Thing-Human-Emotion-Beauty model for multi-dimensional perception of cultural relics’ values from the design perspective

Abstract

The digitalization of museums offers new opportunities for presenting and interpreting cultural artifacts, yet visitor engagement and perceived value often remain limited due to low interactivity and insufficient experiential design. To address these challenges, this study proposes the THEB model, a four-dimensional framework for enhancing cultural relic value perception across Thing, Human, Emotion, and Beauty dimensions. The model was applied to a case study of the Rhinoceros-shaped Bronze Zun Inlaid with Gold and Silver Cloud Design. Guided by the THEB framework, AI-generated images and a narrative video were produced using tools such as Midjourney and Pixverse AI. A controlled user study with 230 participants compared the AI-generated video to traditional museum content. Results indicate that while historical depth was not significantly enhanced, the AI video substantially improved engagement, satisfaction, and immersion, particularly in aesthetic appreciation and emotional resonance. These findings validate the THEB model as a practical and conceptual tool, demonstrating its potential to guide museum exhibition design toward more holistic, emotionally engaging, and interactive experiences, bridging material, humanistic, and aesthetic dimensions of cultural heritage.

Introduction

Cultural heritage, as defined by the United Nations Educational, Scientific and Cultural Organization (UNESCO), encompasses artifacts, monuments, groups of buildings and sites that have outstanding universal value¹. It includes both tangible and intangible creations preserved and transmitted across generations, embodying the distinctive spiritual values, imagination and cognitive traditions of a nation while showcasing the cultural diversity of various regions. The value of cultural relics² lies in their historical, aesthetic, scientific, social, and cultural significance. Recognizing these values is essential for fostering a profound understanding of cultural relics and cultivating strong emotional connections. From a design perspective, elements such as traditional craftsmanship, patterns, colors and textures are of particularly significance. These features emphasize aesthetic sensibilities and artisanal skills that transcend time. Drawing inspiration from such qualities can contribute to the creation of innovative cultural and creative products, thereby granting cultural relics contemporary relevance. Moreover, a deeper appreciation of these values enables individuals to gain enriched insights into the historical narratives and cultural meanings they embody. Thus, developing an effective model of cultural relics’ value perception not only helps avoid superficial impressions but also facilitates a nuanced understanding of their historical contexts and fosters emotional connections.

Traditional museum exhibitions of cultural relics frequently encounter several challenges, including limited interactivity, simplistic information delivery, insufficient visitor participation, and a rigid or uninspiring visitor experiences³. These limitations reflect a broader, globally recognized issue in museology, i.e., the conventional ‘object-centric’ paradigm often fails to facilitate deeper cognitive and emotional engagement⁴. As a result, exhibitions may struggle to evoke emotional resonance, leaving visitors with only surface-level impressions that fail to cultivate more meaningful connections with cultural artifacts.

Currently, Chinese museums have increasingly embraced digital transformation⁵, with immersive technologies becoming a focal point of innovation. Augmented reality (AR), virtual reality (VR) and related interactive methods can enhance visitor participation through realistic display and engaging interaction mechanisms, thereby encouraging in-depth learning. For instance, the Qin and Han civilization theme exhibition (see Fig. 1) at the Shaanxi History Museum, employed innovative multimedia installations to present historical narratives through digital technologies. While this method enhanced visual appeal, the exhibition largely concentrated on physical relics, limiting opportunities for visitors to connect with embedded human stories, emotions and aesthetic depth. This reflects a common challenge identified in international scholarship, i.e., technology is often used for spectacular display rather than for mediating deeper symbolic meaning and personal connections⁶. Overreliance on visual stimulation may restrict engagement to sensory impressions, reducing overall cognitive and emotional immersion. Furthermore, dividing the exhibition into discrete sections resulted in a fragmented experience that hindered visitors’ ability to develop a cohesive understanding of the cultural and historical contexts.

Fig. 1.

The Qin and Han civilization theme exhibition.

Western museums and heritage institutions are also actively leveraging digital technologies and curatorial strategies to enhance the communication of heritage values. For example, the Blekinge Museum utilizes AR technology to digitally reconstruct a medieval cross⁷, enabling multi-site visualization. Additionally, pioneering institutions are increasingly adopting affective curatorship to design emotional and sensory experiences that foster personal connections and identity reflection, moving beyond mere information delivery⁸. Similarly, the Mislavsnová Museum has advanced its digital transformation by incorporating metaverse concepts, where spatial layout, exhibit placement, and immersive environments significantly influence interaction patterns. Open spatial designs encourage collective interaction⁹, whereas zoned spaces foster focused, in-depth conversations. These approaches reflect a growing international movement to revolutionize heritage interpretation through smart technologies, not merely to provide access but to construct layered, multisensory narratives that situate artifacts within broader cultural ecosystems¹⁰.While such strategies strengthen visual impact and contextualization, they also highlight the need to integrate the visuals with the deeper historical, cultural, and social systems underlying artifacts.

Despite advances in museum digitalization, substantial challenges remain in effectively presenting and communicating the value of cultural relics. A primary limitation lies in the tendency to reduce cultural relics to static artifacts of historical documentation rather than recognizing them as dynamic carriers of cultural meaning. Consequently, many exhibitions struggle to evoke emotional engagement, foster personal connections, or stimulate reflective thinking. Even in digitally enhanced displays, the reliance on passive or superficially interactive modes often limits opportunities for meaningful sensory engagement or participatory learning. This deficiency in deeper interactivity constrains cognitive processing and hinders visitors from grasping the multifaceted values embedded in artifacts.

To address these challenges, a growing body of research has explored strategies to enrich visitors’ perception through enhanced visual storytelling, mutlisensory engagement, and immersive experiences. For instance, Yu et al.¹¹ proposed a semantic-based AR tangible interaction design that enables users to explore relics, through cross-dynasty comparisons. Li et al.¹² developed a VR-based game that digitalized Chinese bronzes and museum settings, effectively stimulating visitors’ curiosity and supporting knowledge acquisition about bronzeware. Xu et al.¹³ introduced gamified AR interfaces (Postcard AR and CubeMuseum AR) to present fundamental relic information, enhancing visitors’ motivation, engagement and learning outcomes. While these technological interventions are valuable, they often operate within a limited scope. As argued by Wang and Meng⁶, deeper engagement occurs when technology acts as a mediating agent that facilitates a dialogue between the visitor’s identity and the cultural symbolism of the artifact, which is often underdeveloped in current models.

Although meaningful progress has been made in improving user engagement and accessibility, there remains considerable potential for further exploration of the intrinsic values of cultural relics, particularly regarding the interplay between aesthetic qualities, cultural significance, technical craftsmanship, and emotional resonance. Addressing these issues requires identifying and articulating the key dimensions that contribute to a holistic perception of cultural relics’ values, and subsequently integrating them into a unified conceptual framework. While previous studies have focused on enhancing engagement through technological means, relatively few have systematically examined how these diverse dimensions interact to shape comprehensive understanding of cultural relics. Furthermore, there is a lack of effective strategies for applying such theoretical models to real-world museum exhibitions that incorporate both western affective curatorial practices⁸ and the global push toward smarter heritage interpretation¹⁰.

Embodied Cognition Theory¹⁴ offers a promising theoretical perspective by emphasizing that cognition is deeply embedded in bodily interactions with the environment. This perspective suggests that cognitive processes are not solely abstract mental operations, but are profoundly influenced by sensory perception, physical engagement, and contextual experience. Building on this theoretical lens and synthesizing the insights from international heritage discourse and western museum practices discussed above, this paper proposes a multidimensional value perception model to deepen the understanding of the intrinsic values of cultural relics. The model is explicitly designed to be universal, as it does not prescribe a single cultural narrative but provides a flexible framework for structuring the dialogue between any visitor, mediated by technology, and the unique cultural symbolism of any artifact. The model is structured as a progressive framework encompassing four core dimensions:

Thing (T): The physical and tangible characteristics of cultural relics.

Human (H): The individuals and communities associated with the relics.

Emotion (E): The emotional narratives and historical stories tied to the relics.

Beauty (B): The aesthetic qualities, including form, color, texture, craftsmanship, and decoration.

The development of this model is guided by two research questions:

Q1: What dimensions contribute to a comprehensive perception of cultural relics’ values by visitors?

Q2: How can the proposed model be implemented in museum exhibitions, and how can its effectiveness be systematically evaluated in terms of enhancing user engagement and understanding?

The key contributions of this study are twofold:

1. Creatively integrating embodied cognition theory to enhance visitors’ meaningful understanding and experiences by reshaping their bodily and sensory interactions.

2. Proposing the THEB model to facilitate a multidimensional perception of cultural relics’ values, and the Rhinoceros-shaped Bronze Zun Inlaid with Gold and Silver cloud Design is taken as a case study to validate the effectiveness of the proposed model.

