Research on Digital Transformation and Design Innovation of Intangible Cultural Heritage in Modern Art Creative Products
Data publikacji: 19 mar 2025
Otrzymano: 02 paź 2024
Przyjęty: 30 sty 2025
DOI: https://doi.org/10.2478/amns-2025-0366
Słowa kluczowe
© 2025 Li Zhou et al., published by Sciendo
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
China is a large country with intangible cultural heritage, and as an important part of the excellent traditional Chinese culture, intangible cultural heritage is a vivid testimony of the continuous transmission of Chinese civilization. The best way to protect and inherit ICH is to apply it innovatively [1-4], so that it can be revitalized in the new field of modern society and continue to show its unique charm in the daily life of modern people. Therefore, it is a good choice to integrate intangible cultural heritage into contemporary cultural and creative product design [5-7].
In recent years, with the gradual development and growth of the cultural and creative industry, people have higher requirements for the design of cultural and creative products, and excellent cultural and creative products need to have deep cultural connotation and unique design interest. Refining materials and drawing inspiration from intangible cultural heritage promote the innovative design of contemporary cultural and creative products [8-11]. Intangible cultural heritage plays an important role in modern product design. It not only makes the products have the significance of cultural inheritance, but also makes the products show unique innovation in functionality, appearance design, material selection and other aspects. The integration of traditional cultural elements makes the products more distinctive and enhances the user experience [12-15]. The development of intangible cultural heritage has an inspirational effect on product design and promotes the innovation of product design. Intangible cultural heritage is an important and indispensable resource in modern product design [16-18]. By fully exploring and utilizing intangible cultural heritage, more cultural connotations and feelings can be injected into the product design, making the product more contemporary value and cultural heritage [19-20].
The study proposes a digital design transformation model with double-loop five-dimensional structure applicable to intangible cultural heritage on the basis of the digital twin five-dimensional model, and analyzes the digital design transformation mechanism of intangible cultural heritage from the three time dimensions of the past, the present and the future, and from the three spatial hierarchies of the past, present and future, and from the three spatial hierarchies of the pictorial state, the anthropomorphic state and the intentional state, for the virtual digital cultural design part of this model. By refining the artistic and cultural elements in the intangible cultural heritage, the artistic and cultural elements in the intangible cultural heritage are created twice, in order to realize the design innovation of the intangible cultural heritage in the modern art creative products.
The concept of the digital twin five-dimensional model, as shown in equation (1):
Where:
Digital twin five-dimensional conceptual model
PE is the constituent basis of the digital twin five-dimensional model, and accurate analysis and effective maintenance of PE is the prerequisite for the establishment of
The VE is shown in equation (2), including geometric model (
Where:
Ss refers to all kinds of data, models, algorithms, simulations, results required in the process of digital twin application service encapsulation, tool components, middleware, module engine and other forms of support for the operation and realization of the internal functions of the digital twin “functional service (FService)”, as well as in the form of application software, mobile App, etc. to meet the different business needs of different users in different fields. FService, which supports the operation and realization of the internal functions of the digital twin, and ‘business service’ in the form of application software, mobile apps, etc. To meet the business needs of various users in different fields, FService provides support for the realization and operation of BService.
DD is the driver of digital twin. As shown in equation (3), DD mainly includes PE data (
Where:
CN realizes the interconnection of the components of
Where:
The study proposes a double-loop five-dimensional structure for the digital design transformation model of intangible cultural heritage, based on the digital twin five-dimensional model. The model consists of five parts: physical entity cultural design, virtual digital cultural design, cultural design digital twin innovation platform, cultural design digital twin protection platform, and cultural heritage twin data system, and the five dimensions are interconnected through data collection and driving. Physical entity cultural design and virtual digital cultural design rely on the innovation platform and protection platform of cultural design digital twin respectively to realize all-around innovation, development, and protection of cultural heritage physically and digitally, and to realize internal connection with physical entity and digital twin [22].
In the double-loop five-dimensional structure of the digital design transformation model of intangible cultural heritage, the transformation mechanism of virtual digital cultural design is the research focus of this paper.
