The digital media art has integrated with the intangible cultural heritage (ICH) of China due to technological progress and heightened cultural awareness. Virtual reality (VR), interactive visualization, and animation are some digital tools that are being applied to preserve and creatively reinterpret traditional cultural forms. This paper will investigate how digital media art can be used to preserve and redefine the ICH of China based on existing literature. It looks at how digital technologies have helped the maintenance, reinterpretation, and reformulation of cultural heritage. It was a qualitative research design with the use of a Systematic Literature Review (SLR) to review articles written between 2020 and 2025. Databases such as JSTOR, Elsevier, and SpringerLink were used, and the search was conducted using Boolean operators to narrow results. A search was narrowed down to 12 relevant studies based on inclusion and exclusion criteria. Digital media technologies (VR, AI, 3D visualization) were mentioned as some of the most important means of restoring and reshaping the ICH in China. They increase access and interactivity and cultural continuity, especially among the young generation. The digital technologies also contribute to the creativity of cultural reinterpretation and provide international channels to the ICH. This paper demonstrates that digital media art has a critical role in the preservation and novelty of the Chinese intangible cultural heritage, and it has the potential to enhance cultural interactions and access more and more, and to ensure the cultural traditions are relevant in the contemporary setting.
From the earliest observations of the starry sky to contemporary cosmology, astronomical discoveries have transformed not only our scientific understanding of the Universe but also the ways in which societies have represented and experienced the cosmos through art, literature, and music. This article argues that major paradigm shifts in the physics of celestial bodies function as catalysts for cultural reconfigurations, generating new representational repertoires across artistic and aesthetic domains – a process conceptualized here as scientific-aesthetic translation. Drawing on Kuhnian philosophy of science, the Science and Technology Studies (STS) concept of co-production, and the UNESCO 2003 Convention on Intangible Cultural Heritage, we develop an analytical framework that moves beyond the descriptive cataloguing of art-science connections to examine the mechanisms through which cosmological knowledge is culturally appropriated and reimagined. The scope is deliberately cross-cultural: paradigm shifts – from the geocentric model to Newtonian mechanics, Einsteinian relativity, and the cosmology of accelerated expansion – are analyzed alongside artistic responses from both Western and non-Western traditions, including Islamic astronomical aesthetics, Mesoamerican cosmological architecture, Buddhist stupa symbolism, and the music-cosmology theory of Al-Kindi and the Ikhwan al-Safa. Contemporary examples – particularly artistic responses to imagery from the James Webb Space Telescope and the Event Horizon Telescope, and the emerging practice of astronomical data sonification – are examined as new frontiers of scientific-aesthetic translation that challenge established disciplinary boundaries. The article contributes to heritage studies by demonstrating that the cultural history of the cosmos constitutes a layered and globally distributed intangible heritage deserving systematic interdisciplinary attention.
Social media platforms are now central to digital communication, including heritage conservation, for purposes like sharing knowledge, connecting, and educating. While social media can serve as a useful tool for promoting conservation efforts, it also highlights challenges related to engagement in conservation education, particularly in fostering positive learning outcomes and motivation among higher education students. This study aims to explore the use of Instagram as an educational tool for promoting Malay traditional house heritage conservation among university students, and to develop a social media–based model for heritage conservation education within this context. A qualitative case study design was adopted, integrating content analysis and semi-structured interviews with seven purposively selected informants to gain in depth insights. Both datasets were analysed using ATLAS.ti, resulting in four key themes; learning content, learning context, learning subjects, and learning Technologies, grounded in Connectivism Theory. Instagram can be a valuable educational tool by visual content raises awareness, but educators play a key role in facilitating access, context, and meaningful learning beyond formal settings. The model fosters participatory, learner-centered engagement, where students take active roles and educators leverage creative, technology-enhanced strategies to deliver contextually rich and meaningful instruction. This proposed model is beneficial in support a dynamic, learner-centered approach by contextually meaningful learning experiences mediated by Instagram.
