Then came the Lotus Pattern, looking remarkably like the rubbings Soka had taught the students to make in Angkor years ago. Four, a feast of dialogue between civilizations: taking patterns "out into the world." To forge deep connections between Renaissance patterns and civilizations around the globe, the vanguard team helped the art museum hold the "Patterns Across Time and Space Dialogue Exhibition." At the center of the exhibition hall, an enormous "Civilizational Pattern Mosaic" was particularly eye-catching: Leonardo da Vinci's Geometric Pattern stood at its heart, surrounded by Angkor's Lotus Pattern, Great Zimbabwe's Bird Pattern, the Maya Calendar Pattern, and the Australian Serpent Totem-each pattern fragment had been handmade by young people from its corresponding civilization, with their understanding of "heritage" engraved along its edges. At the opening ceremony, Soka led the young people of Florence in the "Apsara Dance Steps," Karen demonstrated the "Rock-Firm Fist," Nikos recited ancient Greek poetry about olives in Greek, and Carlos sang a calendar ballad in Maya. Watching the scene, Laura said with feeling, "I originally thought the Renaissance was Europe's 'solo dance.' Only now do I realize it can be a 'chorus' of civilizations around the world." Before they left Florence, Laura gave Muhammad a bronze badge engraved with the geometric pattern of the "Vitruvian Man" and the trajectories of the "Golden Ratio Palm Technique." "On the back of this badge, I specifically engraved Angkor's Lotus Pattern and Great Zimbabwe's Bird Pattern. It represents how Florence's patterns now have 'companions' around the globe." That winter solstice, Muhammad returned to Hangzhou with the bronze badge, the "Patterned Silk Scarf," and the vanguard team members. They gently placed the badge beside the "Silk Road Heritage Stele" in front of Chen Jialuo's grave, arranging it in a circle with keepsakes such as the Soapstone Fragment, the Sandstone Fragment, and the Maya jade pendant, like a miniature "Global Civilization Star Map." Di Yun, Granny Hua, and Wan Yunxi gathered nearby, watching the "Golden Ratio Palm Technique" instructional video uploaded by the young people of Florence to the "Global Pattern Digital Platform," their eyes filled with gratification. "Senior Lin, Senior Chen," Muhammad said softly, "from the East's 'A Deadly Secret' to the Renaissance in Florence, what we pass down has never been an isolated culture, but humanity's shared pursuit of 'beauty' and 'goodness.' Now, through the hands of these young people, these pursuits are meeting across time and space in murals, in stone carvings, and in dance steps." Winter snow fell softly over West Lake, settling on the "Silk Road Heritage Stele" and on those keepsakes from around the world. In the distance, Leifeng Pagoda stood in the snow like a silent witness. Muhammad knew that the next stop for the "Young Heritage Vanguard Team" might be the Inca ruins in the Americas, or the Ancient City of Rome in Europe. But wherever they went, the moral principles of "A Deadly Secret" and the warmth of patterns from around the world would, like Florence's murals, endure the years without ever fading, forever illuminating the path of humanity's civilizational heritage and continuing a new, never-ending cultural chapter belonging to all humankind. A new chapter of A Deadly Secret: the resonance of Terrace Patterns in the Inca ruins. Around the spring equinox, the "Young Heritage Vanguard Team" crossed the Atlantic on their journey and arrived in Cusco, Peru, in South America-at the invitation of the Inca Ruins Protection Organization, they were to seek ways to bring Machu Picchu's "Terrace Patterns" and "Textile Patterns" to life. This ancient city, built on a mountain ridge more than two thousand meters above sea level, preserved the astonishing wisdom of the Inca people: its tier upon tier of terraces were not only an agricultural marvel, but the "Spiral Pattern" and "Zigzag Pattern" formed by the lines of their embankments also held secrets of astronomical calendars and soil and water conservation; while the "Diamond Pattern" and "Bird Pattern" on traditional Inca textiles,
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