In this paper, the transformation mechanism of the virtual digital cultural design part of the digital design transformation model of intangible cultural heritage in different space and time is analyzed from the three spatial twinning levels of the image, mimetic, and intentional layers, and the three temporal twinning dimensions of the past, present, and future. The present dimension is the process of mutual mapping and feedback between physical cultural entities and digital cultural twins, using technologies such as sensors, Internet of Things, and digital model generation. The past dimension refers to the preservation of digital cultural heritage, which involves reproducing, simulating, and extracting the past. The future dimension corresponds to digital cultural product development, which is the prediction, creation, and diffusion design of cultural heritage in the future based on the data attributes of the past and present, and the virtual digital cultural design transformation mechanism is shown in Figure 2.
Design transformation mechanism of virtual digital culture
The image state layer (physical ontology space) corresponds to the basic attributes of physical cultural entities, which is the part that people can observe and experience in the virtual digital cultural design of non-heritage, and the image state of Juda morphology, i.e. the external modeling shape of cultural heritage with physical attributes, which can be said to be the direct mapping of the physical cultural entities in the real environment, and contains the cultural elements of cultural heritage in the shape of the physical objects, texture and other physical attributes. The external shape data are obtained by means of digitization technology, and the historical knowledge data related to the cultural heritage are used to realize the recovery and reproduction of the past shape of the cultural heritage and the regeneration of its future shape by using digital technology such as machine learning and digital design.
The mimetic layer (functional field space) simulates non-heritage use scenes, methods, functions, and other attributes, corresponding to the functional field space of physical cultural entities. Mimicry is based on people’s portrayal and reproduction of the real cultural heritage through subjective cognition and cultural foundation, which takes physical reality as the blueprint, and uses information knowledge and digital means to construct a virtual scene reflecting reality on the communication media, forming a symbolic mimicry environment of cultural heritage information. The mimetic transformation of virtual digital cultural design of non-heritage is the dimension of digital virtual simulation of past scenes of non-heritage by designers through design means based on historical knowledge, historical cognition and historical environment.
The mimetic layer (psychological value space) is an implicit feature of cultural heritage, which cannot be directly observed by people, nor can it be directly mapped to a physical entity, and needs to be perceived and experienced by people. It corresponds to the psychological value space of the people associated with cultural heritage, and it is the cultural genes, spiritual kernel, and value connotations of cultural heritage, but it can be extracted from the past cultural values in the digital cultural twin through design, and the essence of the cultural values can be taken away from the dregs, and the dregs of the cultural values can be removed from the digital cultural twin through design. Using the design twin data to achieve the derivation and optimization of cultural connotations, and follow the development of time and changes in the social value system to verify the intentionality of cultural heritage.
Valuable pattern elements in intangible cultural heritage include paper-cutting art, Chu embroidery, totem elements, ornamental patterns, cheongsam elements, and so on. In the process of inheritance of intangible cultural heritage, the integration of modern art design methods with pattern elements can make modern art design works more culturally representative and attractive, and can both create an artistic atmosphere and enhance the traditional cultural flavor.
When designers carry out modern art design, they need to refine the characteristic modeling elements contained in intangible cultural heritage, and integrate the modeling elements and cultural connotations of intangible cultural heritage into the design of the works, so as to ensure that the final design of the works is both beautiful and reasonable.
Designers should carry out in-depth excavation of the technical elements of intangible cultural heritage in different regions, and integrate them with modern art design works to enhance the attractiveness of the works to the audience and promote the modern art design works to reach a higher level.
Before carrying out artistic design, designers need to have a systematic and comprehensive understanding of intangible cultural heritage and the artistic elements it contains, and extract the typical characteristics of the artistic and cultural elements of intangible cultural heritage [23]. On the basis of in-depth excavation, the designer should seek for the point of convergence between intangible cultural heritage and modern art design, interpret the rich cultural connotation of intangible cultural heritage with the help of the spirit of modern art design, and form modern art design works with both aesthetic and cultural connotation. On the basis of in-depth analysis and interpretation of the artistic and cultural elements of intangible cultural heritage, designers should accurately grasp the spiritual and cultural attributes of modern art design works and give art design works more profound cultural connotations with the help of profound cultural attributes originated from intangible cultural heritage culture, so as to make the final art design works have cultural spiritual charm. Designers carry out modern art design works on the basis of research, get rich creativity from the non-heritage culture and make the design more vitality, and finally design works with rich content and diverse forms that can cause consumers’ resonance.
