Cultural relics, with a thousand year body temperature, have come from ancient times, and their hidden mysteries stir countless impulses to explore. The clash between protection and destruction, between cultural relic guardians and tomb raiders, which concerns the roots of civilization, has never ceased for thousands of years. However, for a long time, film and television cameras have focused more on tomb raiders shrouded in a "mysterious" aura, while the true guardians - those figures silently dedicating themselves in the yellow soil and laboratory - have always been hidden behind the scenes and rarely known. Recently, the popular CCTV drama "Treasure Hunt" cast the spotlight on these guardians for the first time, allowing them to stand tall in the shadows of history and restore the rough and real daily life of ancient people - interpreting the anti-theft codes set by ancient people from the mottled "flower soil" on the exploration wall, and awakening the dormant civilization genes in the assembly of each fragment. The popularity of this drama has pierced through the mystery of curiosity that has long been shrouded in the theme of tomb raiding, and opened up a new path for the future of cultural heritage dramas. For a period of time, various tomb raiding themed literary works have been obsessed with visual wonders, portraying tomb robbers as talented 'heroes', and the narrative mainline is filled with curiosity and excitement. ”The producer of "Treasure Hunt", Xu Zhe, bluntly stated, "This not only covers up the serious harm of tomb raiding to historical culture, human ethics and morality, but also blurs the legal responsibility it must bear and misleads the audience." Therefore, the creative team anchored the realistic stance of "anti tomb raiding" from the beginning of planning, striving to reveal the real battle of cultural relics defense. As they delved deeper into the field, the team ultimately decided to focus their camera on the archaeologists and cultural heritage workers who "measure the yellow soil with their youth and converse with history with their perseverance," telling their stories of passion and persistence. As a result, "Treasure Hunt" has become a hardcore realism work focusing on cultural relic protection and combating cultural relic crimes. The series is based on the real case of the "Jiangcun Tomb" and tells the story of a competition that spans twenty years: Fang Kun (played by Bai Yufan), a graduate student in archaeology at Qinbei University, and Luo Qing (played by Wang Herun), a graduate of Peking University, work together with cultural relics investigation team leader Qi Dacang (played by Fu Dalong) to pursue the lost black pottery figurines overseas, and engage in a fierce game with cultural relics crime leader Mu Jianhui (played by Xin Baiqing). In Yin Village, Bailuyuan, after nearly twenty years of protection and research, they finally uncovered the secret of a "Ya" shaped tomb, bringing back the long sealed Ziling to light. Reality is the richest soil for drama. The setting of the "Mu Jianhui Criminal Gang" integrates multiple real cases. This story spanning twenty years is not only a legend of pursuit and protection, but also reflects the era process of the country's high attention to cultural heritage protection and the exploration of ancient Chinese civilization. How to protect these non renewable cultural treasures in the new era is the core proposition we hope to explore through stories, "Xu Zhe concluded. The biggest innovation of this drama lies in the fundamental shift in narrative stance. Guo Xianchun, the director of film and television art at the News and Media Center of the Ministry of Public Security and the chief producer of the drama, proudly quoted a brilliant summary from an audience member: "On the value level, from consumption history to safeguarding civilization; on the narrative level, from curiosity and adventure to professional struggle; on the aesthetic level, from fantasy imagination to technical realism." In the drama, when cultural relics workers point to the fragments of murals and say, "These mineral pigments hide the fingerprints of Tang Dynasty craftsmen." This profound understanding of the connotation of cultural relics is in sharp contrast to the gold and silver that are only two pounds in the eyes of tomb robbers, directly hitting the core proposition of cultural relics protection - cultural relics are not ordinary commodities, but carry the genetic map of civilization. I never watch those tomb raiding movies and TV shows. I am a serious archaeologist, and I don't watch any fantasy or nonsense. ”Ma Yongying, a researcher at Shaanxi Provincial Institute of Archaeology and former leader of the Hanling Archaeological Team, who once presided over the archaeological work of Emperor Wen of Han, and is also one of the prototype characters of the "Ziling Archaeological Team" in the drama, spoke firmly in a phone interview. For him, the rampant tomb raiding dramas have caused a huge distortion of archaeological work among the audience and obscured the harsh reality of cultural relic protection. The popularity of "Treasure Hunt" has opened a good beginning for the new field of "cultural heritage dramas". Guo Xianchun stated that he will create a series on cultural relic protection based on the experience of this drama, and create high-quality works. The inspiration brought by the success of this drama is multifaceted. The true power is the foundation. All cultural relic crime cases and techniques in the drama have practical basis, and the team "consulted a large number of cultural relic case documents, as well as a compilation of cultural relic cases revised by relevant institutions". The professional insights and personal experiences of frontline experts such as Ma Yongying and Zhang Yun have injected an irreplaceable core of truth into the series. Ma Yongying commented on this drama, 'It reflects the situation of archaeological work very realistically and has great practical significance.' The professional presentation has won respect. From the use of excavators to the identification of "flower soil" and "raw soil", from the details of cultural relic restoration to the collaborative process of multiple departments, the rigorous and professional presentation not only eliminates misunderstandings, but also wins the recognition of practitioners in archaeology, cultural preservation, public security and other fields, enhancing the cultural depth and persuasiveness of the drama. Value leadership is crucial. The creation of this drama clearly replaces "consumer history" with "safeguarding civilization" and "professional struggle" with "adventure hunting", setting the correct value benchmark for similar themes. Guo Xianchun emphasized: "In the drama, Qi Dacang has a line - cultural relics belong to the country, but also to every ordinary person. This is the core concept of cultural relic protection - protecting civilization, everyone has a responsibility!" The drama transforms professional content into emotional narratives of public concern, inspiring widespread social resonance and audience participation. Regarding the popularity of "Treasure