The forehead ornamentation at the centre of the animal-face patterns on Shang Dynasty bronze has no clear anatomical counterpart. Morphological analysis reveals two main types: square and double F-shapes, alongside recurring rhombic elements. The double-F category can be further subdivided into crown-type and through-type variants. These motifs derive from Neolithic feathered helmets and “jie (介)” character shaped headdresses; they constitute abstract symbols of power. In the typical “two beasts facing the centre” composition, the forehead ornamentation invariably serves as the focal point, whilst the animal forms on either side adopt submissive postures. From the perspective of archaeological semiotics and materialization of ideology, this decoration condenses religious and political power into a single visual expression. Like the artistic traditions of other early societies around the world, Shang Dynasty animal-face patterns employ the design principle of “axial concentration” to better express power.
Colour painting is a vital component and defining feature of traditional Chinese wooden architecture. These architectural colour paintings, with a history spanning centuries, reflect the distinctive historical attributes and cultural connotations of each era and region. However, numerous preserved colour paintings from past dynasties have severely deteriorated, presenting a significant challenge for designers committed to preserving this art form. Despite its cultural importance, limited research has focused on integrating traditional architectural colour painting into contemporary design. This paper presents a comprehensive literature review on the influence of traditional architectural color painting on contemporary Chinese architecture since 2014. A systematic review of the literature between 2014 and 2024 was conducted according to the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines, with primary sources from databases such as Web of Science and Scopus. The search resulted in 188 papers, and nine papers were included in the systematic review based on exclusion criteria. The findings reveal that current research on ancient architectural colour paintings predominantly centers on the maintenance and restoration of historical buildings, while studies addressing their application in modern architectural design remain limited. Consequently, there is a need to explore innovative approaches for integrating ancient architectural colour paintings into modern design, thereby supporting cultural diversity in heritage conservation practices and fostering the continuity and development of traditional architectural culture.
One of the key elements of the intangible cultural heritage (ICH) of China, the paper-cutting art of Inner Mongolia, is increasingly facing a threat in terms of preservation and transmission within the context of the quickly modernised society and demographic changes. Even though the use of digital technologies is promoted as a way of preserving ICH, their actual impact is not sufficiently researched. The study will analyze the consequences of adopting digital technologies on the outcomes of heritage preservation, such as digital twins, virtual/augmented reality virtual reality (VR) and aumented reality (AR), artificial intelligence (AI), blockchain, and knowledge graphs, based on the original survey data of 200 artisans and heritage institutions carried out in 2024-2025. Using the mixed-method method and regression analysis, we can find that there exists a positive statistically significant influence of digital adoption on the performance in preservation and that the increase of one unit in the index of digital adoption has a positive effect on the preservation scores by 2.41-points (p < 0.001). Though knowledge of digital technologies, on the one hand, is positively related to preservation, mediation analysis indicates that the relationship between digital adoption and preservation is not significantly mediated by artisans' knowledge of digital technologies, and the indirect relationship is insignificant. Further results indicate that the positive impact of digital adoption is increased with policy support. The results show that digital technologies aid in maintaining a heritage primarily through direct and ecosystem-scale effects and not through the transmission of personal knowledge. The research gives empirical data to guide the development of integrated, policy-enhanced digital policies to preserve intangible cultural heritage.