On the basis of in-depth analysis and interpretation of the artistic and cultural elements of intangible cultural heritage, designers can take the initiative to explore the effective path for the integration of modern art design and intangible culture based on their own understanding and cognition of intangible culture, and continue to carry out in-depth development of intangible cultural heritage, and think about the inheritance and innovation path of intangible culture under the new era with innovative thinking. At the same time, it is necessary to pay attention to the rational use of artistic and cultural elements to enhance the effect of integration and application. Taking the pattern elements of intangible cultural heritage as an example, we can choose the more representative painting and calligraphy works, ornamental patterns, etc., and integrate them into the matching modern art design works, so as to inherit the intangible culture in the process of integration and innovation.
Xia Bu is one of the traditional Chinese fabrics, also known as Ramie, which is hand-woven from hemp fibers, and is named for the fact that it is very cool and comfortable to wear in the summer. The technique of weaving summer cloth is one of the unique intangible cultural heritages in China. Taking the digital design of summer cloth weaving technology in interior soft furnishing design as an example, the implementation of digital design involves the following two steps:
Demand analysis stage. Clarify what aspects of digitalization are desired, such as pattern design, texture generation, color management, etc. Research and understand the requirements and characteristics of the summer cloth weaving technique: get an in-depth understanding of the design requirements of the summer cloth, material characteristics, weaving process, etc., to ensure that the digital design scheme is compatible with the summer cloth weaving technique. Communicate with designers, weaving craftsmen, and other relevant personnel to understand their expectations and specific needs regarding digital design. Specific design phase. Based on the previously designed digital design transformation model needle of the two-cycle five-dimensional structure of the intangible cultural heritage for pattern design, texture generation, color management, etc. of the summer cloth, generate digital files of the summer cloth samples. The production verification of the digitized samples can be carried out using CNC looms, digital printing and dyeing equipment, etc. to verify the impact of the summer cloth’s digitized design.
When designing the interior soft furnishing product modeling using the summer cloth weaving technique, it is necessary to consider the objective elements such as the material and technical processing of the product, as well as the perceptual elements such as the psychological feelings and practical needs of the consumers. Through the online and offline distribution of product design questionnaires, the target group is analyzed and positioned, which is conducive to determining the expression of product design. A total of 121 questionnaires were distributed, and 98 valid questionnaire answers were received. The statistical results of the questionnaire results are shown in Figure 3. Among them, the young group has a higher degree of acceptance of the product, accounting for 46.38%. In the questionnaire on the design style of consumers’ favorite products, personality and fashion, product styling design with cultural connotations were liked by 46.77% and 38.02%, respectively, and 8.36% were interested in the lightweight and durability of the products.
Questionnaire results
Through the analysis of the target group can be seen that home products or lack of personalized design, has been unable to meet the needs of consumers to use, to start from the needs of consumers, emphasizing the people-oriented design ideas, to achieve better product service to people. In keeping with the characteristics of intangible cultural heritage while designing practical household products, we aim to innovate products while challenging the traditional image of summer clothing.
With the change of consumers’ aesthetics of household products and the focus on the emotional experience of the products, the products should not be limited to the traditional production of living artifacts, and should be based on the retention of the traditional artistic characteristics of the creative form of expression of the material’s own physical attributes and spiritual attributes, with the formation of new creative household products. Based on the generalized analysis of summer cloth’s characteristics and traditional patterns, and the results of the questionnaire survey, consumers’ favorite types of products are shown in Fig. 4. 49.63% and 37.69% of the consumers tend to prefer household products and home decoration products. The design and application of products from both life and decoration can satisfy consumers’ psychological pursuit and spiritual enjoyment, while also better reflecting the characteristics of summer fabrics in home products.
Consumer favorite product type statistics
Chairs and sofas (Class 1). Summer cloth weaving techniques can be applied to the design of chairs and sofas to add a light, natural atmosphere to the furniture. Summer cloth woven seats can be made from linen fibers, rattan, and other materials, and their breathability and comfort make them cooler and more comfortable to sit on, making them more suitable for the summer months than traditional oilcloth or leather chairs.
Wall decorations (Class 2). Summer cloth weaving techniques can be digitally transformed and applied to create unique wall decorations. By combining traditional summer cloth weaving techniques with modern digital design, designers can create a rich variety of wall decorations, such as fabric artwork, woven wall decorations, etc. These decorations can add a good texture and sense of hierarchy to the interior space, creating a fresh, natural feel.
Flower pots and baskets (Class 3). Summer cloth weaving techniques can be applied to the design of flower pots and baskets to create a comfortable environment for plants. Summer cloth woven flower pots and baskets have good air permeability and moisture absorption, which can help to maintain the moisture and ventilation of plant roots, and the appearance of summer cloth woven flower pots and baskets can also add a natural and warm feeling.
