Serbian researchers have presented information about a unique artifact found in the 2000s at the Yablanica-2 archaeological site. This object is a drilled human tooth that apparently served as a pendant for the carriers of the Vinča culture. Preliminary estimates indicate that this ornament was made around 4700 BCE.
During the Neolithic period, an archaeological culture known as Vinča formed and developed in the central and northern parts of the Balkan Peninsula. According to modern scientific data, this culture existed approximately from 5300 to 4500 BCE. The basis of the economic life of the people of this culture was arable farming, which included growing wheat, barley, legumes, and flax, as well as animal husbandry, represented by cattle, sheep, goats, and pigs.
Representatives of the Vinča culture achieved high mastery in fields such as pottery, bone processing, and other crafts. Furthermore, they were among the first to engage in copper smelting and possibly possessed an early form of writing, although this aspect remains a subject of scientific debate.
The Vinča archaeological culture was first discovered in the early 20th century when a Serbian archaeologist conducted excavations in a small town named after the culture, located near Belgrade. Nevertheless, the sites of this community had been studied previously. As early as 1899, remains of the Yablanica site were found in the village of Mladenovac. A year later, the first excavations began, revealing a large settlement later attributed by specialists to the Vinča culture. These early works are considered some of the first systematic archaeological surveys in Serbia.
Nemanja Markovic from the Archaeological Institute in Belgrade and Ana Maricic from the City Museum of Belgrade reported on a find made near the excavation site, dating to the turn of the 19th and 20th centuries. Although the Yablanica-II archaeological site was discovered in 1986, conservation and rescue work was carried out in a small area in 2018. The unusual artifact itself was found by researchers in the 2000s, presumably surfacing from the Neolithic cultural layer due to plowing.
In January 2006, a processed tooth was added to the collection of the City Museum of Belgrade, initially classified as a bead made from an animal tooth. After detailed study, scientists concluded that it was the right canine tooth of an adult human. Judging by the preservation of the root, the tooth either fell out naturally or was extracted when the remains were already a skeleton. Signs of wear on the drilled canine, according to experts, suggest that it was most likely used as part of a necklace.
Although the pendant was found outside a direct archaeological context, researchers noted that during excavations at the Yablanica-II site, a fragment of a bracelet made from a marine mollusk shell was discovered. This bracelet was drilled by ancient people in a manner similar to the tooth. Based on this similarity, scientists hypothesized that the human canine pendant might originate from the same layer as the shell ornament. Radiocarbon dates taken from this cultural layer confirm a dating of around 4700 BCE. However, the authors of the article emphasized that the conclusion regarding the tooth's dating is still preliminary, and the absolute age of the item itself has not yet been determined.
It is worth noting that objects made from human remains are also found in older artifacts. For example, at the Olenestrovsky burial ground in Karelia, no fewer than twelve artifacts made of human bones were found, belonging to burials dating back to approximately 6000 BCE.
In another region, Turkish scientists described a monkey skull discovered in 2010 in the city of Antalya during excavations of a Roman tomb. They concluded that the inhabitant of ancient Attalia was buried along with a macaque in the late 2nd to early 3rd century CE. It is assumed that this was a young Magot who arrived in Asia Minor from North Africa. This information was also published in the International Journal of Osteoarchaeology.
Researchers from Egypt and France have studied two ancient structures located near the so-called Pink Pyramid. According to their opinion, these structures were dams designed to control the water flow in Wadi Dasher. However, the hypothesis put forward by the scientists has not yet been confirmed based on the results of archaeological excavations, as indicated by an article published in the journal npj Heritage Science.
Near modern Cairo, Memphis existed in antiquity, one of the most famous Egyptian cities of the past. Near the ruins of this capital are extensive necropolises where kings, their families, and local nobility were buried, whose tombs are of significant scientific interest. In addition to the burial complexes on the Giza plateau and the famous Saqqara necropolis, the Dasher necropolis is also located in this area.
The Dasher necropolis contains numerous pyramids built during the reigns of pharaohs of the Old and Middle Kingdoms, as well as during the Second Intermediate Period. Among them are the pyramids of Amenemhat II (White Pyramid) and Amenemhat III (Black Pyramid), which were built under the rulers of the XII Dynasty. The greatest fame among the structures of the IV Dynasty is attributed to the Lomana and Pink Pyramids, erected in the first half of the third millennium BCE.
Xavier Landreau from the Parisian research institute 'Paleotechnique', together with colleagues from Egypt and France, focused attention on the vicinity of the Pink Pyramid, also known as the Red or North Pyramid. The researchers analyzed two little-known objects that, although marked on maps as early as 1897, continue to attract attention. Access to these two objects is currently difficult due to the proximity of a military installation, so the scientists relied on the analysis of satellite images, historical maps, digital elevation models, and other data.
As a result of the analysis, it was concluded that the two structures, spanning about 600–700 meters, were ancient dams used by Egyptians to manage the water flow in Wadi Dasher. According to the researchers' estimates, the base of these dams was between 15 and 30 meters wide, and the height could reach six to seven meters. Both structures had a trapezoidal shape in cross-section, which corresponds to the characteristics of dams.
The scientists rejected the old hypothesis that these objects served as ramps for transporting building materials to the Pink Pyramid. The argument against this is that the western dam was not straight but had a central section that the article's authors called a 'duck's nose', which has certain advantages if the structure is indeed a dam.
The authors suggest that the builders of the Pink Pyramid might have utilized the water resources created by these embankments. However, it remains unknown whether the construction dates of the dams coincided with the period of construction of the pyramid of King Sneferu. Confirmation or refutation of this hypothesis is only possible through archaeological excavations.