Purpose: This study aims to explore systematized protection strategies for Yangzhou lacquerware, focusing on its historical, artistic, social, and economic significance. Method: The qualitative case-based analytical approach was used to analyze the collected secondary data in the form of academic articles, books, policy documents and heritage case studies. This study uses the approach of values analysis to explore the interaction between historical, artistic, social and economic aspects in the protection of Yangzhou lacquerware. Using a case study method, the research investigates how value-based preservation strategies can sustain this intangible cultural heritage while promoting its cultural, social, and economic relevance. Thematic analysis was conducted to explore the historical, artistic, social, and economic dimensions of lacquerware preservation. Key themes such as community involvement, economic sustainability, and the role of cultural tourism in lacquerware's preservation were examined. The case study of Yangzhou lacquerware allowed for a detailed, context-specific exploration of how protection strategies can be applied in real-world settings. Results: The findings revealed that lacquerware’s preservation is deeply tied to local artisans and communities. The integration of lacquerware into cultural tourism and global markets provides sustainable income, while the adoption of value-based protection strategies ensures its relevance. Additionally, community-based preservation efforts and educational programs are essential for intergenerational knowledge transfer. Implications: The study suggests that combining economic development with cultural preservation through sustainable management practices can ensure the long-term survival of Yangzhou lacquerware. This approach offers insights into the broader application of preservation strategies for other traditional crafts.
In his painting practice, Ni Zan gradually developed his personal "One River, Two Banks" landscape schema. His representative works, such as "Autumn Clearing over a Fishing Village (Yuzhuang Qiuji Tu)" and "The Rongxi Studio (Rongxi Zhai Tu)", clearly demonstrate the tripartite composition: a slope in the foreground, a river in the middle, and mountains in the background. Vertically, this composition incorporates Ni Zan's understanding of previous landscape and embodies the essence of traditional schemas. Horizontally, it represents both an adaptation and an innovation of contemporary artistic achievements. Previous studies on Ni Zan's paintings have mostly focused on the evaluation traditional Chinese painting language, while paying less attention to the patterns of his paintings and the relationship between the patterns and their meanings. Based on extensive research of Ni Zan's literature, this article starts from the iconic "one river ,two banks" composition that Ni Zan established in the middle and late period of the Yuan Dynasty, analyzing its origin, the way it was followed, and the relationship between the pattern and its meaning expression. By using methods such as literature investigation, image analysis, and comparison of Chinese and Western cultures, it provides a detailed interpretation of Ni Zan's paintings, transcending the traditional Chinese painting evaluation vocabulary. The formation of this schema and its use of pictorial elements possess an inherent visual rationality, which aptly coveys Ni Zan's unique personal spirit, making it a classic example of the integration of subject and object.
This article employs actor-network theory to investigate the use of Unmanned Aerial Systems (UAS) in archaeology. This article aims to raise concerns about ethical issues that should be addressed when using UAS for archaeological research. This article contends that human and non-human actors can contribute to ethical issues such as ethics dumping, invasion of privacy, and cultural insensitivity and ignorance of the local community. The article examines the status quo of existing legal and ethical frameworks and contends that the current rules are outdated and insufficient to address ethical concerns. The laws primarily concern security, safety, and flight operations rather than context-specific for archaeology. A clear guide to data and UAS ethics for archaeology should be addressed. Although they emphasize how human archaeologists should behave as professionals with ethics, they fail to address the technological aspect, which has created biases and raised ethical concerns. Understanding this relational network and power dynamics through ANT, the article suggests that to address the ethical concerns, both human and non-human actors should be considered, and the law and code of conduct should apply to both.
During the Ming and Qing dynasties, Chinese merchant courtyard architecture served as a visual language through which regional identity, family ideology, and cultural memory were expressed. Brick carvings in these spaces reveal how different regions in China developed unique aesthetic and symbolic traditions. Purpose: This study examines how brick carvings in merchant residences from Shanxi and Huizhou reflect regional values, social structures, and cultural symbolism. It aims to explore how visual traditions embody merchant identity and Confucian worldviews rather than relying on generalized assumptions of Western artistic influence. Method: A qualitative, comparative case study approach was adopted, drawing from secondary data in scholarly databases, visual archives, and historical sources. Cultural Transfer Theory and visual semiotics provided the framework for analyzing regional adaptation and symbolic meaning. Findings: Shanxi carvings emphasize bold relief, symmetry, and public expression of status and patriarchal authority. In contrast, Huizhou carvings are refined, symbolically rich, and oriented toward moral storytelling and ancestral reverence. Both regions encode Confucian values, but through different visual strategies shaped by geography, economy, and cultural orientation. Implications: The study reframes Chinese courtyard ornamentation as an expression of internal regional diversity. It contributes to heritage discourse by advocating for preservation approaches that consider symbolic meaning and local aesthetic traditions, moving beyond binary narratives of foreign influence.
