China’s “National Treasure Highlights” Campaign Turns Heritage Into Global Soft‑Power and Consumer Brand】

The campaign’s newest installment arrived just a day ago, when a televised segment under the 国宝画重点 banner turned its spotlight on the so‑called “Four Marvels of the Han Dynasty” – a collection of tomb murals, stone reliefs, jade ornaments and terracotta figures unearthed from burial sites in Xuzhou. Curators described the artworks as “stone‑engraved historical records,” and archaeologists were given a platform to explain how the subterranean discoveries reshape our understanding of early imperial culture. The segment, which was broadcast on the state‑run China Central Television network, was framed as an invitation for viewers to “see the hidden world beneath the earth,” a tagline that echoes the program’s broader goal of making ancient history feel immediate and relevant.

The focus on the Han marvels is not an isolated vignette. Earlier this year, on 24 April 2024, the Zhouyuan site in Baoji, Shaanxi – the epicenter of Western Zhou relics – was named one of the “Top Ten New Archaeological Discoveries of 2024.” This marks the third time the site has earned that distinction, after similar recognitions in 2003 and 2015. The announcement, reported in a June 2025 press release, highlighted a series of bronze vessels, oracle bones and ritual bronzes that together illuminate the political and religious fabric of a dynasty that laid the groundwork for Chinese civilization.

The momentum behind 国宝画重点 has also taken a commercial turn. On 23 May 2025 a line of consumer products – ranging from illustrated coffee mugs to limited‑edition silk scarves – was launched under the banner, each item featuring reproductions of the highlighted artifacts. The merchandise is being sold in museum gift shops and online platforms, a move that cultural analysts say reflects a growing trend of “heritage branding” where national symbols are woven into everyday consumer experiences.

Two promotional campaigns are scheduled to run through the end of the year and into mid‑2025. From 28 May 2025 through 31 December 2099 (a date that, while obviously symbolic, underscores the program’s long‑term ambition) a series of pop‑up exhibitions will tour major cities, pairing interactive digital installations with traditional displays of ancient paintings and calligraphy. A second, more concentrated push will take place from 29 May to 13 July 2025, featuring live demonstrations by master craftsmen – among them Ling Xu, a Suzhou woodblock artist whose fifty‑foot “Fish Le Painting Album” has been painstakingly hand‑painted over the course of several years. The events aim to bridge the gap between scholarly research and public fascination, a hallmark of the 国宝画重点 strategy.

The initiative’s scope extends beyond exhibitions and consumer goods. In April 2024, Shanghai University Press published the proceedings of a symposium titled “Museums, Decolonization, and the Repatriation of Cultural Relics: A Global Dialogue.” The volume, which was promoted through the 国宝画重点 channels, underscores the political dimension of heritage preservation. By framing Chinese artifacts within a broader conversation about decolonization, the program positions China as an active participant in shaping international standards for museum ethics and cultural diplomacy.

Film and television have also been enlisted. The State Council Information Office recently green‑lighted a series of short documentaries that blend cinematic storytelling with scholarly commentary, each episode concluding with a “highlight reel” that distills the essential significance of the featured treasure. One episode, for instance, revisits a lacquer art sign that disappeared during the Cultural Revolution and was finally returned to its original family after 70 years. The narrative, while intimate, is presented as a microcosm of China’s larger journey toward reclaiming and re‑contextualizing its material legacy.

Beyond the cultural sphere, the ripple effects of 国宝画重点 are being felt in tourism, technology and even national identity politics. Heritage sites that receive a “highlight” often experience a surge in visitor numbers; the Zhouyuan and Han exhibitions have already reported ticket sales up by 30 percent compared with the same period last year. This influx benefits local economies – hotels, restaurants and transport services see a measurable uptick – and fuels a burgeoning creative industry that draws on historic motifs for fashion, video games and virtual‑reality experiences.

The digital dimension is particularly noteworthy. To make the treasures accessible to a generation that spends hours online, the program has invested heavily in high‑resolution 3D scanning, augmented‑reality apps and virtual museum tours. A partnership with a leading Chinese tech firm has resulted in an interactive map where users can “paint” their own highlights over digitized artifacts, effectively turning scholarly annotation into a gamified learning experience. The data generated from these platforms are being fed back to researchers, who can track which objects generate the most engagement and tailor future exhibitions accordingly.

Politically, the campaign dovetails with Beijing’s soft‑power agenda. By curating a narrative that emphasizes continuity, ingenuity and global relevance, the country projects an image of cultural confidence on the world stage. The same artifacts that are highlighted in domestic museums are also featured in traveling exhibitions to Europe and North America, where they are framed as evidence of a civilization that has contributed enduring artistic and philosophical concepts. Critics, however, caution that the selection process – which treasures are elevated and which are left in the shadows – can be shaped by contemporary ideological goals, subtly reinforcing a particular version of national history.

The phrase itself, 国宝画重点, has taken on a life of its own in the digital public sphere. On Weibo, the hashtag consistently trends in the mornings, accompanied by short videos that juxtapose ancient scrolls with modern cityscapes, or that invite users to share personal reflections on what “national treasure” means to them. Sentiment analysis of the posts shows a predominantly positive response, with many commenters expressing pride and a renewed curiosity about their heritage. Even commercial entities unrelated to culture have borrowed the tag to signal quality or exclusivity, demonstrating how the language of heritage is seeping into broader aspects of Chinese consumer culture.

In sum, what began as a linguistic curiosity has blossomed into a multi‑layered campaign that blends scholarship, entertainment, commerce and diplomacy. By “drawing the key points” of its most prized artifacts, China is not only preserving its past but also actively shaping how that past will be understood, both at home and abroad. As the program’s calendar unfolds – from museum halls to online screens, from handcrafted scarves to diplomatic forums – the phrase 国宝画重点 will likely remain a barometer of how a nation negotiates the delicate balance between reverence for antiquity and the demands of a rapidly modernizing society.