The structure of this paper is organized as follows: Sect. “Related work” reviews existing approaches to perceiving the value of cultural relics, assesses their respective strengths and limitations, and examines relevant theoretical foundations including experience economy theory, constructivist learning theory, embodied cognition, and other interdisciplinary theories, ultimately justifying the adoption of embodied cognition as the guiding framework. Section “Methods” outlines the overall research process adopted in this paper. Section “Development of the THEB model” details the development process of the THEB model including its structural framework, the extraction of dimensional elements, and the interaction mechanism. Section “Effectiveness evaluation of the THEB model” demonstrates the implementation the THEB model through AI-generated images and video, and validates its effectiveness via a controlled user study supported by statistical analysis. Section “Discussion” discusses the research limitations and identifies directions for future research. Finally, Sect. “Conclusion” summarizes the conclusions of the paper.

Related work

Perception approaches of cultural relics

There are three main methods for perceiving the value of cultural relics, namely narrative design, serious game, and digital reconstruction.

Narrative design

Narrative design¹⁵ is a design thinking methodology that places storytelling at its core. Ideally, it effectively reduces the subjectivity inherent in the narrative contexts, strengthens emotional connection between users and artifacts, and facilitates coherent and accurate communication among designers, products, and users. Within the cultural heritage domain, narrative design plays a pivotal role in conveying the intrinsic value of cultural relics, enhancing their appeal and delivering a meaningful cultural experience. This approach emphasizes the interpretative depth of relics rather than merely replicating their physical appearances. Li et al.¹⁶ constructed a narrative text model to minimize transmission biases when presenting the craftmanship of cultural features during the narrative process. Their work focused on enhancing the cultural connotation of relics and fostering emotional experiences among users. Chu et al.¹⁷ proposed a framework for embodied narrative interaction within museum exhibitions, enabling visitors to comprehend the intrinsic meaning of cultural heritage. This framework mitigates potential misinterpretations of cultural relics’ value caused by a lack of context and narrativity. Similarly, Mu et al.¹⁸ designed a guided VR reconstruction of the Mogao Grottoes murals, Pilgrimage To Pureland, which provided the public with an engaging and accessible experience of Dunhuang’s artistic heritage. Through the integration of VR display and narrative design, users’ immersion and understanding could be improved via customized storylines and gamified first-person interactions.

Serious game

Virtual reality (VR) technology has been increasingly applied to the cultural heritage field⁵ to create immersive experiences for visitors by digitally reconstructing physical heritage and enabling natural interaction mechanisms. However, traditional VR experiences often lack sufficient motivation to encourage visitors to actively acquire information rather than accept passive information delivery¹⁹. Serious games²⁰ address this limitation by incorporating vivid storytelling and scene reproduction, transforming traditional learning activities into engaging game-based experiences. This approach enhances players’ learning motivation and strengthens their cognitive and emotional connection to cultural relics.

Li et al.²¹ developed a model based on jigsaw puzzles with scaffolding-aids to support cultural heritage learning. The model was validated using bronze ‘dragon’ mirror patterns from the Western Han Dynasty and was compared with conventional learning methods. Liu et al.²² proposed a VR serious game design to enhance users’ perception of color while providing a more immersive experience and a deeper understanding of cultural relics’ value. In the game, players simulated the frescoes restoration process by completing various stages, scenes, storylines, and tasks, ultimately finishing the frescoes painting. Experimental results indicated that such games foster deeper cultural cognition, stronger emotional ties, and improved engagement among players.

Digital reconstruction

During the digital reconstruction process of cultural heritage, Artificial Intelligence-Generated Content (AIGC) technology can precisely analyze and recognize image features, enabling the creation of virtual models that closely replicate physical relics²³. This technology significantly reduces the discrepancy between physical and virtual models. The concept of digital twin²⁴, originally introduced by Michael Grieves, constructing a digital counterpart of a physical entity that mirrors its present condition and dynamic changes through digital data. With advancements in technology, digital twins have been widely applied across various fields. In the cultural heritage domain, digital twins allow for intricate visual representations of artifacts²⁵, thereby enabling visitors to observe and appreciate fine heritage details that might otherwise remain inaccessible. Digital reconstruction driven by digital twin not only contributes to the preservation of cultural heritage but also enhances public appreciation of its value. Moreover, digital presentation innovations broaden public engagement, stimulate the growth of the cultural sector, and cater to diverse societal needs.Wang et al.²⁶ proposed a health management method for the preventive conservation of movable wooden artifacts using digital twin technology. In contrast to traditional approaches, this approach enables the prediction of potential risks, the evaluation of their severity and the provision of timely feedback and corrective actions, thereby realizing automation in the preservation of wooden relics. In collaboration with experts, Wang and Lau²⁷ created digital replicas of Miao silver artifacts, offering them for sale and auction on the OPENSEA digital marketplace within the context of the metaverse era. Their work underscores the dual objectives of enhancing the commercial value of Miao silver crafts while simultaneously achieving both cultural and economic profits.

As shown in Table 1, narrative design serves as a powerful tool for fostering emotional connections and communicating historical depth. However, it frequently lacks interactivity and may rely heavily on subjective storytelling. Serious games effectively integrate education and entertainment through rigorous game mechanics, helping users gain a more profound understanding of the history behind cultural relics. However, this approach faces situational constraints; for instance, in large-scale museum exhibitions with high visitor traffic, it can be challenging to achieve the desired level of engagement. Digital Reconstruction excels at preserving the tangible aspects of cultural heritage with precise details and enhancing public accessibility through virtual replication. Yet, they often fall short in conveying the cultural, historical, and symbolic significance embedded in the artifacts.

Table 1.

Comparison of narrative design, serious game, and digital reconstruction.

Aspect	Narrative design	Serious game	Digital reconstruction
Main goal	Strengthening emotional connection and meaning-making through storytelling.	Enhancing motivation and learning through interactive, gamified experiences.	Preserving heritage through precise digital replication and virtual modeling.
User experience	Engages users emotionally and cognitively through structured storytelling, improving cultural understanding.	Creates an immersive, hands-on experience, making learning more engaging and enjoyable. Over-gamification might have Higher requirements for users’ knowledge reserve.	Offers detailed visual exploration, letting users examine relics up close even those inaccessible in real life. Without a narrative or interaction layer, it may feel like just looking at a 3D object
Emotional engagement	promotes emotional resonance and cultural connection through carefully crafted narratives. Emotional impact relies heavily on narrative quality, poor storytelling weakens the connection.	players emotionally invest in their progress and discoveries within the game world. Emotional engagement may fade if game mechanics overpower cultural depth.	users may admire the relics, but emotional connection depends on context and storytelling elements. Without context, the emotional connection remains superficial and just looks cool but lacks depth
Knowledge retention	Helps users grasp the cultural and historical context through structured stories and narrative flow. The question of how the audience can obtain effective information in many narrative texts is also an ongoing issue	Compared to traditional video learning, serious games can restore the cultural information of artifacts through the design of game mechanics.	it is difficult to comprehensively help the audience to understand the history and cultural values behind, and for the audience’s knowledge reserve capacity requirements are high
Motivation	relies on compelling narratives to sustain interest, but may feel passive without interactivity. Exploration is limited to what the narrative offers, users may not feel free to discover.	Integration with scaffolded learning provides players with appropriate prompts and feedback to help them actively explore their learning.	Able to realize a high degree of reduction of cultural relics and the precise grasp of the state of cultural relics, visual fascination can draw visitors, but without interactivity, curiosity may fade.

In summary, the aforementioned approaches help visitors to construct foundational cognitive frameworks and background understanding of cultural relics through engaging storytelling, informative game mechanisms, and precise digital reconstructions. Most research has primarily focused on improving user interaction, visual engagement, and educational effectiveness. However, there is still a lack of systematic attention to the intrinsic and multidimensional values of cultural relics—specifically, how aesthetic beauty, cultural symbolism, emotional resonance, and technical craftsmanship are interconnected and perceived by visitors. Furthermore, prior works often emphasize isolated experiences, addressing either engagement or education, but rarely provide integrated frameworks that connect material, human, emotional, and aesthetic dimensions in a cohesive manner. The aim of this paper is to propose a model that facilitates a multidimensional perception of the values embodied in cultural relics.

Theoretical foundation for cultural relics’ value perception

The exploration of cultural relics’ values requires a theoretical foundation capable of addressing their multidimensional and multisensory nature. Among the many theoretical perspectives available, three are particular relevant: experience economy theory^28–30, constructivist learning theory^31,32, and embodied cognition^33,34,35. Beyond the three dominant frameworks, several interdisciplinary theories also offer valuable perspectives for understanding cultural relics’ value perception. Semiotics³⁶ emphasizes the symbolic and communicative dimensions of artifacts, treating relics as sign systems that convey cultural meanings across temporal and social contexts. Phenomenology³⁷ foregrounds lived experience and the embodied nature of perception, highlighting how visitors encounter relics through presence, intentionality, and spatial orientation. Meanwhile, affect theory⁸ underscores the pre-cognitive intensities and emotional dynamics that shape aesthetic responses and cultural judgments. Each offers valuable insights into value perception but differ in explanatory mechanisms, methodological operability, and capacity to address the complexity of cultural relics’ value perception. A comparison summary of these theories in terms of the aforementioned dimensions is shown in Table 2.