The purpose of this study is to analyse cultural initiatives aimed at preserving Ukraine' s cultural heritage in the context of armed conflict in the period 2022-2025, with a particular focus on projects to digitise cultural objects that are currently under constant threat. The research is based on international legal acts that regulate the protection of cultural heritage in conditions of armed conflict and establish modern mechanisms for digitising cultural heritage. A systematic review method is used, analysing 15 peer-reviewed publications and case studies containing experience in digitising and protecting cultural heritage sites. The results of the study demonstrate the important role of transforming approaches to cultural heritage preservation, taking into account digitisation and the development of 3D models of artefacts ( " ICOM4Ukraine " , "Ukraine is Here", "Memory of the World" and "SKEIRON" projects). In conditions of economic instability, such initiatives are only possible within the framework of international cooperation in the field of compliance with humanitarian law and conventional norms. The study confirms that military actions pose a double threat to cultural heritage: the physical destruction of tangible objects and the systematic destruction of intangible cultural identity lead to the degradation of the cultural space as a whole - the loss of significant monuments, the severing of communication links and the weakening of intercultural exchange.
Environmental changes occurred in the Petobo settlement, Palu City, Indonesia, following the 7.5 Mw tectonic earthquake on 28 September 2018. The disaster was accompanied by a tsunami and liquefaction that caused extensive mudflows in Balaroa, Petobo, and Jono Oge. Petobo was one of the most severely affected areas, with approximately 200.4 hectares impacted and widespread destruction of infrastructure and housing. One affected zone was the settlement surrounding Buvu Bionga, a water well inhabited by the Kaili Ledo community. After the disaster, several households continued to reside near the well. This persistence indicates a spatial phenomenon that warrants further investigation. This study examines whether Buvu Bionga functioned as a determining spatial element in the historical development of the Petobo settlement. The study employs a qualitative approach using diachronic analysis based on historical sources and field observations. The results are then examined synchronically through an urban morphology framework. Adaptation theory is applied to assess settlement resilience in the post-disaster context. The findings reveal three key points. First, Buvu Bionga historically functioned as a central spatial anchor that shaped residential patterns in Petobo. Second, proximity to the well influenced post disaster settlement persistence despite severe environmental change. Third, the well continues to act as a cultural and spatial reference that supports community resilience after liquefaction.
The role of historical film in the overall memory of the people and shaping the nation identity is an important phenomenon, particularly within a culturally diverse society such as China. Although the ideological symbolism in individual movies, and the way these methods have evolved over the years, has been addressed in the current literature, the systematic analysis of how changing cinematic techniques and emotional storytelling have helped a nation form their identity at various times in history is still lacking. This paper will fill this gap by discussing how the Chinese historical cinema changes over time during the Republic period and up to the present day in terms of their narrative techniques, visual symbols and use of new technology. The study explores selected movies in three great periods of embryonic, mainstream socialist and commercially transformed periods via a qualitative, multi-modal analysis framework. It explores how camera effects, focalization, and emotional appeal are used to fulfill the need to have the past and the present collide and be real. The results indicate that the classic national allegories give way to emotional descriptions of the identity of individuals and groups, which is frequently achieved by de-heroization and humanization of the main characters. It is these changes in cinema that allow people to work with the history of the country, not only at the intellectual level, but also at the level of the gut. The research comes to the conclusion that modern Chinese historical cinema is effective to close certain gaps between the past and the present and to translate abstract national ideas into living emotional experience building a strong cultural identity in digital epoch.