It should be noted that Egyptians of the Old Kingdom actively built hydraulic systems and created artificial reservoirs. For example, on the Giza plateau there were such reservoirs, reinforced by dams and walls, which were used in the construction of pyramids to transport food and building materials.
On July 20, 2026, the Chinese Embassy in the United States, in collaboration with Washington Ballet, organized an event titled 'Ballet Night.' Attendees included Chinese Ambassador to the United States Xie Feng, his wife Mrs. Wang Dan, Counselor Minister Chen Chunmei, and Washington Ballet Artistic Director Edward Liang. Guests also comprised representatives from the cultural, artistic, business, and strategic sectors of the US.
Ambassador Xie emphasized the importance of President Xi Jinping's statement that 'Diversity stimulates interaction between civilizations, which in turn promotes mutual learning and their further development.' He noted that China and the United States share a long history of cultural exchange, and through the efforts of generations of artists, mutual understanding has been achieved between the peoples of both countries.
The Ambassador also pointed out that ballet, despite its Western origins, has become a universal language, creating an elegant bridge between Chinese and American cultures. He recalled that Washington Ballet visited China back in 1985, initiating friendly relations.
Xie Feng highlighted that China has entered a new phase of development under the 15th Five-Year Plan. The growing demand for culture and art among China's expanding middle class presents enormous potential for cultural interaction and market partnership between China and the United States.
He mentioned that two presidents recently reached important agreements during a summit in Beijing, aligning on a new vision for building constructive relations between China and the US based on strategic stability. Expressing confidence in the future of cultural and international exchange, Ambassador Xie invited American friends to visit China to personally experience the rich diversity of its culture and feel the pulse of developing China.
During the evening, guests enjoyed excerpts from the production of 'Sleeping Beauty,' presented by Washington Ballet, as well as a video showcasing the National Ballet of China performing 'Chinese New Year' in the US. Furthermore, segments from 'Butterfly Lovers' and 'Giselle,' which the Shanghai Ballet Company will soon present during its tour of the US, were shown. The event concluded on an optimistic note, with participants expressing hope for a bright future of cultural cooperation between China and the US.
China's box office revenue in 2026 (including pre-sales) exceeded 20.3 billion yuan (approximately $3 billion) as of July 21. Among the films that surpassed the 100 million yuan mark, there are 22 titles, and the hit 'Dear You' earned 2.1 billion yuan (about $310.4 million) in the global market.
The outstanding work created in Guangdong province highlights the strong position of the southern region as one of the country's leading film production centers. The film 'Dear You' became the biggest success of the year among blockbusters produced in Guangdong.
The film's plot tells the story of a young metropolis resident who returns to his hometown village and discovers old letters, which changes his perception of his grandmother's past. Despite a relatively modest budget and extensive use of the Chaoshan dialect, the film exceeded industry expectations, earning over 2.1 billion yuan worldwide.
After recognition in China, the film gained popularity abroad following its premiere in Singapore, Malaysia, Australia, and other international markets. In Singapore, screenings in the original Chaoshan dialect sold out within 90 minutes of ticket sales starting, making the film the highest-grossing Asian film of the year in that country.
The emotional depiction of family ties and the heritage of Chinese people overseas resonated strongly with audiences across Southeast Asia, especially among ethnic Chinese communities. Industry analysts note that this film refutes the long-held assumption that only large projects with star casts and massive advertising campaigns can generate huge profits. Instead, they argue that authentic storytelling based on daily life and local culture remains one of the strongest factors for commercial success in the developing film market.
Guangdong maintained its status as the country's largest box office market, collecting 2.91 billion yuan (about $430.5 million) from ticket sales. Meanwhile, films shot in the province generated a cumulative income of 5.32 billion yuan (about $786.7 million), accounting for approximately 26.2% of the national total. Six films produced in Guangdong exceeded the 100 million yuan threshold this year, including animated, thriller, comedy, and feature films. Besides 'Dear You', these include 'Boonie Bears: The Hidden Protector', 'The Fire Raven', 'The Caged Butterfly', 'Kung Fu Soccer', and 'A Part of Me.'
These results are characterized by industry observers as Guangdong's first year of a 'double crown'—leadership in both China's film consumption and the commercial success of local films.
The province's outstanding performance reflects long-term political support aimed at forming a complete film industry ecosystem, rather than just short-term box office growth. In May 2025, Guangdong introduced a package of 15 measures to stimulate the high-quality development of its film and television industry, covering all stages of production: from script development and shooting to distribution, screening, and intellectual property commercialization.
This provincial initiative was reinforced by more than 80 supporting measures introduced by cities and counties across Guangdong. Over several months, authorities allocated 160 million yuan (about $23.6 million) in subsidies for production, distribution incentives, and post-release awards for outstanding film and TV projects.
Political incentives have attracted about 1,700 new film and television enterprises with registered capital exceeding 5 million yuan established in the province, including a growing number of leading production companies. Industry infrastructure expanded parallel to financial support. Guangdong established a provincial network of filming services connecting provincial and municipal authorities, ensuring optimized production services, location resources, and administrative assistance. Over the past year, this platform has served 344 production teams, facilitated 258 shoots, cataloged over 650 filming locations and more than 20 professional production bases, while reducing the time required for filming permits and business registration by 50% to 70%.
Talent development has also been a key element of the province's strategy. Through its 'Star' Program, Guangdong funded emerging filmmakers and supported low- and mid-budget projects. Between 2024 and 2025, this initiative supported 20 feature films, some of which were selected for major domestic and international film festivals. The recent win by 'Dear You' director Lan Hongchun at the SCO International Film Festival 2026 in Cholpon-Ata, Kyrgyzstan, on July 19, 2026, with the 'Best Director' award, underscored the growing international recognition of Guangdong's new generation of filmmakers.
