The Academy of Arts & Design, Tsinghua University (AADTHU) has dedicated its art resources and capabilities into a series of events showcasing China's artistic and design prowess across China and France. The cultural events have been held over several months to celebrate the 60th anniversary of diplomatic ties between the two countries, and the China-France Cultural and Tourism Year.
The Light of Dunhuang
Ma Sai, dean of AADTHU, speaks at the opening of "The Light of Dunhuang" exhibition at the China Cultural Center in Paris, Sept. 27, 2024. [Photo courtesy of AADTHU]
On Sept. 27, the China Cultural Center in Paris was illuminated by the spirit of cultural fusion. "The Light of Dunhuang — Special Exhibition in Paris and International Symposium on Dunhuang Art Research and Design Achievements," organized by AADTHU, opened as part of China-France Fashion Week, transforming the center into a vivid canvas of ancient Chinese art and modern design. The exhibition was supported by the center and AADTHU's Department of Textile and Fashion Design, and celebrated the timeless elegance and deep historical legacy of Dunhuang art, now viewed through a contemporary lens.
Art and design work inspired by the legacy of Dunhuang was displayed at the exhibition, showcasing an innovative fusion of China's past and present, traditional culture and futuristic visions. Dunhuang, an oasis on the ancient Silk Road, is famous for the extensive Mogao Grottoes art and murals dating back to 366 A.D. These works, which depict Buddhist imagery, intricate murals and vibrant patterns, have captivated generations and serve as an artistic inheritance.
This time, AADTHU designers, inspired by the art of Dunhuang, have focused more on their artistic expression in a contemporary context. They created novel artworks by combining modern technology with traditional Chinese craftsmanship while integrating artistic elements from Dunhuang into their innovations.
Ma Sai, dean of AADTHU, highlighted the academy's deep commitment to preserving and interpreting China's cultural heritage. "This China-France Fashion Week allows our faculty and students to share the innovative achievements and unique design concepts of the academy, especially our art research and design achievements related to Dunhuang, reflecting the faculty and students' inheritance and innovation of traditional Chinese culture," said Ma, speaking at the exhibition's opening. His words resonated throughout the event, as guests explored works that married ancient motifs with contemporary design, each piece reflecting a narrative of cultural inheritance and artistic experimentation.
The event brought together notable figures from the political, diplomatic and creative spheres of China, France and the United Kingdom, as well as representatives from the United Nations and alumni of AADTHU. The international crowd embodied the cross-cultural dialogue at the heart of China-France Fashion Week, a meeting of minds and artistic visions between the East and the West. "The event is a magnificent tapestry that showcases the vibrant development of Chinese fashion and creative design," said Liu Hongge, director of the China Cultural Center in Paris. Liu envisioned the exchange of apparel cultures between the two nations as a vehicle for mutual understanding, and a dialogue that will "foster the integration and mutual learning of fashion and creative cultures."
The exhibition presented works by AADTHU's students, faculty and alumni, and spanned multiple generations of artists. Attendees marveled at works created between the 1940s and '80s by eminent artists such as Pang Xunqin, Lei Kueiyuan, Chang Shana, Chen Hanmin and Liu Jude. These pieces included replica murals, poster designs, batik pattern paintings, cloisonné enamel and other artifacts, each bearing the distinct mark of Dunhuang's ancient artistry. The historical pieces showcased a deep engagement with tradition, embodying the spirit of exploration that has defined AADTHU's art education.
Two dresses inspired by Dunhuang art on display at "The Light of Dunhuang" exhibition at the China Cultural Center in Paris, Sept. 27, 2024. [Photo courtesy of AADTHU]
More recent works created over the last two decades by younger AADTHU faculty, alumni and students revealed a forward-looking approach, blending traditional crafts like weaving and embroidery with advanced technologies such as 3D printing and AI-generated graphics. This modern interpretation of Dunhuang art reflected the academy's dynamic approach to cultural heritage, providing a multi-dimensional perspective and exploration space for the future of Chinese art and design.
