In the era of constructing an inheritance system for excellent traditional Chinese culture, the display and interpretation of cultural heritage are confronted with unprecedented opportunities and challenges. The traditional approach to displaying cultural heritage, which primarily centers on the protection and presentation of material remnants, often fails to fully actualize its potential in cultural dissemination. This is particularly evident in contemporary society, where the diversifying demands of audiences for the interpretation of cultural heritage have outpaced the capabilities of traditional display methods. These methods frequently neglect the interactivity, participatory sense, and experiential aspects of cultural heritage, resulting in a superficial grasp of its significance by the audience. Consequently, the innovation of display and interpretation modalities to better safeguard, inherit, and revitalize cultural heritage has emerged as a pivotal issue in contemporary cultural heritage research. This paper introduces a framework for the display and interpretation of cultural heritage, grounded in cultural communication theory, with a focus on the world cultural heritage site of Hailongtun in Zunyi as a case study. It dissects the coupling characteristics of cultural heritage display and dissemination across temporal, spatial, and social dimensions, advocating for a paradigm shift that transcends traditional material ontology displays to emphasize the multidimensional transmission of cultural connotations and interactive audience experiences. The paper commences with a critical review of the limitations inherent in traditional cultural heritage display methods, which are characterized by unidirectional information transfer, a narrow scope of display content, and a paucity of audience engagement. These methods often overlook the dynamic, disseminative, and timely nature of culture, rendering them inadequate for meeting the multi-tiered interpretation demands of modern society for cultural heritage. The paper, therefore, proposes that the display and interpretation of cultural heritage should surpass the confines of material ontology, enrich the cultural connotations conveyed by heritage through the synthesis of temporal and spatial dimensions, and leverage modern communication methods to foster the comprehensive dissemination of cultural information. Underpinned by this theoretical framework, the paper constructs a comprehensive display and interpretation system that encompasses cultural sources, communication fields, communicators, communication methods, and audiences. Cultural sources should not be limited to the historical culture embodied by the remains themselves but should also include the reinterpretation of heritage and its applied value in contemporary society, such as its roles in education, scientific research, and ecological protection. The communication field, serving as the spatial medium for cultural dissemination, should encompass both traditional physical spaces and virtual spaces crafted through digital technologies, with a focus on the seamless integration of history and modernity, nature and artificial environments, to augment the effectiveness and participation in cultural dissemination. The paper also underscores the pivotal role of local community residents as communicators, actively involved in the transmission and interaction of cultural information. By critically evaluating Hailongtun's current display methods, the paper identifies issues such as singular display content, poor interactivity, and insufficient audienceparticipation. It proposes innovative strategies, including the enhancement of cultural connotations through digital technology and the design of immersive interactive experience activities utilizing virtual reality and augmented reality, to bolster audience participation and comprehension. Furthermore, it suggests the provision of diversified display content and forms to better address the cultural cognition and experiential needs of diverse audience groups. Building upon these innovative strategies, the paper posits that the display of cultural heritage is not merely a conduit for transmitting cultural information but also a crucible for cultural regeneration. In this process, the audience should evolve from passive recipients to active participants and cultural creators. Through a variety of interactive display methods, audiences can attain a deeper understanding and identification with cultural heritage, thereby fostering its inheritance and constructing cultural confidence. In summary, the paper proposes a more open, interactive, and diversified model for the display of cultural heritage from the perspective of communication studies. This model emphasizes the in-depth exploration of cultural sources, the flexible design of communication venues, the innovative application of communication methods, and the precise response to audience needs. It does not only enrich the connotation of cultural heritage display but also significantly enhance audience cognition and emotional identification, thereby promoting the effective protection and global dissemination of cultural heritage. The implications of this approach are far-reaching, as it does not only transform the way we perceive and engage with cultural heritage but also contribute to the revitalization of cultural practices and the enhancement of cultural confidence. By embracing a communicative and participatory approach to the display and interpretation of cultural heritage, we can ensure that these invaluable assets are not only preserved but also brought to life, allowing them to resonate with contemporary audiences and future generations. This approach also aligns with the United Nations Educational, Scientific and Cultural Organization’s (UNESCO) efforts to promote cultural diversity and heritage preservation, underscoring the global relevance and importance of such initiatives.