Ornaments and small pieces of furniture (Class 4). Summer cloth weaving techniques can be applied to the design of accessories and small pieces of furniture to add a sense of nature and coolness to the interior space. For example, summer cloth woven lampshades, wall hangings, and cushions can be digitally transformed to create more design choices to meet the needs of personalization and customization.
The PrEmo Emotion Measurement Tool measures emotional responses without verbalization but using a form of self-evaluation. Users can choose anime emoticons to express their emotional responses, and there are a total of 14 different emotional expressions, including 7 positive emotions (happy, appreciative, proud, hopeful, satisfied, enamored, and eager) represented by EMO1~7, and 7 negative emotions (sadness, fear, shame, contempt, anger, boredom, and disgust) expressed by EMO8~14, respectively. The test culminates in a specific emotion report, through which the researcher can obtain valuable feedback.
In order to validate the results of the interior soft furnishing product design practice more objectively, it is proposed to use the interview method and questionnaire method for validation. The evaluation process is divided into two parts. The first part is the PrEmo emotional dimension measurement questionnaire. The second part is to evaluate cultural and creative products using the Likert scale method, using the four design principles of ease of use, commemorative, innovative, and cultural connotations as the evaluation vocabulary.
Experimental Subjects
The four series of interior soft furnishing products designed above that incorporate summer cloth weaving techniques are taken as experimental objects.
Selection of testers
30 consumers were randomly selected to evaluate the design of the products.
Experimental Method
Using PrEmo emotional measurement tool for evaluation of emotional avatars, a total of 14 different emotional avatars, half of positive emotions and half of negative emotions, and set up a 5-level scale of high and low degree of emotion to obtain the degree of emotional response. 0 to 4 are respectively indicated as no feeling, a little feeling, feeling in general, feeling extremely strong, or feeling no feeling. The Likert scale method uses a 5-level Likert scale to evaluate the product. For example, to evaluate the term “ease of use”, 1~5 means extremely not available, not available, neutral, available and very available respectively.
Experimental process
The PrEmo Emotional Dimensions Questionnaire and Likert Scale were distributed to obtain consumers’ emotional dimensions and evaluations of the designed products.
The 14 emotional response metric scores for the 4 series of interior soft furnishing products were summarized, and the results of the PrEmo emotional measures are shown in Figure 5. (a)~(d) represent the emotional responses of the products in series 1~4, respectively. All four series of products show that the mean values of the emotional responses for the seven positive emotions range from 2 to 4, indicating that the four series of interior soft furnishing products incorporating the summer cloth weaving technique can bring positive emotions to consumers.
PrEmo emotional measurement results
Product evaluation vocabulary evaluation results shown in Table 1. 4 series of indoor soft furnishing product innovation, cultural connotation of the evaluation of the average value of 4.67, 4.75, indicating that in accordance with the methodology of this paper designed in accordance with the elements of intangible culture of modern art creative products are very innovative and cultural connotation.
Evaluation of product evaluation
| Ease of use | Memorable | Innovation | Cultural connotation | |
|---|---|---|---|---|
| Class 1 | 4.2 | 3.87 | 4.5 | 4.85 |
| Class 2 | 4.8 | 4.46 | 4.94 | 4.81 |
| Class3 | 4.5 | 4.07 | 4.77 | 4.4 |
| Class 4 | 4.53 | 4.35 | 4.48 | 4.94 |
| Mean | 4.51 | 4.19 | 4.67 | 4.75 |
Research in accordance with the constructed double-cycle five-dimensional structural model and design innovation to realize the digital design of the summer cloth weaving technology path in interior soft furnishing design. The following conclusions are drawn through the interview method and questionnaire method:
The PrEmo Emotional Dimension Measurement Questionnaire shows that the mean value of positive emotional affective responses of interior soft furnishing products incorporating summer cloth weaving techniques ranges from 2 to 4. It shows that modern art creative products designed based on the method of this paper can bring positive emotions to consumers. The mean values of innovation and cultural connotation of the four series of products are 4.67 and 4.75 respectively, and the method of this paper can better realize the digital transformation of non-heritage elements and the innovative design of modern art creative products.
Scientific Research Project of Education Department of Hunan Province -- Outstanding Youth Project: Digital Protection and Inheritance Research of memorial archway in South Hunan (24B0971).