"China's rich cultural heritage is sure to provide stunning creativity and inspiration for the fusion of traditional culture and modern fashion," said Patrick Baruel, president of the French Commission of Foreign Trade Advisors, as he reflected on how China's extensive cultural heritage is well positioned to influence contemporary design. He added that he is confident in the younger generation of Chinese designers, who he believes will "achieve even greater success through innovative integration."
Cultural and academic experts take part in the International Symposium on Dunhuang Art Research and Design Achievements at the China Cultural Center in Paris, Sept. 27, 2024. [Photo courtesy of AADTHU]
The International Symposium on Dunhuang Art Research and Design Achievements opened to a gathering of cultural and academic luminaries from countries including China, France and the United Kingdom. Held at the China Cultural Center in Paris, the event explored the enduring influence of Dunhuang art on contemporary design, examining how one of China's oldest artistic traditions resonates in today's global cultural landscape.
The symposium brought together diverse voices from the art, fashion and academic worlds. Professor Li Yingjun, head of AADTHU's Department of Textile and Fashion Design, who chaired the event, set the tone for a vibrant exchange of ideas. Highlighting the goals of "inheritance, innovation and dissemination," he explained that the event aimed to create "a more diversified narrative system." Attendees from various fields fully displayed the immense potential of cultural diversity and cross-cultural interaction, making the convergence of diverse perspectives a valuable opportunity to deepen international cultural understanding. By combining static exhibitions with active dialogue, Li noted, the event pushed the boundaries of fashion expression and cultural communication.
The event traced the roots of Chinese artistry in France. AADTHU dean Ma Sai recounted the influence of early 20th-century Chinese artists who traveled to Paris to study at the forefront of global art. Artists like Pang Xunqin, Lei Kueiyuan and Chang Shana later returned to China, invigorated by the world's artistic currents, and inspired to explore and elevate Chinese art traditions. Reflecting on AADTHU's evolution, Ma described the academy's journey from studying ancient art to innovatively transforming it, producing works that pay respect to China's cultural legacy while engaging with modern design.
Rémy Aron, a French painter and president of the French Association of Arts, shared his perspective on China-France artistic exchange, observing that the divide between decorative and fine arts in France since the 19th century often limited creative potential. He recalled his recent encounter with the intricate work of AADTHU professor Chang Shana, which he described as a revelation of Chinese art's unique depth. He expressed hope that dialogues like the symposium would encourage mutual enrichment and sustain Dunhuang's heritage.
Rémy Aron, president of the French Association of Arts, speaks at the International Symposium on Dunhuang Art Research and Design Achievements at the China Cultural Center in Paris, Sept. 27, 2024. [Photo courtesy of AADTHU]
Adding to the chorus of voices, Ira de Puiff, a journalist at the French fashion magazine Biba, underscored the role of art as the bedrock of fashion. "Painting is the root of fashion design," Puiff observed, highlighting the potential of combining Dunhuang's rich artistic legacy with contemporary themes like sustainability. This fusion, she suggested, could propel Chinese art and culture to new heights, offering avenues for innovation in a global context.
Claudine Rousseau, representing the London College of Fashion, emphasized the significance of "cultural self-identity" amid a blend of global influences. She encouraged students to keep innovation at the core of their design while celebrating diverse cultural backgrounds. Fashion, she argued, must navigate the delicate balance between embracing cross-cultural exchange and preserving cultural uniqueness. Rousseau voiced her hope to strengthen collaborations with AADTHU, particularly in exploring intersections of fashion and technology.
Continuing the theme of traditional innovation, AADTHU professor Li Wei delivered a keynote speech on the importance of cultural awareness in design, cautioning that modern adaptations should aim for authenticity over superficial applications. "Innovation should be grounded in a sense of identity and history," she noted. She further expressed her hope that Chinese fashion would gain recognition in cities like Paris, expanding its influence on the international stage.
Through rich exchanges and a diversity of perspectives, the symposium highlighted how ancient Dunhuang art continues to serve as both an anchor and a springboard for innovation in fashion and design. As fashion's sustainability efforts increasingly intertwine with art, Dunhuang's influence appears poised to extend its reach into new realms, bridging past and future. For attendees, the event was not only a celebration of Dunhuang culture but a milestone in China-France cultural exchange.