Table 2.

Comparison of experience economy theory, constructivist learning theory, supplementary theories, and embodied cognition.

Dimension	Explanatory mechanism	Methodological operability	Capacity to address the complexity
Experience economy theory	Focuses on designed experiences as the source of value; explains how value can be staged and delivered through curated environments and emotional engagement.	Relies on qualitative methods, surveys, interviews, and case studies of experience design; strong for strategy evaluation but weak in mechanism testing.	Captures how designed experiences enhance perceived cultural and symbolic value, but insufficient for explaining sensory-cognitive mechanisms.
Constructivist learning theory	Explains how knowledge and meaning are socially and culturally co-constructed through interaction, prior knowledge, and reflection.	Employs educational experiments, ethnography, and participatory observation; useful for studying meaning-making in context, but limited in measuring embodied processes.	Captures socio-cultural interpretation and identity construction, but less effective in addressing multisensory and bodily engagement.
Embodied cognition	Explains how sensorimotor processes, bodily actions, and environmental interactions directly shape cognition and value judgments.	Supports multimodal methods including behavioral tracking, physiological measurement, gesture analysis, and immersive VR/AR experiments; highly operable for mechanism-based, empirical testing.	Provides a comprehensive account of how multisensory, embodied, and contextual interactions generate aesthetic, emotional, historical, and identity-related values; strongest explanatory power for complexity.
Supplementary theories (Semiotics, Phenomenology, Affect Theory)	Semiotics explains symbolic communication; Phenomenology foregrounds lived and embodied experience; Affect theory highlights pre-cognitive intensities shaping perception.	Mainly interpretive and conceptual, offering strong hermeneutic depth but weak empirical operability for mechanism-based validation.	Enriches interpretive dimensions of meaning, perception, and emotion, but lacks integrative explanatory power for multisensory embodied processes.

On the basis of this comparison in Table 2, embodied cognition is adopted as the foundational framework for this study. Compared with experience economy theory, which primarily conceptualizes heritage engagement as staged or consumable experiences, and constructivist learning theory, which emphasizes cognitive and social construction but overlooks embodied and affective processes, embodied cognition provides a more comprehensive and mechanism-oriented explanation. Specifically, it explicates how perception, action, and cognition are dynamically shaped by the continuous interplay of body, senses, and environment.

Embodied cognition posits that cognition is a dynamic process that involves constant interaction between the brain, body, and environment. Rather than being generated by fixed internal modules, cognitive behaviors through dynamic, self-organizing processes. The environment³⁸ is not only an external object, but also an integral part of cognition, shaping and being shaped by ongoing perception-action cycles. In the context of cultural relics. This dynamic process is illustrated in three dimensions of embodied experience:.

Bodily engagement

Interactive exhibitions encourage physical participation that integrates movement and cognition. For example, The Confucius Museum’s “Apprenticeship with Confucius” somatosensory interactive program enables visitors to empathetically participate in ritual practices. Through stages such as learning rituals, bowing, and offering gifts³⁹, bodily engagement deepens immersion and and enriches cognitive experience by integrating movement with perception.

Sensory interaction

Sensory inputs including visual, tactile, auditory, and olfactory are central to value perception. Visual elements such as color, form, size, and design contribute significantly to how users perceive and assign value to an object. Excessive textual information⁴⁰, however, may cause visual overload, diminishing the effectiveness of the display. While direct tactile engagement is restricted for preservation reasons, auditory immersion is demonstrated by the bell orchestra of the Hubei Museum, which uses replicas of the Zenghouyi chimes to showcase ritual music and bronze craftsmanship of the pre-Qin period. Similarly, olfactory cues can trigger strong emotional responses. For instance, Chu et al.¹⁷ designed replicas of 16th century prayer nuts infused with scented oils to evoke historical and religious associations. Taken together, these sensory layers enable embodied meaning-making and highlight the synergies among modalities that foster cohesive user experiences.

Environmental context

The spatial, sociocultural, sensory, and affective qualities of the environment further shape perception⁴¹. Factors such as layout, display method, and lighting influence aesthetic and cognitive engagement With the integration of AR and VR, museums can recreate historical contexts that transform passive viewing into active participation. For instance, Sun et al.⁴² demonstrated how immersive simulations of desert, gallery, and cave scenarios significantly enhanced emotional engagement and systematic understanding of relics.

Through these bodily, sensory, and environmental dimensions, embodied cognition elucidates how perception and action are seamlessly transformed into meaning-making. This theoretical lens thus provides a robust foundation for constructing a multi-dimensional perception model of cultural relics’ values.

Methods

Based on various perception approaches of cultural relics and the principles of embodied cognition theory, this research is structured into three distinct stages:

1. Definition of the four dimensions in the THEB Model. The first phase involves identifying and establishing the four foundational dimensions of the THEB model. This step draws upon the strengths and limitations of current cultural value perception methods as well as the core concepts of embodied cognition theory. Through extensive literature review and analysis of existing museum displays, the four dimensions are defined and described. Their individual significance is discussed in relation to the broader conceptualization of cultural relic values. Specific artifacts are referenced to contextualize and illustrate each dimension, which will be further elaborated in the next section.

2. Development of the interaction mechanism among dimensions. The second phase focuses on formulation of the interaction mechanisms among the four dimensions. Recognizing that these dimensions are interdependent rather than isolated, this study explores how they influence and interact with one another. Each interaction mechanism is systematically explained, supported by concrete examples of cultural artifacts to validate rationality and demonstrate practical applicability.

• (3)Implementation and evaluation using artificial intelligence (AI) tools. In the third phase, AI tools are utilized to generate images and videos guided by the THEB model. This stage involves the practical application of the model, including a comparative user study to evaluate its effectiveness. Participants’ feedback and comparative experiments are conducted to assess the extent to which the proposed model enhances the perception of cultural relics’ values.

The overall research framework is illustrated in Fig. 2.

Fig. 2.

The overall research framework.

Ethics declarations

The requirement for ethical approval was waived by the Ethics Committee of Northwestern Polytechnical University, as the study did not involve animal or human clinical trials. All participants provided written informed consent to participate, and all methods were carried out in accordance with relevant guidelines and regulations.

Development of the THEB model

The structure of the THEB model

The overall structure of the proposed THEB model is illustrated in Fig. 3. it presents a progressive and layered framework for interpreting cultural relics within digitalized museum contexts. The model posits that a visitor’s cognitive and experiential journey follows a sequential trajectory, evolving from direct material perception to abstract cultural appreciation. Crucially, this trajectory is not insulated. It is continuously mediated by a constellation of external socio-cultural and institutional factors. To capture a more complete picture of how value is perceived and constructed, this model explicitly incorporates broader socio-cultural and institutional factors, such as heritage politics, commercialization pressures, and cultural appropriation, which may mediate or reshape every layer of this trajectory.

Fig. 3.

The overall structure of the THEB model.

The foundation of the framework is the ‘Thing’ dimension, which encompasses the artifact’s physical and tangible attributes. This layer serves as the essential basis for subsequent interpretative processes. However, the very definition and prioritization of these ‘objective’ attributes are shaped by institutional practices such as conservation priorities, archaeological paradigms, and collection policies. Building upon this material foundation is the ‘Human’ dimension, in which the artifact is situated within its cultural and social contexts. This layer generates interpretations concerning social relations, ritual practices, and collective identity. It also involves institutional and political forces, for instance, how governance structures, museum policies, or heritage politics influence the narratives that are prioritized or marginalized⁴³.

The cultural understanding fostered in the ‘Human’ dimension naturally facilitates ‘Emotion’ dimension. Here, intellectual recognition is transformed into personal connection, emotional resonance, and a sense of belonging. Yet, as highlighted by Vicol⁴⁴, emotional engagement is often mediated by market-driven logic. When cultural heritage is commodified, the emotional bonds between visitor and artifact may oscillate between authentic cultural resonance and consumer-oriented spectacle. This suggests that the Emotion dimension is not neutral, but susceptible to economic and institutional pressures.

Ultimately, this trajectory culminated in the ‘Beauty’ dimension, the apex of the interpretive process. At this stage, visitors transcend material and cultural cognition to apprehend aesthetic principles, symbolic harmony, and artistic value. Nevertheless, as argued by Pearson⁴⁵, perceptions of beauty are also filtered through cross-cultural asymmetries. When aesthetic forms are extracted, re-contextualized, or commodified without recognition of their cultural origin, ‘beauty’ becomes contested. This dimension thus requires sensitivity to cultural appropriation, ensuring that aesthetic appreciation does not reinforce hegemonic aesthetic norms.

