sides into a harmonious body of culture.

泰戈?duì)栂瘢ㄖ袊?guó)畫）徐悲鴻Tagore (Chinese painting) XU Beihong

Recalling the invaluable history of cultural exchanges between China and India,it is not difficult to discover that the cultural exchanges among the peoples are undoubtedly the natural foundation of cooperation and the favorable resources for common progress. The profound cultural accumulation and long history tradition are the precious spiritual wealth of the peoples of China and India.Since the 21stcentury, both countries have grasped the promisingopportunity for economic growth, driving all countries globally to turn to Asia, and the two great ancient civilizations with large populations, vast territory and abundant resources.It is under heated discussion that the 21stcentury belongs to China or India. It seems that this question is far from finding an answer. Today, both China and India are concentrating on the great rejuvenation of the nations.

Diplomacy of great nations lies in heart-to-heart communication. In the context of the global community of shared future, the non-governmental exchanges between China and India are capable of better highlighting the cultural advantages of "using wisdom to manage disputes, realizing cooperation and development via feelings", and further strengthening the friendly bilateral relationship. The Yellow River and the Gangesrush forward forever like it wasstated in livemint, an Indian website: this is a "Handshaking Across the Himalayas".