Spotlight on contemporary Chinese textile art
Chinese textile art pieces on display at the "Creation of Brilliant Chapters" exhibition at the China Cultural Center in Paris, Oct. 7, 2024. [Photo courtesy of AADTHU]
On Oct. 7, another event opened at the China Cultural Center in Paris to boost the vibrant cultural exchanges between China and France to new heights. The "Creation of Brilliant Chapters: Exhibition on Contemporary Chinese Textile Art and Sino-French Textile Arts Forum," a significant event jointly hosted by AADTHU and the center, was organized by AADTHU's Department of Arts and Crafts in collaboration with the Special Committee on Textile Art and Design of the China National Arts and Crafts Society. Over 120 guests from both nations attended the opening ceremony.
AADTHU dean Ma Sai noted that since the 1980s, textile art in China has developed into an independent modern art form that draws from the rich traditions of Chinese culture, achieving notable international recognition. He emphasized the influence of the From Lausanne to Beijing: International Fiber Art Biennale , initiated by AADTHU in 2000, which has become a globally significant platform for textile art. At the same time, over the past 15 years, the contemporary Chinese textile art exhibition launched by the academy has reached nearly 20 countries, including the United States, Belarus, Ukraine, Poland, Mexico, Australia, Georgia, Italy and Spain, playing an important role in promoting Chinese culture worldwide and facilitating international cultural exchanges.
Yang Dongjiang, vice dean of the academy, remarked on the exhibition's role as a new chapter in cross-cultural dialogue between Chinese and French artists. He said, "This exhibition not only serves as a feast for the arts but also embodies the beautiful vision for deepening cooperation and exchange in the cultural and artistic realms between our two nations."
Rémy Aron, president of the French Association of Arts, noted that over the past 20 years, he has visited China multiple times, and praised AADTHU as one of the world's finest schools of arts and crafts. This year, in connection with the 2024 Paris Olympics, the French Association of Arts also signed a cooperation agreement with Tsinghua University. He expressed his hope that Sino-French friendship will achieve new brilliance in artistic creation and other fields in the future, contributing to the development of human civilization, harmony and peace in the world.
Curator Yue Song highlighted the rapid development of textile art in China over the past four decades. He mentioned the exhibition's inclusion of works from 26 Chinese textile artists from 18 art institutions, showcasing their unique understanding of materials, techniques and forms. "I hope to see more Chinese textile artists exhibit their works in Paris in the future, contributing together to the development of the art," Yue added.
The exhibition, which ran until Oct. 19, reflected the long history of cultural exchanges between China and France, dating back to the 14th century when Chinese silk captivated European nobility. By the 18th century, France embraced "chinoiserie," blending Eastern motifs with Western design. This historical context enhanced the significance of contemporary exchanges highlighted in the exhibition.
Visitors attend the "Creation of Brilliant Chapters" exhibition at the China Cultural Center in Paris, Oct. 7, 2024. [Photo courtesy of AADTHU]
Liu Hongge, director of the China Cultural Center in Paris, emphasized the unique role of textile art in Sino-French cultural exchanges, recalling the impact of Jean Lurcat, a prominent French tapestry artist whose works influenced Chinese textile artists in the 20th century. He stated, "Every textile of textile art symbolizes life's essence, weaving stories of knowledge, integration and friendship between China and France."
"The exhibited textile art pieces are not only a visual feast but also a medium for emotional expression and intellectual exchange. Behind these works are many touching stories that convey the unique feelings, rich reflections and boundless creativity that Chinese textile artists aim to express," he added.
A forum on Sino-French textile art commenced later that day with speeches from prominent scholars, experts and artists, including Ni Yuehong and Pascal-François Bertrand. Discussions focused on the intertwining of historical and contemporary textile art with social, economic and aesthetic factors, as well as teaching methods and the cultural significance of these exchanges. The event attracted a diverse audience, sparking lively discussions that continued beyond the formal sessions. For many attendees, it was not just an exhibition but a gateway to a deeper understanding of the intersections between Chinese and French textile art. Participants expressed enthusiasm for the collaborative spirit and the potential for future exchanges.