This hierarchical structure illustrates a trajectory of value derivation: ‘Thing’ grounds ‘Human’, which evokes ‘Emotion’, ultimately culminating in the perception of ‘Beauty’. The outer circular arrow signifies that this progression is not strictly linear but can form an iterative cycle. Crucially, the cycle also allows for institutional feedback: museum governance, heritage politics, funding models, and socio-political debates shape what is displayed (‘Thing’), how identity and cultural context are framed (‘Human’), and which emotional or aesthetic connections are legitimized (‘Emotion’ and ‘Beauty’).

Elements extraction of THEB dimensions

This section takes the Rhinoceros-shaped Bronze Zun Inlaid with Gold and Silver cloud Design⁴⁶ (see Fig. 4) which is exhibited in the Nation Museum of China, as an example to extract key interpretive elements within each dimension of the THEB model. The constituent elements within each THEB dimension (Figs. 5, 6, 7 and 8) were derived through a synthesis of literature on embodied cognition, cultural heritage, and museology. These were subsequently operationalized and validated through application to the Rhinoceros Zun case study.

Fig. 4.

The Rhinoceros-shaped Bronze Zun Inlaid with Gold and Silver Cloud Design.

Fig. 5.

‘Thing’ layer of the THEB model.

Fig. 6.

‘Human’ layer of the THEB model.

Fig. 7.

‘Emotion’ layer of the THEB model.

Fig. 8.

‘Beauty’ layer of the THEB model.

The figures for each dimension are structured to reflect a progressive interpretive journey. Concentric circles visually map this progression, beginning with direct sensory attributes at the outer layer, moving through contextualized cultural and technical interpretations in the middle layer, and culminating in abstract symbolic meaning and philosophical sublimation at the core. Importantly, these interpretive processes are not only shaped by embodied cognition but are also conditioned by external socio-cultural and institutional forces, including heritage politics⁴³, commercialization⁴⁴, and cultural appropriation⁴⁵. Comparative cases from both Chinese and non-Chinese contexts show that such external forces strongly influence how relics are valued and interpreted.

The ‘Thing’ dimension

Embodied cognition theory suggests that perception begins with direct bodily contact with the material world. For cultural artifacts, this translates into a focus on physical and tangible characteristics. The ‘Thing’ dimension is structured into three progressive layers of analysis, moving from direct description to historical-technical interpretation.

The first (outer) layer comprises the primary sensory and observable attributes, which constitute the entry points into cognition, anchoring interpretations in sensory experiences. These include its shape, material, color, pattern, and texture, etc. In this dimension, these elements are documented as objective data, providing evidential foundational for further interpretation.

The second (middle) layer delves into the technology and craftsmanship embodied in these tangible characteristics. Through this layer, visitors can infer the technological advancements of the corresponding era. For instance, the Zun’s intricate gold and silver inlay exemplifies a sophisticated technique that flourished during the Spring and Autumn and Warring States periods, concurrent with the use of iron tools. The multi-step process, from carving grooves to inserting delicate metal strips that are as fine as cicada wings and polishing the surface, reflects both technological process and artistic refinement. Such craftsmanship also inspires contemporary cultural and creative design.

The third (inner) level further examines the historical origins and cultural evolution of the decorations, forms, and craftsmanship. At this level, external institutional narratives play a crucial role: heritage politics often determine which technical achievements are highlighted in exhibitions, while commercialization processes translate these tangible qualities into marketable products in cultural-creative industries⁴⁴. For example, the Zun’s rhinoceros-inspired shape reflects ancient artisans’ practice of drawing inspiration form nature^46,47, while the cloud motifs trace their lineage from Neolithic pottery to Tang dynasty bronzeware, symbolizing continuity and transformation in Chinese visual culture. These design elements, rooted in the Zun’s ritual function, articulate sacred power and communication the divine. This process of selective framing is not unique to Chinese artifacts. For instance, the interpretation of Mayan ceramics often emphasizes their astronomical knowledge for Western audiences, while downplaying their ritualistic bloodletting practices, reflecting both market-driven sensationalism and Eurocentric curation priorities. Similarly, the display of Egyptian jewelry in global museums frequently prioritizes its material opulence over its complex funerary and religious significance. The key elements in ‘Thing’ layer is demonstrated in Fig. 5.

The ‘Human’ dimension

According to embodied cognition theory, understanding is grounded in action and interaction, situated within socio-cultural contexts. The ‘Human’ dimension is thus analyzed through three interconnected yet distinct layers that explore the artifact’s social embeddedness.

The first layer is social relations. Social relations, closely connected to ethnicity and hierarchy. Ethnicity encompassing all social and psychological phenomena reflects group identities and intergroup dynamics⁴⁸. Bronze vessels like the Western Han Zun were not merely artifacts but ritual instruments reserved for nobles, reinforcing ceremonial etiquette, divine mandate, and social stratification. As Smith⁴³ shows, such artifacts are also sites of heritage politics: which communities’ voices are included or excluded in interpretation reflects broader struggles of recognition. Similar patterns are visible in Native American heritage exhibitions in the U.S., where tribal perspectives are often underrepresented. Recent text-mining approaches⁴⁹ demonstrate that decoding ritual elements is essential for interpreting how form and meaning are embedded in wider ritual frameworks, which is the core of the ‘Human’ dimension. The extensive use of animal imagery in bronzeware, noted by Lopes⁵⁰, symbolized power and domination from the Shang through the Han, when political symbolism increasingly emphasized legitimacy and hierarchy. Social and political changes also shaped form, decoration, and technology. For example, Ao et al.⁵¹ showed how Qing export porcelain bowls evolved toward uniformity under political and technological shifts, while customized pieces were produced to satisfy Western aesthetics. Although their study focused on porcelain bowls, the methodological perspective of linking artifact morphology with broader socio-political contexts is directly relevant to the ‘Human’ dimension.

The second layer investigates cultural identity. From a semiotic perspective, cultural relics function as symbolic systems. Forms and decorations convey meanings within specific cultural contexts. The Zun’s cloud patterns⁵², are not merely decorative, they reflect the principles of traditional Chinese agricultural culture. In agrarian societies, favorable weather was vital to ensuring successful harvests. Thus, clouds symbolized auspicious omens and conveyed a collective reverence for the forces of nature, particularly for the rain. As this reverence gradually abstracted, it was transformed into a meaningful artistic expression. Rhino, regarded as mysterious and powerful, possesses symbolism of totem worship and warding off evil spirits, reflecting ancient ethnic groups a state of reverence for natural power and identity of itself ethnic identification. Yet, cultural appropriation can obscure such meanings: when designs are globally re-contextualized, they risk being aestheticized without acknowledging their origins⁴⁵. For example, Maori carvings and African Adinkra symbols shows how indigenous motifs are often commodified or rebranded in global markets.

The third layer examines interactive experience. Interaction influences users’ experience during visiting the museum or exhibition and ultimately affects their perception of cultural relics. Contemporary museums increasingly integrate augmented reality (AR) and virtual reality (VR) technologies with physical artifacts to enhance engagement. This combination significantly increases sensory immersion and interactive depth. For example, the smart exhibition room at the National Museum of China adopts infrared sensors, artificial intelligence, and other advanced technologies to break conventional exhibition methods. It allows visitors to actively explore content by listening, touching, and engaging in multi-dimensional interactions. Kong³⁹ mentioned from the view of embodied cognition to develop a somatosensory interaction system in which gesture-based interactions are aligned with mental cognitive models. This approach supports natural and intuitive interactions, enabling visitors to form personalized cognitive experiences. The process of engagement follows a trajectory from sensory perception, to action, and finally to the construction of meaning, thereby forming a link between individual interpretation and cultural patrimony. However, these experiences are shaped by institutional agendas, as they determine whether these technologies are used to promote critical reflection or to commercialize heritage through entertainment-focused narratives⁴⁴.

From the human dimension, the value of cultural patrimony is not limited to the physical layer but focuses on its spiritual, ethical, and humanistic significance. Through interaction with such relics, visitors can access the underlying cultural intentions and the historical narratives embodied within these objects. The key elements in ‘Human’ layer are shown in Fig. 6.

The ‘Emotion’ dimension

Through embodied interactions such as physical perception and environmental interaction, visitors can immerse themselves in the past uses of cultural relics, generating a contextualized emotional experience. This dimension outlines a trajectory of emotional engagement, form immediate affective response to deep personal and collective identification.Yet, emotions are also institutionally mediated. Commercialization packages emotional resonance into consumable experiences, e.g., souvenir design or themed exhibitions, while heritage politics shape whether narratives of pride, nostalgia, or trauma are emphasized^43,44.

The first layer involves the immediate contextualized emotional experience. Within the museum’s spatial atmosphere, the historical context of cultural relics is recreated, fostering a sense of emotional identification and belonging. Emotional identity is generally defined as an individual’s emotional attachment to, and acceptance of, a group, object, or set of values. It is rooted in personal emotional experiences and internal affect, involving psychological empathy and a profound sense of connection. Cultural relics often possess distinctive artistic forms and aesthetic styles that attract visitors and elicit a pleasurable visual experience. This appreciation of beauty enhances emotional engagement and strengthens emotional identity. Moreover, emotional identity is also tied to the projection of social and collective identity. During museum visits, visitors engage in emotional interactions and share responses with others, generating a sense of solidarity rooted in historical awareness and cultural admiration.