Wood has been one of the oldest and most widely used building materials throughout history. During the colonial period in Brazil, woodwork ranged from artistic expression to the construction of edifices that represented the formation of new settlements, such as religious temples. This study aimed to understand the use of wood as a construction technique and structural solution in the Church of Nossa Senhora da Gra & ccedil;a, located in southern Brazil, by analyzing the wood used in this historical building. The research followed the assumptions of historical anatomy, beginning with the survey of documentary sources on the history of the city and the church. Wood samples were obtained from all the church's structural components, along with photographic and floor-plan records of the building. Histological preparations were prepared according to standard wood anatomy techniques and subsequently used for structural description and taxonomic identification based on a reference collection. In the original structure, eight native arboreal taxa from the Atlantic Forest with natural occurrence in southern Brazil were identified. The predominant wood used in the roof structure, bell tower staircase, and flooring is Ocotea porosa-Lauraceae (imbuia). The replaced truss piece was made of Licaria sp.-Lauraceae (louro). The frames were entirely constructed from Handroanthus sp.- Bignoniaceae (ip & ecirc;). Internal structures, such as staircases, were made from Cedrela sp.-Meliaceae (cedro). In the wattle-and-daub wall framework, Ocotea sp.-Lauraceae (canela) was found. The central pillar supporting the bell tower staircase is Calophyllum brasiliense-Calophyllaceae (olandi), and the steps of the same staircase were composed of Aspidosperma sp.-Apocynaceae (peroba). The wooden floorboards were made of Ocotea cf. cymbarum-Lauraceae (louro-mamoreim). All taxa naturally occur in the Atlantic Forest, except Licaria sp. and O. cymbarum. All taxa exhibit high density and resistance to decay and insect attack, compatible with their use in construction. The use of Licaria sp. showed interventions carried out over time to maintain the building' s functionality, in accordance with the Venice Charter. It was thus possible to understand the link between construction techniques and the use of wood in this building, contributing to the preservation and appreciation of historical heritage, while highlighting wood as an essential cultural and historical element in colonial architecture.
The poetic collections of Li-Young Lee over different periods encapsulate the subtle and complicated process of cultural negotiation and adaptation, which can be summarized as a constant process of "Jin Jiang Dai Hu", it may not only provide a lens for a better understanding of his poetry, but also enable us to delve into the diasporic Chinese community overseas. Most importantly, such process makes it possible for us to track the psychological development through his diasporic poetry, Rose is a good case in point. The study aims to analyze the selected poems from Rose through the perspective of "Jin Jiang Dai Hu", trying to find how Lee cope with the "cultural shame", "cultural amnesia", his sense of alienation and displacement both to his original homeland and adopted homeland after his family's settlement in America, which corresponds to his early poetic period. Therefore, the poetic analysis of Lee's poems may epitomizes the diasporic Chinese community overseas.
This paper focuses on analyzing Arcosanti, designed by Paolo Soleri, as a bold approach towards exploring urban utopias. Arcosanti was designed with the aim of exploring innovative ways to merge architectural and ecological foundations, envisioning to create an urban laboratory, where community-centered sustainable models of urban living could be achieved. From the theoretical perspective, Arcosanti is founded on combining ideas of evolutionary radicalism, Teilhard de Chardin's concept of interconnectedness and the Gaia hypothesis. This study explores how Arcosanti maintains balance in urban density through natural environments and prioritizing individuality within the community, while overcoming daily obstacles like socioeconomic challenges, along with its influence on contemporary urban design theories. While the paper reviews the difficulties surrounding the realization of ambitious ideas through highlighting critical points on practice of sustainability, equity and resilience in experimental urban projects, it also examines how foundational principles of Arcosanti inspired modern initiatives like Telosa and Burning Man, which focus on reinterpretation of core urban ideas to address current urban challenges. This paper argues how Arcosanti, despite its imperfections, provides foundational concepts on rethinking urban living in the 21st century and presents a significant perspective for prospective utopias, through both theoretical and practical approaches.
