Heritage Items Research Articles

Study on the Development of Intangible Heritage Items

The boat-dwelling people of Yangjiang, Guangdong Province were once a group of water dwellers with a long history and specific living and production practices and cultural qualities. They improvised salty-water songs to express their feelings during daily labour and wedding customs, with rich tunes and diverse forms. In the historical evolution, a large number of boat-dwelling families living ashore, changing the way of life of the boat as a home, in the deep impact of popular culture, boat-dwelling customs are gradually marginalised, the inheritance of Yangjiang salty water songs also appeared to be a dilemma. In the new era when the protection of intangible cultural heritage is widely valued, we should recognise the urgent need for the protection of the salty water song, and seek the way of inheritance and development of Yangjiang salty water song in the light of the current reality.

Found a fossil: improving awareness, engagement, and communication strategies for heritage discoveries

Fossils and Indigenous artefacts are often found by members of the general public. To gauge Australian awareness of heritage laws and willingness to report finds, the Found a Fossil project conducted a survey to understand barriers to reporting heritage material. Results showed enthusiasm to report but confusion over appropriate authorities to contact, lack of transparency by government, and poorly communicated legislation created barriers to heritage reporting. This project represents the first attempt to quantify reporting behaviours of Indigenous artefacts and fossils in Australia and recommends improvements for reporting, protection and communication of Australian heritage items and their historical narratives.

Computational framework for the evaluation of the composition and degradation state of metal heritage assets by deep learning

The accurate assessment of the material constitution and degradation in newly discovered archaeological artefacts is paramount for the decisions surrounding a thorough treatment of the object during the restoration and conservation stages. The laboratories possess competent experts and complex devices to perform this analysis properly. Nevertheless, a timely hint of an artificial intelligence assistant regarding the chemical composition and corrosion compound localization of a metal asset could save additional time and resources. The present paper proposes such a computational framework based on deep learning techniques that, on the base of its automatic determination of the chemical concentration of the predominant metal from a microscope image, can subsequently independently also recognize and delineate the corrosion spots of the products specific to that metal. The experiments have been performed on iron and copper heritage items from the Oltenia Museum, Romania. The results suggest that, even with an economic training information in terms of microscope images and annotations, the artificial intelligence framework can provide on-site support for an early examination of metal heritage assets.

Haptic Preservation of Cultural Ephemera: an Extended Reality Solution Using Stereoscopic Experience Replication for Victorian Parlor Culture

This study presents a solution to the problem of interacting with, while simultaneously preserving, fragile cultural heritage, such as Victorian parlor culture artifacts, which are essential cultural heritage items but at risk of damage and deterioration. The proposed multi-sensory experience uses extended reality (XR) technology, head-mounted displays (HMD) and haptic feedback via haptic gloves, providing an immersive experience that allows people to interact with these artifacts in a virtual environment. By replicating the experience of a Victorian parlor, this study provides a glimpse into the past and provides valuable resources for researchers. The proposed solution not only provides access to the public and researchers of a collection, but also addresses the conflicting demands of curators and conservators by preserving these artifacts while still engaging a modern audience. The approach mitigates incidents of further deterioration or vandalism, ensuring the long-term preservation of cultural heritage resources. Through XR technology, viewers can handle fragile examples of technology, such as stereoscopic images, stereocards, and stereographs, without risking damage to the original materials. Haptic feedback can simulate the texture of the objects, providing a more realistic and immersive experience. Moreover, this study highlights the importance of preserving cultural heritage leveraging emerging technologies and emphasizes the historical and cultural significance of these objects.

Evaluating the impacts of imported cultural goods on carbon emission: Cross-country evidence

Low attention has been paid to the environmental effects of imported cultural commodities, which serve as a medium for cultural engagement and information sharing around the globe. Using the generalized method of moment (GMM) approach, this article empirically assesses the effects of imported cultural products on carbon emissions using cross-country panel data from 2004 to 2017 for 121 countries. The empirical findings reveal that the environmental consequences of imported cultural commodities vary among income level country groups. Overall, a 1% increase in the imports of total cultural goods imports would decrease carbon emissions significantly by 0.002%. After dissecting the sample into two groups, we find that a 1% increase in total cultural goods imports would lead to a significant decrease in carbon emissions of higher-income countries by 0.008%, but a significant increase in the emissions of carbon dioxide of lower-income countries by 0.002%, thus showing the importance of worldwide cultural interaction to carbon emissions. In addition, we find that performance & celebration goods and audiovisual & interactive media goods are primarily responsible for the inhibiting effects of imported cultural goods on the carbon emissions of higher-income countries. Imports of the majority of cultural products (with the exception of heritage items) would result in a significant rise in carbon emissions for low-income nations, a conclusion that is consistent with that of overall cultural goods imports. Gross domestic product per capita and economic complexity index have consistently negative effects on carbon emissions across several models for both nation groups, although energy consumption is the most significant contributor to carbon emissions. In addition, using Lasso Poisson regressions, we undertake robustness tests to assess the dependability of our empirical results based on the GMM methodology. The Lasso Poisson estimation results are consistent with our earlier findings.

Count Dracula Resurrected: Proteomic Analysis of Vlad III the Impaler's Documents by EVA Technology and Mass Spectrometry.

