Affected by modern production and lifestyle, the inheritance of intangible cultural heritage faces multiple challenges. To inherit intangible cultural heritage, we must first leave it behind, and images are an important means of preserving intangible cultural heritage. Not long ago, the 2024 Intangible Cultural Heritage Image Exhibition, jointly organized by the Ethnic and Folk Literature and Art Development Center of the Ministry of Culture and Tourism, the Department of Culture, Radio, Television and Tourism of Zhejiang Province, the Quzhou Municipal Committee, and the Quzhou Municipal People's Government, was held in Kaihua County, Quzhou City, Zhejiang Province. The exhibition comprehensively showcases the achievements of China's intangible cultural heritage protection since its accession to the Convention for the Safeguarding of the Intangible Cultural Heritage 20 years ago, summarizes the experience of China's intangible cultural heritage image recording work, and explores new paths for intangible cultural heritage image recording through academic dialogue and exchange activities. At the exchange and dialogue activity of the Intangible Cultural Heritage Image Exhibition, Guo Yi, director and curator of the Zhejiang Intangible Cultural Heritage Protection Center (Zhejiang Intangible Cultural Heritage Museum), shared a set of exhibitions: on the first floor of the Zhejiang Intangible Cultural Heritage Museum, there is a "Hundred Crafts Wall" about 5 meters high, on which hundreds of pairs of skilled hands are working - pickling ham, weaving bamboo utensils, carving wood carvings, stir frying tea... These images are the results of more than 500 traditional handicraft practitioners tracked and recorded by the intangible cultural heritage recording team for more than two years. These images are not only records, but also excavation and organization Guo Yi said, "Although many handicrafts have been passed down among the people in the past, they lack first-hand visual records. With the passing of old folk craftsmen, many traditional handicrafts are facing the embarrassment of losing their skills. These images can provide people with a visual understanding of traditional handicrafts and give them an extra hope for inheritance." On November 12, 2024, Li Ziqi's "Da Qi Video" was released in less than an hour and received millions of views, allowing the audience to witness the exquisite craftsmanship of Da Qi painting. The rise of mobile Internet and new media has provided a broad platform for the dissemination of intangible cultural heritage images, allowing more intangible cultural heritage to be "seen". Therefore, this intangible cultural heritage film exhibition has extended the screening venue from offline to online, with over a hundred works being screened simultaneously, enhancing the social visibility of intangible cultural heritage. Intangible cultural heritage images are not only recording and dissemination carriers, but also artistic experimental fields where intangible cultural heritage elements can be absorbed and utilized. The opening film "Intangible Cultural Heritage China-Chic Music · Zhumei Series" of 2024 Intangible Cultural Heritage Image Exhibition is based on the traditional folk art of Henan Zhuizi, integrating the elements of modern rock music, creating a unique music style and refreshing the audience. "We hope to break the limitations of traditional folk art by innovating the content and method of communication, and stimulate young people's attention and love for intangible cultural heritage in a younger, newer and more grounded way." said Shang Na, the chief creator of China-Chic Music · Beauty Dropping Series of Intangible Cultural Heritage and a professor of Henan University of Technology. Imaging provides an important means of recording and disseminating intangible cultural heritage, injecting new vitality into its inheritance and development. However, in the process of using images to record and disseminate intangible cultural heritage, how to maintain the authenticity and integrity of intangible cultural heritage, and avoid excessive commercialization and entertainment from eroding the connotation of intangible cultural heritage, is a problem that current image creators should pay attention to. Lan Jing, Director of the Ethnic and Folk Literature and Art Development Center of the Ministry of Culture and Tourism, called on intangible cultural heritage image workers to go deep into the communities where intangible cultural heritage representative projects are located, pay attention to the vivid stories of the inheritors and groups of intangible cultural heritage representative projects, and pay attention to the natural ecology and cultural environment on which intangible cultural heritage representative projects rely for survival. Only in this way can intangible cultural heritage be fully and truly recorded and disseminated. In addition, Lan Jing also called for strengthening the protection and management of copyright of intangible cultural heritage images, ensuring the legal use and orderly dissemination of intangible cultural heritage image resources. At the same time, it is necessary to increase funding and technical support for the recording and dissemination of intangible cultural heritage images, cultivate more professional image talents, and continuously improve the quality and level of intangible cultural heritage images. (New Society)