The second layer pertains to cultural and spiritual resonance. Cultural relics often reflect the ideal pursuits, beliefs and common cultural beliefs of ancient people. For example, totems, which serve as symbols of ethnic groups, represent not only shared cultural beliefs but also the collective emotional and spiritual identity of their members. Their exquisite craftsmanship reflects the creativity and wisdom of ancient artisans, while also expressing the aspirations of early civilizations for a better life. The pursuit of immortality and a divine world reached its peak during the reign of Emperor Wu of Han⁵³. This profoundly influenced Han Dynasty artistic aesthetics and creative themes. Animals, especially mythical beasts, were endowed with symbols of auspiciousness, warding off evil, and attaining immortality. These animal images were more than just decoration; they served as a visual representation of Han people’s beliefs. During the Han Dynasty, bronze casting technology advanced further, and the exquisite craftsmanship of artisans further refined decorative techniques. With the expansion into Central Asia and the increase in trade with neighboring countries, gold was used extensively in decorative patterns and as gold thread on jade garments and jade plaques, reflecting the contemporary funeral culture and belief in immortality.

The third and deepest layer encompasses profound emotional connection and trans-temporal resonance. Through studying and appreciating cultural relics, visitors can further develop deeper emotional resonance and emotional interaction. This emotional connection is evident not only in admiration for artifacts’ craftsmanship but also in the recognition of cultural inheritance and development of the culture. In this way, cultural relics function as emotional bridges that connect individuals through common heritage. When visitors enjoy certain cultural relics through visual presentation or oral narratives, they understand the history in-depth and unique cultural meanings embedded in the artifacts. This interaction can spark an emotional resonance that transcends time and space, allowing individuals to establish a strong emotional identity by associating past events with present-day circumstances. The shape of the Zun is inspired by the Chinese Sumatran Rhinoceros, which had extinguished long time ago due to climate change and over-hunting. This tragic historical context serves as a reminder of the importance of environmental protection and ecological balance, thus linking emotional response to contemporary issues. The key elements in ‘Emotion’ layer are demonstrated in Fig. 7.

The ‘Beauty’ dimension

Aesthetic experience relies on physical perception, followed by symbolic understanding of meaning, ultimately elevating to spiritual experience. This dimension is therefore structured into three ascending layers. Crucially, while it shares descriptive elements (e.g., material, color) with the ‘Thing’ dimension, its analysis focuses exclusively on their aesthetic properties, philosophical connotations, and affective impact. Thus, the ‘Thing’ dimension asks “what is it and how was it made?”, while the ‘Beauty’ dimension asks “how do its form and substance create sensory pleasure, meaning, and spiritual awe?”

The first layer is formal beauty, which is directly perceived by the body. Formal beauty refers to the aesthetic pleasure elicited through formal features such as proportion, rhythm, symmetry, structure, and spatial order. Here, elements like material and color are analyzed for their sensory qualities and contribution to visual harmony. The design of Zun exemplifies unity of form and function: while its body is symmetric, the head turns slightly left, breaking rigidity and adding vitality. Flowing cubes on the right satisfy practical needs, achieving both wine-pouring function and dynamic expression. Its silhouette follows the golden ratio, embodying visual harmony and revealing proportional mastery. Rhythm emerges from the repetition and variation of lines and patterns, guiding visual flow and creating aesthetic dynamics. Ancient artifacts often employed symmetrical and repetitive motifs to embody order and elegance. Materials and craftsmanship also determine formal beauty. Bronze, with its superior casting performance and durability, underpins the Zun. After careful surface treatment, it shows a soft metallic luster that balances elegance and gravitas, while gold and silver inlays enhance artistic impact and solemnity. However, as Pearson⁴⁵ emphasizes, aesthetic appreciation is not universal: cultural appropriation reframes beauty through hegemonic norms, where forms are admired without acknowledging cultural ownership.

The second layer is meaningful beauty, grounded in the historical context and cultural symbolism embodied in relics. Cultural artifacts do not exist in isolation but are deeply embedded within specific historical contexts. Their decorative motifs and design elements often reflect the political structures, religious beliefs, and aesthetic preferences of their era. For example, as a quintessential ritual vessel, the Zun occupies a central place in the ancient Chinese system of rites and music, serving as both a symbol and a material carrier of ritual civilization. Its beauty thus extends beyond formal qualities to encompass profound ritual-social significance. Moreover, cultural relics embody collective beliefs and shared values. For example, the ancient Egyptian scarab figurine⁵⁴ represents rebirth and eternity, reflecting ancient Egyptian society’s cosmological perspective on life and death. This symbolic meaning enables cultural relics to become carriers of meaning that transcend time and space.

The third layer is spiritual beauty. which is the highest level of aesthetics. As symbolic symbols of national memory and identity construction, cultural relics not only concern personal aesthetic feelings, but also carry the spiritual pursuit of the group community. This meticulous craftsmanship reflects the dedication, patience, and excellence that define traditional Chinese material culture. For example, the majestic presence of Qin Shi Huang’s Terracotta Army is not only a spectacular display of formal beauty, but also a material expression of the political will and collective spirit of the Chinese nation during its unification. It is this spiritual beauty that guides viewers into spiritual immersion and reflection.

The ‘Beauty’ dimension is perhaps the most vulnerable to the critical issue of cultural appropriation, requiring curatorial vigilance to ensure appreciation does not become extraction. The key elements in ‘Beauty’ layer are demonstrated in Fig. 8.

Interaction mechanism

As delineated in the previous section, the THEB Model operates as a progressive and interconnected framework. As depicted in Fig. 9, the four dimensions (Thing, Human, Emotion, and Beauty) interact through a dynamic mechanism guided by the principle that “Thing serves as the medium, Human represents the agent, Emotion acts as the bond, and Beauty serves as the sublimation.” This structure emphasizes nonlinear collaboration and dynamic feedback, with the core objective of activating the cultural value of relics through targeted design strategies, thereby transforming physical artifacts into vessels of profound humanistic significance.

Fig. 9.

Interaction mechanism of the THEB model.

From ‘Thing’ to ‘Human’: the foundation of object cognition

The interaction begins with the ‘Thing’ dimension, where the physical attributes of cultural relics, such as form, craftsmanship, and color, serve as the initial medium for visitor engagement. These tangible properties stimulate sensory channels, forming the foundational cognitive impressions. This process could be deepen by digitally reconstructing features like internal structures and material compositions, revealing aspects invisible to the naked eye and enabling a more nuanced historical understanding. Furthermore, the patterns and designs adorning cultural relics function as profound cultural symbols. By tracing the origin, evolution, and symbolic meaning of these symbols from decorative motifs to their socio-cultural implications, visitors can gain deeper insights into ancient societal concepts, value systems, and even the creators’ aspirations within their historical context. For instance, research has shown that the influence of clan ideology on ancestral hall mural art is reflected in the postures and attire colors of depicted figures, while subtle deviations in artistic execution reveal the dynamic interplay between traditional feudal norms and emerging social transformations⁴⁹. Crucially, this translation from material sign to social meaning is mediated by institutional actors and policy frameworks. Factors such as museum acquisition choices, display protocols, and national heritage agendas collectively determine which material features are foregrounded and which are elided^6,55.

From ‘Human’ to ‘Emotion’: the process of cognitive construction

In this phase, sensory input from the Thing dimension interacts with the visitor’s cultural identity and cognitive schemas that are central to the Human dimension to generate meaningful emotional responses. Social systems and ideologies embedded within cultural relics serve as carriers of cultural symbols and values. A deeper understanding of these elements significantly enhances visitors’ emotional identification and sense of belonging towards cultural heritage. To facilitate this transition effectively, logical coherence must be established among the artifact, the exhibition environment, and the visitor’s perceptual framework. For example, the exhibitions at the Qin and Han Museum of Shaanxi History Museum incorporate an incense experience area when displaying the Gilt and Silvered Bronze Incense Burner with a Bamboo-shaped Stand. This thoughtful design, which aligns the artifact’s historical function with multi-sensory engagement, successfully fosters personal emotional connections and enhances cultural comprehension. Given that incense culture in the Qin and Han dynasties was intimately associated with religious rituals, social hierarchy, and symbolized contemporary pursuits of spiritual fulfillment and aspirations for a better life, this multisensory approach effectively bridges historical context and modern emotional resonance. However, emotional outcomes are not purely emergent from visitor–object interaction: they are also curated. Institutional objectives (education, identity-building, tourism), plus commercialization pressures (visitor metrics, sponsorship, merchandising), influence which emotions exhibitions are designed to evoke (e.g., pride, nostalgia, empathy, or spectacle). In contested contexts, heritage politics may deliberately foreground affective frames that support particular agendas while suppressing emotions that would encourage critical reflection. Recent research on museum digitisation and curatorial politics shows how such institutional framing modulates affective trajectories^6,56.

