Art builds bridges between ancient heritage and audiences

In Beijing's southwestern Fangshan district, the Liulihe archaeological site, once the capital of the ancient State of Yan during the Western Zhou Dynasty (c. 11th century-771 BC), is widely regarded as the birthplace of Beijing's urban history. Offering archaeological evidence of the city's more than 3,000-year history, the site is now pursuing UNESCO World Heritage status.

How can art transcend linguistic and cultural boundaries to make this ancient civilization resonate with audiences worldwide? This question was at the heart of a recent cultural forum in Fangshan, where internationally acclaimed Chinese artist Yi Ming joined five-time Academy Award-winning filmmaker Richard Taylor to discuss how artistic innovation could bring Liulihe's heritage to life and expand its international reach.

With access to the archaeological site restricted, the event focused on its historical significance, particularly the Ke He and Ke Lei, two remarkable Western Zhou bronze vessels, and the ritual traditions they represent.

Yi emphasized that while archaeology preserves the physical traces of history, art can breathe life into them, making distant civilizations more accessible and emotionally engaging for contemporary audiences.

Even significant archaeological findings can be difficult to appreciate for audiences unfamiliar with Chinese history. Effective cultural communication, he argued, therefore requires looking beyond historical symbols to reveal the deeper values and ideas they represent.

Taylor approached the discussion from the perspective of international visual storytelling. He advocated combining modern technology with innovative artistic expression, while taking into account how audiences from different cultural backgrounds experience and interpret heritage. By identifying shared human emotions and creating compelling visual experiences, he said, China's cultural treasures could become more accessible and meaningful to people around the world.

"The reason our films resonated with audiences around the world was that we worked hard to connect emotionally with young people across cultures. I believe the same principle applies to bringing cultural heritage to a global audience," Taylor said.

Both Yi and Taylor have pursued artistic practices that bridge large-scale public projects and individual creative expression.

Yi serves on the board of the New York Fine Arts Society Museum. His multidisciplinary practice encompasses oil painting, traditional Chinese ink art, cinematic aesthetics and large-scale public visual design. He was the chief image designer for the 2008 Beijing Olympic Games and the chief designer of the ceremonial image for the 2022 Beijing Winter Olympics.

His paintings draw on the spirit of Chinese brushwork and traditional conceptions of space while using oil as their primary medium. Earlier this year, Yi received a Gold Award for Painting at a special exhibition associated with the Venice Biennale, following an earlier Artistic Achievement Award from the Eurasian Center in the United States.

Drawing on his artistic journey, Yi shared his thoughts on how Chinese tradition can find new forms of expression without losing its roots, and communicate with the world while retaining its distinct identity.

"Audiences abroad may know little of the ancient State of Yan, but the search for beauty and meaning crosses cultural boundaries," Yi said.

"Archaeology preserves the physical traces of the past; artistic interpretation gives them new life. For Liulihe, safeguarding the site is essential, but so is finding ways to convey the ideas, beliefs and human experiences embodied in its remains," he added.