摘要：Speaking to "Diplomacy Talk," Feng said the U.N. observance, which takes place on June 10 following a Chinese proposal to the Gene

Eminent Chinese artist Feng Shaoxie has welcomed the first International Day for Dialogue among Civilizations, praising it as a demonstration of China's "deep respect" for cultural diversity.

Speaking to "Diplomacy Talk," Feng said the U.N. observance, which takes place on June 10 following a Chinese proposal to the General Assembly, aims to build trust between different civilizations. The initiative seeks to strengthen friendships internationally and promote peaceful development, according to Feng, who described it as reflecting China's commitment to "win-win cooperation" globally.

Feng serves as the vice chairman of the Guangdong Artists Association and is known for his oil paintings, notably his "Maritime Silk Road" series, which has been exhibited at the U.N. headquarters in New York. In the interview, Feng also discusses his creative process, art's power to critique hegemony and promote peace, and his opinion on how AI technology might impact artistic expression.

Diplomacy Talk: Mr. Feng, we've noticed that you consistently focus on current events and stay at the forefront of new developments. Soon after Chinese President Xi Jinping proposed the Belt and Road Initiative (BRI) in 2013, you began a series of oil paintings focused on the Maritime Silk Road. What inspired you to start this project?

Feng Shaoxie: My view is that the BRI will make a significant mark on the history of world civilization. So, I was very excited when it was announced. Therefore, at the end of 2013, I began working on that project and devoted myself to it for over a year. I ate and slept in my studio. Aside from meetings and work, I spent nearly all my time on this series.

Chen Lyusheng, former deputy director of the National Museum of China, wrote the preface for this series. He pointed out that while art had touched on the Maritime Silk Road before, this series finally offered a complete and organized view of it.

Capturing the spirit of the Maritime Silk Road wasn't easy, especially since the historical records are so limited. So, I turned to ancient relics for inspiration. During my research and museum visits, I came across many artifacts discovered both on land and from underwater. I realized these relics should be at the heart of my work.Although these objects are silent, they tell powerful stories from the past. That's why I believe this series has truly succeeded in bringing pottery, ceramics, silks and other relics to life.

Diplomacy Talk: Mr. Feng, couldn't we just use photographs? That seems like a more efficient way to document these artifacts. What made you choose oil painting as your medium for this project?

Feng Shaoxie: In museums, we see the physical artifacts; in promotional materials, we often find photographs. But an artist's recreation offers something more: a personal connection to history, a vision of the past, and, most importantly, an intangible sense of the erstwhile world. These qualities are difficult to capture through photographs or the objects themselves. It's a different kind of emotional resonance, a distinct aesthetic, and a unique visual experience.

Diplomacy Talk: During the 11-stop tour of your "Maritime Silk Road" exhibition, were there any particularly memorable moments that stood out to you?

Feng Shaoxie: Every country we exhibited in gave the collection an incredibly warm reception. Audiences, including government officials, were genuinely interested. Many eagerly requested materials and asked thoughtful questions about the historical background of each painting. We provided captions for every piece, and audiences still wanted to learn more. That's exactly what the "Maritime Silk Road" exhibition set out to do: to spark renewed interest in this history and to share China's cultural story with the world.

In the past, it used to be a big deal for a Chinese artist to hold an exhibition abroad. It was impressive, no matter what you were showing. But over time, overseas exhibitions have become quite common, and they're no longer seen as something extraordinary.

Diplomacy Talk: When did overseas exhibitions start to become routine?

Feng Shaoxie: Probably in the past decade or so. As China's economy grew and international travel became more accessible, many Chinese artists began exhibiting abroad. It's just not that unusual anymore. Still, creating a visual narrative of China's history through art and presenting it to global audiences remains a vital mission for us as artists. We should share the brilliance of our past with the world.

