At the recently concluded 7th Shanxi Cultural Industries Fair in Taiyuan, Shanxi province, from Aug 21 to 25, a performance of bianzhong, or bronze chime bells, attracts crowds. [Photo by Zhu Xingxin/China Daily]

Fair boosts real-life attractions in the province, Wang Qian and Zhu Xingxin report in Taiyuan.

At the recently concluded 7th Shanxi Cultural Industries Fair in Taiyuan, Shanxi province, Yu Shui, director of the animated blockbuster Nobody, invited moviegoers to visit the province that inspired its ancient architectural scenes.

"After seeing Nobody, I hope you will go see the statues in the Tiefo Temple and the Weituo statue in the Shuanglin Temple, to feel the history and local culture," Yu says.

The invitation highlights a dynamic phenomenon in the country's creative industries – leveraging advanced technology to revive cultural heritage not within the confines of museums but through engaging and accessible mediums, such as games and films.

"With the video game Black Myth: Wukong becoming a hit, the integration of technology with cultural tourism has been encouraged by local authorities, which is a growing travel trend inspired by the big screen," Yu says.

With revenue soaring to nearly 1.3 billion yuan ($182.29 million) at the box office as of Aug 26, according to statistics from ticketing platform Maoyan, the ink-wash animation proves that the past is not just a subject for study but a boundless source of inspiration that can fuel both artistic innovation and commercial success.

Nobody has broken the previous record of 573 million yuan set by Big Fish & Begonia (2016), making it the highest-grossing domestic 2D animated feature in Chinese cinema history.

Yu says that his deeply personal storytelling, drawn from childhood memories in his hometown in Shanxi, has inadvertently become a boon for local cultural promotion.

To create its unique Chinese animation style, Yu and his team conducted field research from northern to southern Shanxi, bringing the beauty of the province's ancient architecture onto the silver screen. Even the place's name, Beizhang village, a real location in Yu's hometown of Taiyuan, was subtly embedded into the animation.

"Incorporating a large number of Shanxi landmarks and elements of ancient architecture into the film was primarily driven by the needs of the plot, as these exquisite structures can enhance the film. Additionally, it's because I am from Taiyuan and have a deep emotional connection to these ancient buildings," Yu says.

The animation follows four small monsters – a pig, a toad, a weasel, and an ape – who masquerade as characters from Journey to the West in a quest for immortality, before finding themselves protecting villagers from malevolent forces.

Inspired by the Yungang Grottoes in Datong, Shanxi, cultural creative products with cartoon mascot Fo Xiaoban are on display at the fair. [Photo by Zhu Xingxin/China Daily]

As a keynote speaker at the event's forum on cultural and technological integration, Yu says that technology's role is not to overshadow tradition but to liven it up. "Digital technology is never the 'opposite' of 2D animation," he notes, adding it is a tool to "improve quality and efficiency".

With the aid of technology, the film's carefully drawn ancient architecture acts as a powerful lure, making audiences eager to see the real-life prototypes. Its Eastern aesthetic has become a cultural hook for attracting young people to Shanxi. Yu stresses that everything begins with making a great product; only when the audience genuinely loves the animation can it generate subsequent ripple effects.

This mindset matches the theme of the fair – stimulating innovation and creativity. At the fair, a 3D hyperrealistic digital avatar of Mulan, developed by Datong Daily Media Group and Gulian (Beijing) Media Tech Co, was awarded as one of 10 culture-tech integration cases in Shanxi.

As an important research site for the legend of Mulan, Datong in Shanxi has brought the ancient heroine into the digital age. In collaboration with experts from Peking University, the Beijing Institute of Fashion Technology, and the Beijing Film Academy, the team developed the avatar in military, feminine, and modern fusion attire, ensuring every detail was historically grounded and culturally authentic.

Since its debut in January, their version of Mulan has become a cultural ambassador, appearing at various events, showcasing Datong's history. The avatar project, along with the animated film Nobody, demonstrates that Shanxi's cultural revival is being powered by a multifaceted tech approach.

"Creating the Mulan IP is not only about promoting the city's image but also about cultivating a new consumption model that combines culture, technology, and tourism," said Hao Yu, who is in charge of the project, at a forum during the fair.

"Looking to the future, Mulan's story will continue to unfold. She will continue her role as an ambassador and serve as a symbol of Chinese culture. This includes creating Mulan short dramas and animations, conducting immersive educational experiences, and launching the Mulan and Datong book series," Hao adds.

As a major provincial-level cultural exhibition in Shanxi, the fair was held from Aug 21 to 25 to provide a platform for discussions on how modern storytelling and technology can serve cultural heritage. The largest since its launch in 2013, this year's fair attracted more than 2,000 enterprises from 36 countries.

A shadow puppet show at the fair provides a platform for discussions on how modern storytelling and technology can serve cultural heritage. [Photo by Zhu Xingxin/China Daily]

Nepalese exhibitor Bijaya Dawadi was happy to participate in the fair this year. "I brought singing bowls that can calm the mind, and thangka paintings made from natural minerals, which have been very well received. I hope this will promote more cultural exchanges between the two countries."

Domestic exhibitors also found vibrant platforms. "We have participated in the expo several times, and the range of products we bring has become increasingly diverse," says Yuan Xiaohuan, the manager of a ceramics company in Changzhi, Shanxi. "This year, we have attracted many buyers, resulting in very high sales."

With an exhibition area of 70,000 square meters, the fair has 228 cultural industry investment projects launched with total investment reaching 82 billion yuan, according to the fair's organizers. Over the course of five days, the event received 489,000 visitors.

For visitors, the fair was a journey where technology and tradition coexisted. Making its debut at this year's event, the themed exhibition zone for the cultural and creative aspects of Shanxi leveraged the province's unique landscape as its spatial framework, integrating the colors of the Yongle Palace murals and reconstructing elements of ancient architecture.

Li Yue, a visitor, was particularly drawn to the ancient architectural displays. "Because of Black Myth: Wukong and the hit movie Nobody, ancient architecture is especially hot right now. These models allow you to see their structures clearly; it's a different feeling from seeing them on-site. It's great."

Artists perform a powerful folk song at the fair, reflecting the rich history and lives of the residents. [Photo by Zhu Xingxin/China Daily] 

Dressed as Guan Yu, a famous general from Chinese history, Jin Opera performer Wu Lingyun demonstrates a bookmark designed by China Daily at the event. [Photo by Zhu Xingxin/China Daily] 

Robots perform a synchronized dance at the event. [Photo by Zhu Xingxin/China Daily]