This study aims to provide a window into current developments in curatorial practice and museum studies regarding a multicultural topic within China. Our case concerns a new kind of collection of musical instruments and its unique context in a leading archaeological and cultural heritage institution. It consists of 203 traditional musical instruments, primarily of more recent origin, from all around the world with a primary focus on Eurasia. It is the only collection of this scope and theme in China. It was assembled over decades by the renowned Chinese scholar Ziye Fan and curated by the authors at the Yungang Academy in Datong, China, in 2024. The Yungang Academy is situated at the Yungang Grottoes, a 5th-century Buddhist UNESCO World Heritage Site, which is also known for its music-related, multicultural Silk Road iconography. The study begins by analyzing this context, followed by an introduction to the collection. It then proceeds with a critical reflection on the curation process regarding preservation, documentation, classification, organological analysis, and the creation of a new Chinese musical instrument nomenclature. Within the Chinese museum landscape, this project can be characterized as a pioneering undertaking. The ethical provenance and unique placement context of the collection, which resonates with the collection’s topic, invite new research perspectives. The study investigates whether the collection can serve as a pioneering postcolonial model for curating world heritage in a Chinese context. We discuss the collection’s acquisition history and the symbolic value of its placement. As a result, the collection is established as an example of a novel postcolonial approach in China, bearing great symbolic significance for equal cultural exchanges and dialogue.
The dominant temporal models within Latin American colonial history appear mainly Eurocentric thereby dismissing the epistemological approaches of indigenous peoples and Afro-Latino communities. The linear structure of historical time functions as a method to eliminate rival cultural perspectives along with alternative memory systems. Through magical realism Latin American literature employs "folded time" storytelling techniques to recover colonization history while conserving cultural practices in ways that combat epistemic injustice. Adopting a qualitative interpretive method, the study applies postcolonial theory and narratology to analyze three major Latin American magical realist texts. The findings suggest that magical realism facilitates historical recovery and cultural continuity through innovative temporal storytelling. Three major Latin American texts include One Hundred Years of Solitude by Gabriel García Márquez and The Kingdom of This World by Alejo Carpentier and The House of the Spirits by Isabel Allende. The narratives use folded time concepts to counter colonial historical accounts and preserve communal memory working from marginalized perspectives to retell misunderstood suffering points. Through magic realism writers retain historical agency among marginalized groups through their delivery of culturally rooted resistance-focused historiography.
A growing contradiction has emerged in museum digitalization between the public’s escalating demand for a transition from artifact appreciation to holographic experience and ultimately to cultural healing, and the uneven development of digital exhibition practices. Anthropological research offers a valuable framework for examining the underlying challenges of this trend. Using case studies and literature review, this article systematically examines digital exhibitions (both online and on-site formats) curated by Chinese museums in recent years, and draws on anthropological perspectives, including insights exemplified by Anthropology: Theoretical Practice in Culture and Society. This approach reveals core dilemmas in Chinese museums’ digital curation: an overemphasis on individual artifacts at the expense of relational contexts, a monolithic approach to representing regional cultures despite their diversity, the constrained curatorial horizons of temporary exhibitions, and a lack of multisensory engagement. Addressing these conceptual and practical dilemmas presents a critical area for professional reflection among museum practitioners. Throughout this process, anthropological theory provides an important point of reference for research and implementation.
Inner Mongolia has a strategic position in pre-history in East Asia between Siberia, Mongolian Plateau and North China. In this paper, a systematic review of fossil, cultural, chronological and heritage data on the Zhalainuoer locality is synthesized based on both international and Chinese literature. Results show that the current record is Holocene, morphologically modern, and stratigraphic ally sound Pleistocene deposits are not proven. Comparisons between regions focus on recurrent dispersals and technological advancements such as microblade systems that can appear when the old intact layers are mainly found. Heritage analysis demonstrates that Hulunbuir and Zalainuoer Museums incorporate the site in regional identity yet they need to be more closely tied with verifiable context. The noninvasive survey, targeted excavation, high precision dating, and museum research partnerships have been recommended as the main priorities to combine scientific rigor with the shared interpretation in the most effective way.