From ‘Emotion’ to ‘Beauty’: the migration to aesthetic appreciation

Emotional resonance, once established, directs the visitor’s attention toward aesthetic judgment and appreciation, marking the transition into the Beauty dimension. The intensity and quality of emotional engagement profoundly shape aesthetic perceptions and overall experiential outcomes. Aesthetic experience constitutes a comprehensive perception of both the external form and internal spirit of cultural relics. By integrating emotional engagement with aesthetic discernment, the perceived aesthetic value of cultural relics is significantly enhanced, allowing visitors to appreciate their beauty while simultaneously sensing the profound emotional power they embody. Cultural relics, through their historical values and embodied psychological imprints, offer profound insights into the aesthetic ideals of their eras. A compelling example is Tang Tri-Color Glazed Ceramics, whose vibrant colors and dynamic forms vividly reflect the Tang Dynasty’s pursuit of magnificence, spiritual expression, and cultural fusion. Yet, aesthetic judgment is also socially negotiated: cultural appropriation, global market tastes, and institutional valorization influence which aesthetic features become celebrated as ‘beautiful’. When aesthetic elements are detached from their ritual or social contexts and recontextualized for global display or commodified consumption, ‘beauty’ can become divorced from origin-based meaning and contested in restitution/representation debates. Curatorial strategies must therefore proactively address provenance narratives, power asymmetries, and ethical display practices to prevent hegemonic re-framing of aesthetics^6,55.

From ‘Beauty’ back to ‘Thing’: aesthetic-driven reinterpretation

The final interaction completes the hermeneutic cycle, as the sublimated appreciation of Beauty prompts a renewed and deeper examination of the Thing. Visitors’ aesthetic experiences and preferences inform curatorial strategies, encouraging the redesign of exhibitions that better resonate with public perception. Creating emotionally engaging and experience-driven displays can effectively bridge informational gaps, minimize cognitive biases, and facilitate more intuitive interpretations. This cyclical enrichment ultimately transforms static objects into dynamic, meaningful cultural experiences, ensuring the continuous revitalization of cultural heritage. Importantly, this hermeneutic cycle is not only epistemic but institutional: curatorial revisions, market feedback (e.g., merchandising, themed events), activist interventions, and heritage policy responses close the loop by altering acquisition strategies, interpretive texts, or commercial offerings. The THEB interaction mechanism therefore explicitly incorporates external socio-political and economic feedback as integral mediators of perception and valuation—which means that model application and evaluation must account for institutional context, funding regimes, and cultural politics, not only visitor cognition^56,57.

Effectiveness evaluation of the THEB model

To evaluate the effectiveness of the proposed THEB model, this section employs the Rhinoceros-shaped Bronze Zun Inlaid with Gold and Silver Cloud Design as a case study with a comparative experimental framework. In this study, effectiveness refers to the degree to which the THEB model enhances visitors’ overall perception of cultural relics.

Experiment design and sample

Participant recruitment and demographic diversity analysis

Participants were recruited through a diversified strategy, including university mailing lists, community centers, social media platforms, and Wenjuanxing, to ensure a demographically and cognitively heterogeneous sample. As a result, a total of 230 participants, with 115 participants randomly assigned to each group (AI-generated video vs. museum expert-generated video) were recruited. To contextualize the findings, a demographic diversity analysis was conducted. The final participant pool comprised 230 valid responses, including 112 males (48.7%) and 118 females (51.3%), with the majority aged between 20 and 35 years (M = 27.6, SD = 5.9). Educational levels were diverse: 40% held undergraduate degrees, 37% were master’s students, and 23% possessed doctoral or equivalent qualifications, ensuring broad academic representation. In terms of cultural heritage familiarity, 17% reported limited prior exposure, 45% indicated moderate familiarity, and 38% described themselves as highly familiar or actively engaged with heritage-related topics. Regarding museum visiting frequency, 10% of participants had rarely visited museums, 48% reported occasional visits (1–2 times per year), and 42% were frequent visitors (more than three times per year).

Experiment variable control design

In order to compare the AI-generated and expert-produced videos, specific measures were taken. Both videos were standardized to approximately 300 s (± 5 s), focused on identical artifact-related content, and ensured comparable audio quality. When background music was included, the same track was used to avoid confounding effects of auditory differences. Nonetheless, some stylistic differences such as the use of ink-painting aesthetics in the AI-generated video versus a documentary style in the expert video were unavoidable. These differences are explicitly acknowledged as potential confounds, and future iterations will refine design to further isolate the contribution of THEB model anchoring from other stylistic factors.

THEB model-to-video translation

The AI-generated video is the direct operationalization of the THEB model, and its creation was systematically anchored in the model’s four dimensions. This process ensures a transparent and defensible link between the theoretical framework and the evaluated output. Systematically mapped onto the four dimensions of the THEB model, the AI script explores the artifact’s ritual hierarchy, symbolic form, decorative aesthetics, and technical craftsmanship, thus to operate the theoretical constructs into audiovisual representation. This explicit mapping ensures that the AI video is not only inspired by but systematically implements the theoretical framework. The AI-generated video is structured into six distinct scenes.The translation mechanism is detailed in Table 3.

Table 3.

Anchoring of THEB dimensions in the AI video script and design.

Scene	Description	THEB dimension	Anchoring mechanism
Scene1: Opening - A Glimpse of Eternity.	The camera glides through a dimly lit museum hall, gradually revealing the Rhinoceros-shaped Bronze Zun, illuminated by a soft golden light. The intricate gold and silver inlays glisten as the camera slowly zooms in.	Thing and emotion	Highlights the artifact’s materiality, form, and physical presence as a cultural object from a visual perspective. And through music and visual scenes, enhance the emotional experience in the museum context
Scene 2: The Power of the Rhinoceros- A Symbol of Strength and Protection.	In the vast North China Plain, there used to be herds of rhinoceroses, but they became extinct due to excessive hunting by humans. Ancients viewed the rhinoceros as a auspicious beast that prevents flood disasters, and its image appeared in totems and various vessels.	Human and emotion	The interpretation of the rhino image, the reflection on its symbolic meaning and ideal pursuit as well as the historical background
Scene 3: The Language of Clouds – A beautiful pursuit.	Close-up of the clouds in the sky. The clouds are changing in the sky, and the ancients are praying on the ground	Human and Beauty	Emphasize the symbolic meaning, ideal pursuit and aesthetic embodiment of cloud pattern decoration in cultural relics
Scene 4: Gold and Silver– Elaborate decorations	In the workshop, some Han dynasty craftsmen are making fine bronze ware, and some use tools to decorate patterns on the surface of the bronze ware. The gold and silver decorative patterns on the surface of the rhinoceros are embedded in different positions according to the shape, and the thickness of gold and silver is also different. It presents diverse characteristics and has certain rules.	Thing and beauty	Explore the technical process, the concept development behind the process, and the aesthetic concepts and spiritual connotations it embodies
Scene 5: The Zun’s Function– A Vessel of Ceremony	A grand recreation of a Western Han court—nobles gathered around a table, pouring wine from the rhinoceros zun as incense smoke rises.	Thing and Human	Reveal the function of the cultural relics themselves and the social order and hierarchy they imply
Scene 6: The Legacy – A Story That Never Ends.	The scene shifts from the location of the excavation of cultural relics to the museum. A child reaching out to it with wonder.	Emotion	Further inspire empathy, cultural heritage and intergenerational emotional resonance through visual images and music

Generation of THEB model-supported images and videos

The image generation and video production, as described below, were directly guided by the script and anchoring mechanism defined in Table 3, ensuring the final output remained a faithful operationalization of the THEB model. During the generation of THEB model-supported images and videos, AI tool GPT-4 is utilized to edit the video scripts, then Midjourney, an artificial intelligent generative illustration tool, was employed to generate images aligned with the sequence of video scenes. When generating these visuals via text prompts, stylistic constraints were introduced to maintain visual coherence. These included specifying styles such as modern Chinese ink painting, minimalist graphic design illustration, and color illustration in the style of Wu Guanzhong, while also restricting the aspect ratio to 16:9. This approach ensured a consistent visual language, supported narrative continuity, and minimized generative randomness. Finally, Adobe Photoshop was used to manually correct distorted text and irregular shapes within the generated images. The finalized and refined results are presented in Table 4.

Table 4.

Image generation and text prompts.