Diplomacy Talk: Artists are inseparable from their historical context and their works are shaped by the times in which they live. In many ways, art is always a reflection of its era. Today, as the world faces divisive ideas like the "clash of civilizations" theory and the rise of unilateralism, how do you think artists should respond through their works?

Feng Shaoxie: Art, as an important form of cultural expression, has a unique power. Above all, it should promote diversity. Every country has its own culture and its own distinctive forms of artistic expression. As a painter, I feel that the world today is unsettled. I am deeply troubled by certain powers enforcing hegemony, whether cultural, political or economic, through unilateral actions.

Art has the power to critique and can also inspire hope. When hegemonic powers suppress weaker nations — targeting those with different values or artistic styles — such bullying is not only unjust, but also disastrous for our shared future.

Whether we are writers, musicians or visual artists, we should condemn these actions and create more works that oppose hegemonism and reflect on the harm it causes to the world.

For example, in the 1930s, Picasso painted "Guernica" after the Nazis bombed the Spanish town of the same name. He created a visual scream heard for generations.It is an exemplary work of critique, exposure and condemnation. It opposes war and advocates for peace. That is the magic of art.

A responsible artist must document the defining events of our era with a clear cultural perspective. This is how works endure over time. Therefore, I hope our younger generations — whether in music, photography or the fine arts — will engage more deeply with the world around them.

Diplomacy Talk: On June 10 this year, the international community will mark the first International Day for Dialogue among Civilizations. The United Nations General Assembly established this observance following a proposal from China. What do you see as the motivation behind China's motion and its broader significance?

Feng Shaoxie: This demonstrates China's active engagement in global governance and its deep respect for civilizational diversity. At the same time, it highlights the principles China advocates on the international stage: peaceful development and win-win cooperation. The ultimate goal is to build trust and understanding among the world's civilizations, strengthen friendships between peoples of different nations, and seek joint efforts to safeguard global peace and development.

Diplomacy Talk: Mr. Feng, I'm sure you've noticed that everyone seems glued to short videos these days. How do you think this trend will affect creative work like yours?

Feng Shaoxie: Honestly, I watch them too. It's simply a sign of technological progress. But I don't think it fundamentally threatens artists.

Diplomacy Talk: Are you concerned that the popularity of short videos might draw viewers away from your oil paintings?

Feng Shaoxie: While short videos can greatly increase an artist's visibility and reach, experiencing artwork on a phone is fundamentally different from seeing it in a gallery. Viewing the actual pieces in person creates an immediate, visceral impact. It's like comparing watching a movie on your phone to seeing it in a theater. The difference is profound. Seeing original works in an exhibition space is entirely distinct from simply scrolling past them on a screen.In a gallery, you can see the artist's actual brushwork and true colors. That visceral, physical impact simply can't be replicated digitally.

Diplomacy Talk: These days, anyone can generate convincing oil paintings with just a click using AI. Yet, you still painstakingly apply each brushstroke to the canvas by hand. Are you concerned that AI might one day replace artists like yourself?

Feng Shaoxie: AI might replace many professions, but art is one frontier it cannot conquer.

Diplomacy Talk: Why?

Feng Shaoxie: AI-generated works are just data, compiled from centuries of art history. While they can imitate human painting techniques and styles, they can never capture real human emotion. Every brushstroke from an artist carries personal passion. Sometimes, a "flawed" stroke or an accidental color choice becomes the soul of a painting. This is something AI cannot achieve. Even the dust on the canvas or a stray hair caught in the paint tells the story of the artist. These marks of creation and every choice of color are things an algorithm simply can't replicate.

That's why I believe AI can never truly replace handmade paintings. At best, it can be a creative assistant, but it will never match the depth of human emotion.

Presenter: Gao Anming

General supervisor: Wang Xiaohui

Producer: Li Xiaohua

Production supervisor: Zhang Liying

Editors: Zhang Ruomeng, Zhang Heling, Jiao Yuan, Lyu Yiyi, Xia Fangting

Produced by chinadiplomacy.org.cn

来源：中国网一点号