Li Wei enchants Paris Fashion Week
Models take part in the "Yu Shu" collection show during Paris Fashion Week in the garden of the Alfred Sommier Hotel in Paris, Sept. 24, 2024. [Photo courtesy of AADTHU]
Paris Fashion Week was graced by the captivating presence of renowned designer Li Wei, who unveiled her Spring/Summer 2025 collection "Yu Shu" on Sept. 24. The show, an official event of Paris Fashion Week, was a celebration of heritage and elegance.
A professor at AADTHU, Li Wei demonstrated her prowess as a scholar, artist and designer. Her collaboration with Duan Zhiqiang, executive director of Beijing Fashion Week, resulted in a collection that seamlessly intertwined traditional Chinese aesthetics with contemporary design principles. "Yu Shu" drew inspiration from the Yushu culture in China's Qinghai province and from Li's over 40 years of experience in fashion, showcasing a modern "Eastern visual aesthetic" characterized by intricate craftsmanship and innovative techniques.
The collection, consisting of 30 garments, mirrors the cultural richness of the Sanjiangyuan region, an area of the Tibetan Plateau in Qinghai and the source of China's three major rivers, the core of which is located in Yushu Tibetan autonomous prefecture. Li incorporated distinctive motifs from Yushu rock paintings and innovative materials such as local yak wool, merging traditional handicrafts like plant dyeing, Su embroidery and brocade with modern design sensibilities. "This collection is my interpretation of the Sanjiangyuan culture and intangible heritage," Li stated. "It embodies the essence of Chinese tradition while speaking the language of contemporary fashion."
Held in the enchanting garden of the Alfred Sommier Hotel, the show garnered international acclaim. Models from around the globe showcased Li's designs, emphasizing the collection's role as a cultural bridge between East and West. The "Yu Shu" collection embodied beauty, resilience and artistic expression, further establishing Li's status as a trailblazer in the fashion industry.
Designer Li Wei (center) poses with her models after her "Yu Shu" collection show during Paris Fashion Week in the garden of the Alfred Sommier Hotel in Paris, Sept. 24, 2024. [Photo courtesy of AADTHU]
Li's participation in Paris Fashion Week not only marked a milestone in her career, but also served as a powerful statement for Chinese textile heritage on the global stage. "This is not just a fashion show; it is a celebration of life and culture," she remarked. "The Sanjiangyuan region symbolizes the source of civilization and vitality."
As the fashion show drew to a close, attendees departed with a renewed appreciation for the intersection of traditional craftsmanship and modern fashion, which embodied Li Wei’s vision of vibrant cultural exchange between China and the world.
Exhibition marks Sino-French cultural exchanges
A poster for the "From the Seine to Guanghua Road" exhibition, which is being held at the Tsinghua University Art Museum from Nov. 2, 2024, to Feb. 16, 2025. [Image courtesy of AADTHU]
The 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris was a pivotal event with significant global influence. As modern science and the Industrial Revolution showcased their power, the decorative arts movement arose to reflect this progress in everyday life. Here, "decoration" goes beyond mere beautification — it represents the exploration and application of a new formal language for the evolving era.
Under the circumstances of the time, Paris undoubtedly stood as the cultural center of the world and the "capital" of global discourse, attracting notable figures and young scholars from around the globe. The exhibition "From the Seine to Guanghua Road: Modernization of Art Deco" is being held at the Tsinghua University Art Museum from Nov. 2, 2024, to Feb. 16, 2025. The five Chinese artists featuring in the exhibition — Pang Xunqin, Lei Kueiyuan, Zheng Ke, Wu Guanzhong and Chang Shana — responded to the changing modern thought and artistic transformation, whether by studying in France or living and developing there.
From the former Central Academy of Arts & Crafts to AADTHU, the academic ideals of their predecessors have been transmitted through writings, design and teaching. This process has enhanced the quality of life for the public and met the needs of national projects and economic welfare. Over several generations, this transmission has led to inspiring achievements that promote a contemporary cultural spirit. The ideals of predecessors continue to serve as the institution's cultural essence and academic foundation, highlighting the significance of this exhibition during the 60th anniversary of Sino-French diplomatic relations.
By Zhang Rui, China.org.cn