Order	Image	Test prompts
1		The museum hall is spacious and bright, with modern design style and glass  square display cabinets displaying ancient cultural relics such as bronze wares  from the Han Dynasty of China. The ceiling features rectangular metal frames,  and there’s an open space in front for visitors to walk through.
2		A bronze sculpture of an ancient Chinese rhinoceros, displayed in the  museum with white exhibition stands and square transparent glass display cabinets.  The sculpture is made from green copper material that has a patina on its surface.
3		A vast North China grassland, herds of Sumatran rhinoceros grazing peacefully,  golden sunlight, serene landscape, lush green grass, clear blue sky
4		Many Chinese soldiers hunt Sumatran rhinoceros at the grassland in the  Han Dynasty, chaotic battlefield scene, blood-stained grass, smoke from burning  villages in background, dying rhinos collapsing in mud, broken chariots
5		A desolate North China grassland, critically endangered Sumatran rhinoceros  fleeing from poachers, chaotic scene with smoke and distant fires, blood-stained  grass, dramatic stormy sky, broken fences and abandoned traps
6		Han dynasty, devastating floods, ink wash painting style, helpless people,  sweeping black brushstrokes depicting raging waters, washed-away villages  reduced to minimalistic ink blots
7		Ancient Chinese mythology, Sumatran rhinoceros as a divine beast controlling  floods, standing majestically in a raging river, its body glowing with sacred energy,  surrounded by kneeling worshippers in Han dynasty robes
8		Ancient Chinese sacrificial ceremony, rhinoceros totem, Taoist priests in flowing  robes scatter cinnabar powder, Desperate villagers kneel with offerings of bronze  ritual vessels and bunches of grain, their faces half-obscured by ceremonial smoke
9		A dry earth, the clouds are changing in the sky, less sunlight, dim landscape,  Han Dynasty, small rain, The farmer with the straw hat knelt to beg for rain
10		Ancient Chinese bronze workshop scene, Shang dynasty artisans demonstrating  the intricate ‘gold and silver inlay’ technique on a small Sumatran  rhinoceros-shaped zun vessel, large people
11		A craftsman uses chisel to carve on the surface of a small bronze vessel,  Han Dynasty, Close-up of hand movements, line sense, minimalist style
12		A craftsman uses knife tool presses the silver and gold wire into the groove,  Han dynasty craftsman, hair bun, Enlarge the groove, A lot of gold leaf and  gold thread on the table, line sense, minimalist style
13		A craftsman uses the stone to polish the surface of the bronze vessel,  Han dynasty craftsman, hair bun, Some grinding tools on the table,  line sense, minimalist style
14		Three Han dynasty craftsmen sat around a table discussing some design  drawings and brushes, Han dynasty craftsman with hair bun, line sense,  minimalist style
15		At the banquet of the Han Dynasty, the highest noble sitting in the table  held up the bronze vessel, dressed in splendor, and four people knee below,  reflecting the strict hierarchy, The table has dishes and bronze wine vessels,  The background is the imperial palace, less light, side view, line sense
16		Many bronze relics displayed in the National Museum of China,  visitors admiring it, a child reaching out to it with wonder, dim lights  around, the top light illuminated the bronze ware, line sense, minimalist style

Subsequently, according to the variable control rules formulated in Sect. 5.1, Hailuo AI and Pixverse AI were utilized to generate 20 video clips, each lasting approximately fifteen seconds, based on the previously produced images. In the next step, Jianying, a video editing tool, was employed to add subtitles and background music in order to enhance the sense of immersion and support deeper understanding of the cultural significance of the relics.

Evaluation of AIGC video based on the THEB model

To assess the effectiveness and practicality of generative videos, a controlled user study comparing an AI-generated video anchored in the THEB model with a traditional museum expert-produced video was conducted. Two groups of participants (N = 230, with 115 in each group) were recruited. Group 1 viewed a traditional museum-produced video (https://www.bilibili.com/bangumi/play/ep239410?bsource=bing_ogv), which adopts a documentary-style format characterized by a narrator delivering factual historical information over footage of the artifact and related archaeological sites, while Group 2 watched an AI-generated video designed according to the four dimensions of the THEB model. The study had two objectives: (1) to assess participants’ engagement, satisfaction, and immersion; and (2) to measure the factual knowledge acquisition about the artifact.

Measurement instruments and procedure

After viewing the provided videos, all participants completed a questionnaire assessing their experience in terms of engagement (Q1 and Q2), satisfaction (Q3 to Q5), and immersion (Q6 and Q7) on a 5-point Likert scale. The questionnaire items are summarized in Table 5.

Table 5.

Engagement, satisfaction, and immersion assessment questionnaire.

Assessment metric	Questionnaire items
Engagement	Q1. I completed the entire experience without dropping out
	Q2. I felt compelled to continue exploring the content until the end
Satisfaction	Q3. I was satisfied with the effect of the Presentation aesthetics
	Q4. I was satisfied with the degree of coherence of the overall narrative
	Q5. I was satisfied with the overall content of the cultural relic’s introduction
Immersion	Q6. I felt emotionally connected to the cultural narrative of this relic
	Q7. I feel like I am part of the history of this relic

The evaluation process include two phases:

The first phase of user testing focused on user engagement, satisfaction, level of immersion⁵⁸. Let E, S, I denote the scores for user engagement, satisfaction and immersion respectively. In the user test, let n, , , denote the total number of participants, the i^th question in questionnaire, the j^th participant, the score of question marked by participant , respectively, Then, for question , its average score is calculated by Eq. (1).

1

Where j belongs to the set of integers from 0 to n.

Then, E is calculated based on the average score of and . S is calculated based on the average score of , and . And I is calculated based on the average score of and .

Subsequently, to assess knowledge acquisition, a subset of participants who demonstrated high engagement and satisfaction ( on Q1 to Q7) were selected to complete a knowledge assessment. This selection criterion ensured that the knowledge test was administered to participants who were fully attentive to the content. The knowledge assessment consisted of five single-choice questions about the relic, as listed in Table 6.

Table 6.

Knowledge assessment questionnaire.

No.	Single- choice questions
1	What symbolic cultural meaning does the rhinoceros shape of the Rhino Zun represent?
2	Why did ancient people associate the rhinoceros with protection against floods?
3	What is the symbolic meaning of the cloud patterns on the Zun, according to the video?
4	Which of the following best describes how gold and silver were applied to the surface of the Zun?
5	Which statement best reflects the decorative layout of gold and silver on the Zun?
6	What does the video suggest about the social role of the Zun in the Western Han period?

Let A (knowledge awareness) represents the degree of acquisition of knowledge related to cultural relics, then A is calculated based on the number of correct responses, as shown in Eq. (2).

2

Where represents the number of correct answers for participant .

Evaluation results and statistical analysis

Independent samples t-test was used to compare the responses of the two groups on all questionnaire items (Q1-Q7). The results revealed statistically significant differences across all measures, with the AIGC video group consistently reporting higher scores. The detailed results for each question are as follows:

Engagement: For video completion (Q1), the AI group (M = 4.69, SD = 0.60) scored significantly higher than the traditional group (M = 3.57, SD = 0.66) with noncentrality parameter and significance level . For willingness to explore further (Q2), the AI group (M = 4.43, SD = 0.58) also outperformed the traditional group (M = 3.54, SD = 0.62) with noncentrality parameter and significance level .

Satisfaction: The AI group reported significantly higher satisfaction with artistic presentation (Q3: M = 4.64, SD = 0.58 vs. M = 3.47, SD = 0.57, ), narrative coherence ((Q4: M = 4.67, SD = 0.49 vs. M = 3.60, SD = 0.70, ), and content satisfaction (Q5: M = 4.36, SD = 0.52 vs. M = 3.24, SD = 0.61, ).

Immersion: The AI group reported a stronger emotional connection (Q6: M = 4.04, SD = 0.68 vs. M = 3.37, SD = 0.69, ) and a greater sense of integration with historical context (Q7: M = 3.72, SD = 0.63 vs. M = 3.08, SD = 0.58, ).

To ensure that the study’s sample size was sufficient to support robust statistical conclusions, a post-hoc power analysis was conducted using G*Power 3.1. The composite scores for the three main dimensions, along with their effect sizes (Cohen’s d), noncentrality parameter (), and statistical power (1-β) when significance level , are summarized in Table 7. With N = 230 (115 per group), an independent samples t-test, , and the observed effect sizes (Cohen’s d ranging from 1.00 to 1.92 across dimensions), the statistical power () exceeded 0.98 for all primary comparisons. This indicates that the study design was sufficiently powered to detect medium-to-large effects.

Table 7.

Composite scores for engagement, satisfaction, and immersion, effect size, and statistical power of these three dimensions.

Assessment metric	No	Traditional video		AIGC video		Cohen’s d				1-β
Engagement	Q1	3.57 ± 0.66	3.56 ± 0.64	4.69 ± 0.60	4.56 ± 0.59	1.78	1.62	13.46	12.32	Power > 0.99
	Q2	3.54 ± 0.62		4.33 ± 0.58		1.48		11.17		Power > 0.99
Satisfaction	Q3	3.47 ± 0.57	3.44 ± 0.63	4.64 ± 0.58	4.56 ± 0.53	2.05	1.92	15.37	14.59	Power > 0.99
	Q4	3.60 ± 0.70		3.47 ± 0.57		1.78		13.58		Power > 0.99
	Q5	3.24 ± 0.61		4.36 ± 0.52		1.97		15.03		Power > 0.98
Immersion	Q6	3.37 ± 0.69	3.23 ± 0.64	4.04 ± 0.68	3.88 ± 0.66	0.97	1.00	7.39	7.58	Power > 0.98
	Q7	3.08 ± 0.58		3.37 ± 0.63		1.05		7.52		Power > 0.98

A comparative visualization of the mean scores for both video types across the seven questionnaire items is presented in Fig. 10.

