Creation and Application of Cultural Digital Overlay Model: Taking Quanzhou String Puppet Show as an Example
DOI:
https://doi.org/10.54097/k8ff4004Keywords:
Cultural Digital Overlay Model, Intangible Cultural Heritage, Digital Display Design, Quanzhou Puppet Show, Motion Capture, Design Aesthetics, VR/ARAbstract
The digital transformation of intangible cultural heritage (ICH) has become an important means to protect and spread traditional culture. This study constructs a cultural digital overlay model (CDOM) that integrates digital technology, design aesthetics and cultural values, and applies it in the digital display of Quanzhou traditional string puppet show. The study shows that by adopting 3D modeling, motion capture and metadata-driven design, the characteristics and performance skills of puppets are digitized, and the use of multi-sensory and mixed reality technologies enhances the audience's participation, creates an immersive interactive experience, and effectively reinterprets traditional art in a contemporary way.
Downloads
References
[1] UNESCO. (2018). Basic texts of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. UNESCO.
[2] Ciolfi, L., et al. (2016). Articulating co-design in museums: Reflections on two participatory processes. *ACM Transactions on Computer-Human Interaction, 23*(2), 1-33.
[3] Kenderdine, S. (2010). Immersive visualization architectures and situated embodiments of culture and heritage. Digital Creativity, 21(4), 227-241.
[4] Champion, E. (2015). Critical gaming: Interactive history and virtual heritage. Routledge.
[5] Ch'ng, E., Li, Y., Cai, S., & Leow, F. T. (2020). The effects of VR environments on the acceptance, experience, and expectations of cultural heritage learning. Journal on Computing and Cultural Heritage, 13(1), 1-21. https://doi.org/10.1145/3352933
[6] Kenderdine, S. (2013). Embodiment, entanglement, and immersion in digital cultural heritage. In Museums and the Web 2013.
[7] Drucker, J. (2013). Is there a "digital" art history? Visual Resources, 29(1-2), 5-13.https://doi.org/10.1080/01973762.2013.761106
[8] Roussou, M. (2002). Virtual heritage: From the research lab to the broad public. In VAST 2002.
[9] Wu, B. (2001). Regional tourism development: An RMP analysis. Geographical Research, *20*(1), 76-83.
[10] Yu, R. (2014). Research on digital development of intangible cultural heritage based on AR technology [Doctoral dissertation, Wuhan University].
[11] Zhang, Y., Liu, W., & Chen, X. (2023). Digital display technology in intangible cultural heritage preservation: A meta-analysis. Journal of Cultural Heritage, *48*, 102-115. https://doi.org/10.1016/j.culher.2022.11.003.
[12] Chen, L., & Wang, T. (2022). Big data-driven consumer preference modeling for cultural products. Tourism Management, *89*, 104456.
[13] Mortara, M., & Catalano, C. E. (2019). Serious games for cultural heritage: A systematic mapping study. Journal on Computing and Cultural Heritage, *12*(3), 1-34.
[14] Wang, D., & Xiang, Z. (2021). The CDOM framework: A paradigm shift in cultural digitization. Annals of Tourism Research, *86*, 103099.
[15] Lu, Z., Annett, M., & Fan, M. (2019). Augmenting physical artifacts with NFC-enabled digital interactions. *ACM Transactions on Computer-Human Interaction*, *26*(6), 1-44.
Downloads
Published
Issue
Section
License
Copyright (c) 2025 International Journal of Education and Humanities

This work is licensed under a Creative Commons Attribution 4.0 International License.