Hunt", Zhang Lu, Dean of the Film and Television School of Tianjin University of Media, analyzed it from a professional perspective: for a long time, tomb raiding dramas have been loved by audiences mainly due to their multiple attractions of "curiosity", "excitement" and "visual spectacle". This type of work often portrays a group of mysterious and legendary "tomb raiding heroes", packaging tomb raiding behavior as adventure stories while ignoring its serious damage to cultural heritage and legal responsibilities. This tendency deviates from reality and misleads the understanding of cultural relic protection. In contrast, cultural relics protection themes have been marginalized in film and television creation for a long time due to their strong professionalism and relatively slow pace, which were previously considered to lack dramatic tension and commercial appeal. In addition, the actual scenes of cultural preservation work often occur in remote archaeological sites or laboratories, lacking visual impact and making it difficult for mainstream narratives to focus. In addition, the high professional threshold and limited public awareness make it difficult for cultural heritage themes to "bring their own traffic" like tomb raiding dramas. It can be said that it is long-term misunderstandings and market biases that keep the 'true guardians' hidden behind the scenes. The emergence of "Treasure Hunt" marks the official opening of a new "track" for cultural heritage dramas. This drama takes anti tomb raiding as its stance and tells the story of cultural relic protection work from a realistic perspective. For the first time, the camera focuses on the true guardians of cultural relics, using a combination of real archaeological cases, professional cultural relic knowledge, and emotional narrative to break the narrative hegemony of "tomb raiding and curiosity" in the past, and instead establish the mainstream value of "protecting civilization". Zhang Lu believes that its core innovation is reflected in three aspects: the transformation of narrative stance (from consumer history to safeguarding civilization), the transformation of narrative style (from fantasy adventure to professional struggle), and the transformation of aesthetic concepts (from visual spectacle to technological realism). The realistic presentation of archaeological details such as "flower soil" and "raw soil" in the drama is both professional and dynamic, making cultural preservation work no longer "boring", but exploratory and mission oriented. This dual transformation of values and artistic expression provides a clear paradigm for the typification of "cultural heritage dramas" and a successful template for future similar creations to draw on. The popularity of "Treasure Hunt" will eventually fade, but its impact is far from over. From the perspective of future development, cultural heritage themes are expected to become a new growth point for realistic film and television creation. Its profound cultural resources, rich historical background, and high social significance provide a solid foundation for creation. Especially under the policy background of the integrated development of "culture and tourism+film and television", cultural heritage resources in various regions can be activated, disseminated, and transformed through film and television works. When the archaeological team's shovel accurately penetrates the "flower soil" on the screen, and when Ma Yongying is still patrolling the "ten tombs and nine empty" sites in reality, a clear consensus is forming: when it comes to the story of cultural relics, the protagonist should not be a fictional "gold scout", but should belong to those "defenders" who interpret the earth's codes inch by inch in the wilderness and piece together fragments of civilization in the laboratory. Under the 'flower soil' lies the wisdom and vicissitudes of a thousand years; On the screen, there is the perseverance and responsibility of the guardians. When the scientific creed of "stopping when you see the soil" replaces the mystical fantasy of "dividing gold and fixing caves", and when the value pursuit of "guarding the genes of civilization" overwhelms the thrill of "wealth plundering", the cultural heritage drama represented by "Treasure Hunt" has truly fulfilled its most important mission - to speak up for silent cultural relics, to name lonely guardians, and to sow the seeds of national protection of the roots of civilization in a broader soil. This may be the most valuable cultural resonance behind the phenomenon of popular cultural protection dramas. Ma Yongying has been engaged in the archaeological work of the Western Han imperial tombs for a long time. In 2021, he led an archaeological team to conduct exploration work and finally confirmed that the "Jiangcun Tomb" located on Bailuyuan in Xi'an was the site of Emperor Wen of Han's imperial tomb, correcting the fallacy that "Fenghuangzui" was the location of the imperial tomb since the Yuan Dynasty. In Ma Yongying's opinion, this drama authentically reproduces the daily life of the ancient people. Many details in the drama were consulted and verified by the creative team multiple times before filming. The shocking scene of tomb robbing in the drama has a more cruel truth in Ma Yongying's mouth: "The destruction of ancient tombs by tomb robbers is not only about how much they steal, but also about the most despicable thing. Once the thief's cave is opened, the constant temperature and humidity environment is destroyed, and the fragile cultural relics (organic matter) will instantly disappear." He sadly explained that the closed and stable microenvironment formed by ancient tombs over thousands of years is the last barrier for organic cultural relics such as silk, lacquerware, murals, bamboo slips, etc. to survive to this day. Stealing a cave is like a fatal wound. The influx of external air, moisture, and microorganisms can accelerate the oxidation, mold growth, disintegration, and loss of these precious cultural relics in a very short period of time. Its destructive power far exceeds the few gold and silver utensils taken away by the thief. The cultural relics taken away still have a chance to be recovered, and the vanished history can never be reborn again! "Ma Yongying said with great regret. There are many tombs in the Guanzhong region, and facing the current situation of "nine out of ten tombs", Ma Yongying felt very regretful: "After digging them down, what was left for us was only some debris, basically nothing decent." What is even more outrageous is the upgrade of tomb raiding methods. He said, "Nowadays, tomb raiders wish they could even dig up the soil below, even remove the murals, and the tombs were destroyed in a mess!" Why not take the initiative to excavate? Faced with the author's question, Ma Yongying explained, "The vast majority of the excavation projects we are currently approving are rescue oriented, and there are very few active excavations." Ma Yongying's "rescue" refers directly to the triple crisis of tomb protection: first, tomb raiders destroy the site, and once the cave is opened, rescue oriented excavations are rushed against time;