Fig. 10.

Average score of AI video and traditional video.

In the knowledge assessment, the AI video group (n = 60) achieved an average degree of knowledge of 79.2%, which was significantly higher than the 65% knowledge degree achieved by the traditional video group (n = 35). This result suggests that among highly engaged participants, those who viewed the AI-generated video demonstrated superior recall and understanding of key artifact details. The question-by-question knowledge degree rates for both groups are detailed in Table 8.

Table 8.

The degree of knowledge acquisition of the AI and traditional video group.

Question number	N1	N2	N3	N4	N5	Degree of knowledge
AIGC video	0.87	0.82	0.80	0.75	0.81	0.792
Traditional video	0.65	0.63	0.67	0.62	0.67	0.65

In-depth analysis

The results validate the effectiveness of the THEB model specifically in in enhancing engagement, aesthetic appreciation, and emotional resonance, while revealing its limitations in conveying complex historical depth. The markedly higher scores in engagement (Q1-Q2) indicate that the AI-generated video was more effective at capturing and sustaining viewers’ attention and motivating further exploration. This enhanced engagement likely facilitated a deeper cognitive interaction with the artifact, helping participants better identify its physical features and conceptualize its function and symbolic meaning.

In terms of Satisfaction (Q3-Q5), participants showed a strong preference for the artistic presentation and narrative coherence of the AIGC video. The use of a consistent Chinese ink painting style was particularly effective in highlighting the artifact’s formal and spiritual beauty, thereby enhancing the overall aesthetic experience and emotional resonance. This underscores the importance of balancing aesthetic appeal with cultural fidelity in heritage presentation.

For Immersion (Q6-Q7), scores were relatively lower than those for engagement and satisfaction, the AI group still reported significantly stronger emotional connections and a greater sense of historical integration than the traditional group. The AI-generated narrative, combined with its expressive visual and musical elements, successfully elicited immediate emotional responses and fostered a sense of cultural belonging. However, the moderate scores on ‘feeling part of the history’ (Q7) suggest a limitation: the abstract and artistic presentation, while emotionally compelling, may have inherent constraints in conveying complex sociocultural and historical depth. Achieving a more profound historical resonance may require supplementary interpretive tools or enhanced interactivity.

Finally, the superior performance of the AI group on the knowledge assessment indicates that the heightened engagement and satisfaction facilitated by the THEB model did not come at the expense of factual learning. On the contrary, the immersive and aesthetically pleasing narrative appears to have served as an effective vehicle for knowledge retention and understanding, particularly for participants who were highly engaged with the content.

While the AI-generated video demonstrated significant advantages in engagement, satisfaction, and emotional immersion, the results also reveal nuanced limitations. Specifically, although participants reported strong emotional connections, the immersion scores related to ‘historical integration’ were relatively modest. This suggests that AI-driven narrative and aesthetic techniques complement, rather than replace, traditional expert storytelling by providing emotionally engaging entry points into cultural heritage.

Discussion

Multidimensional perception of cultural relics’ values

The value of cultural relics can be comprehensively appreciated when viewed through a multidimensional lens that integrates materiality, human connection, emotional resonance, and aesthetic beauty. While physical characteristics offer an initial point of contact, a deeper understanding emerges when visitors connect these tangible elements to the humanistic spirit, cultural connotation, and emotional weight that relics carry across time. Far from being static objects, cultural relics are living vessels of collective memory and evolving meaning. Their visual and structure beauty reflects human creativity; their emotional resonance bridges the temporal divide between past and present; and their historical context anchors individuals within the broader narrative of cultural heritage. Visitor perception deepens when relics are encountered not merely as museum artifacts, but as touchpoints of identity, belief systems, and artistic expression. Ultimately, comprehensive understanding arises from the interplay among these aspects. Material form becomes a medium through which history is accessed, human narratives revitalize the past, emotions reinforce personal and collective ties, and aesthetic qualities elevate perception into a profound appreciation of cultural continuity.

Application of the THEB model

Firstly, the physical relic serves as an entry point to history and culture, complemented by AR or VR technologies that reconstruct its original appearance and function. This can be enhanced with tactile replicas, immersive soundscapes, or curated scents to bring artifacts to life in multisensory ways⁵⁹. Secondly, the humanistic spirit embedded within cultural relic should be emphasized through narrative-driven texts or life-sized projection recreating sauthentic human interaction. Thirdly, efforts should be made to build emotional bridges between visitors and the artifact. The evaluation in this study demonstrated that AI-generated narratives anchored in the four THEB dimensions significantly enhanced emotional reasonance and aesthetic engagement. This effect can be further strengthened with emotional voiceovers and atmospheric design However, as research findings indicate, explicit historical annotations are still needed to complement the emotional storytelling and ensure depth of historical cognition. Lastly, exhibition space design can cultivate a contemplative atmosphere through interpretive content on symbolism of color, pattern, and material. AI generative tools may play a supportive role, but require careful curation to align with cultural and historical accuracy.

Comparative advantages of the THEB model

Under traditional evaluation system, relics’ value is primarily tied to their age, originality, and physical integrity, often neglecting their living cultural significance. Values are fragmented into historical, artistic, or scientific categories, which fails to capture the interconnection of material, human, emotional, and aesthetic aspects. Moreover, traditional systems fail to consider emotional resonance such as the feeling of awe, nostalgia or reverence they inspire, which neglects utilizing emotion as a bridge to enhance understanding and connection to history. By contrast, the THEB model provides a multidimensional evaluative framework that integrates materiality, humanity, emotion, and beauty into a coherent whole. It recognizes relics not merely as historical evidence but as cultural carriers, shaped by social functions and ritual practices.

Limitations and future work

Despite promising findings, this study has several limitations. First, although the sample size was relatively large and demographic diversity was considered, participants were still skewed toward younger, educated groups, limiting the generalizability of the results to wider museum audiences. Second, while both videos were standardized in length and content, stylistic differences remain potential confounds. Third, the knowledge assessment relied on multiple-choice items focused on factual recall rather than interpretive understanding. Fourth, while the evaluation metrics covered engagement, satisfaction, and immersion, they relied exclusively on self-reported measures, which may be subject to social desirability bias or individual variation.

Future research should therefore focus on: (a) actively recruit a more diverse and representative sample of museum visitors. This includes specifically targeting older adults, individuals with varying educational backgrounds, and those from different socio-cultural contexts to ensure the findings are applicable to the broader museum-going public; (2) investigate the specific impact of video style (e.g., narrative vs. expository) on learning and engagement; (3) incorporate evaluation methods that measure deeper, interpretive understanding and conceptual learning, moving beyond simple factual recall. This may include open-ended questions, concept mapping, or problem-solving tasks related to the video content; (4) employ multi-method approaches that combine subjective reports with objective measures (e.g., eye-tracking, physiological indicators) to enhance measurement validity.

Conclusion

This paper proposed the THEB model for multi-dimensional perception of cultural relic value, integrating Thing, Human, Emotion, and Beauty. Grounded in embodied cognition, the model emphasizes the role of design as a mediating layer between material carriers and cultural meaning. Using the Rhinoceros-shaped Bronze Zun Inlaid with Gold and Silver Cloud Design as a case study, this study demonstrated how AI-generated video content systematically mapped onto the four dimensions of the THEB model. Comparative experiments revealed higher engagement, satisfaction, and immersion in the AI group, validating the model’s ability to enhance affective and aesthetic appreciation. At the same time, results indicated that AI-based interpretation excelled in eliciting emotional resonance and aesthetic immersion but is less effective in conveying historical depth and critical understanding. This underscores the need for AI-assisted interpretation to be grounded in rigorous documentary research and combined with expert narratives. The proposed multi-dimensional perception model offers meaningful reference value for museum exhibition design. Through a more holistic presentation of cultural relics information, it arouses the emotional resonance of tourists, increases visitor engagement and promotes a deeper understanding of heritage artifacts.

Author contributions

XJN: Conceptualization, methodology, writing--review & editing, funding acquisition. JYY: methodology, data acquisition, analysis, and interpretation, writing--original draft. SHY: Conceptualization. LLC: writing--review & editing, funding acquisition. All authors read and approved the final version of the manuscript.

Funding

This paper was supported by the Fundamental Research Funds for the Central Universities (No. D5000220094), Higher Education Research Fund of Northwestern Polytechnic University (No.GJJZ202301), Shaanxi undergraduate education and teaching reform research project (No.21BZ009) and Research project on major theoretical and practical issues of philosophy and social science in Shaanxi Province (No.2022ZD0614).

Data availability

The datasets generated and analyzed during the current study are available from the corresponding author on reasonable request.

Declarations

Competing interests

The authors declare no competing interests.