The interest of scientists in analyzing items of World Cultural Heritage has been exponentially increasing since the beginning of the new millennium. These studies have grown considerably in tandem with the development and use of sophisticated and sensitive technologies such as high-resolution mass spectrometry (MS) and the non-invasive and non-damaging technique, known under the acronym EVA (ethylene-vinyl acetate). Here, we report the results of the MS characterization of the peptides and proteins harvested by the EVA technology applied to three letters written in 1457 and 1475 by the voivode of Wallachia, Vlad III, also known as Vlad the Impaler, or Vlad Dracula. The discrimination of the "original" endogenous peptides from contaminant ones was obtained by monitoring their different levels of deamidation and of other diagenetic chemical modifications. The characterization of the ancient proteins extracted from these documents allowed us to explore the environmental conditions, in the second half of the 15th century, of the Wallachia, a region considered as a meeting point for soldiers, migrants, and travelers that probably carried not only trade goods and cultural traditions but also diseases and epidemics. In addition, the identification of many human peptides and proteins harvested from the letters allowed us to uncover more about Vlad Dracula the Impaler. Particularly, the experimental data show that he probably suffered from inflammatory processes of the respiratory tract and/or of the skin. In addition, proteomics data, although not exhaustive, suggest that, according to some stories, he might also have suffered from a pathological condition called hemolacria, that is, he could shed tears admixed with blood. It is worth noting that more medieval people may have touched these documents, which cannot be denied, but it is also presumable that the most prominent ancient proteins should be related to Prince Vlad the Impaler, who wrote and signed these letters. The data have been deposited to the ProteomeXchange with the identifier ⟨PXD041350⟩.

What Actually Is a Heritage Conservation Area? A Management Critique Based on a Systematic Review of New South Wales (Australia) Planning Documents

While the community of Australian planning professionals is familiar with the identification, interpretation and application of heritage conservation areas, this is not a concept that is familiar to the general public. Yet, none of the official publications issued by the New South Wales state heritage authorities provide a definition of the purpose of heritage conservation areas that goes beyond the declaring them to be a spatially bounded area containing heritage items. It is left to the local planning authorities to provide their own interpretations and definitions. This paper provides a systematic review of the definitions contained in NSW local heritage studies and planning documents. It presents the first ever comprehensive definition of the purpose of heritage conservation areas as well as of the nature and characteristics of an area’s constituent, contributory or detracting components. Based on this, the paper then explores the role of heritage conservation areas as part of the public heritage domain focussing on the importance of isovists and commensurate curtilages when discussing permissible alterations and new developments.

Research on the Innovative Development of Mud Genie-Mud Goo Goo and its IP Creation

Xun County Mud Goo is one of the first national non-foreign heritage items and is a representative of traditional clay sculpture in Henan. The village of Yang Qi Tun in Xun County, located along the old Yellow River Road, is known as "the first clay sculpture village in China". Throughout the years, the development of local clay goo heritage has suffered from a weak awareness of folk culture preservation and a lack of innovation and practicality in its products. The aim is to promote the sustainable development of Mud Goo by exploring the innovative development path of mud gu and its IP creation.

RESEARCH ON THE DIGITAL EXHIBITION OF CULTURAL RELICS FOR CROSS-CULTURE COMMUNICATION: CASE STUDY ON CHINA-GREECE COOPERATION ON TERRACOTTA WARRIORS

Abstract. With epidemics blocking offline interactions, it is difficult to organise events such as tours of major heritage sites and outbound exhibitions of cultural relics, and new paths need to be expanded for the presentation of cultural heritage and intercultural education efforts. With the booming development of digital technology, the integration of online virtual presentation and interactive technology and the innovative design of 3D scenes provide new solutions for the intercultural communication of these precious and immovable cultural relics (e.g. archaeological sites), etc. This project is based on the Sino-Greek cooperation around the online presentation of heritage items such as the Terracotta Warriors and Horses of China and the precious collection of the National Archaeological Museum of Greece, in order to present and On the basis of communicating the value of heritage and the connection between Chinese and Greek civilisations, the project explores the development of a virtual space that integrates the Terracotta Warriors and Horses pits, the interactive virtual display of cultural relics, and the display of the achievements of scientific and technological conservation of cultural relics, so as to realise the cross-cultural exchange between China and Greece and fulfil the educational function of heritage.

Metadata as imaginary demands: Exploring metadata markets in digital heritage with speculative design

AbstractCultural heritage practices is formed by different socio‐technical regimes. Today, it is increasingly formed by the regime of commodification, expressed in terms like interoperability and reuse. This signifies a shift from a regime of the authentic object where the value is in the unique object positioned in a particular institutional context. To be able to exploit cultural heritage items on digital markets detached from their position in their original context, large resources are needed to furnish the items with metadata. In this metadata production, the regime of the institution as guarantor for the objects' authenticity, clash with the regime of aggregated trust, where authenticity is confirmed by aggregating data from multiple producers. This article argue that such rich contextual information is what creates long‐term value for digital archival objects. In this speculative design project focusing humanities research needs, I therefore turn the attention to the metadata producers. Taking the idea of metadata as a commodity to its peak, I show how we can interpret metadata as a supply to meet imaginary demands. By looking at metadata as imaginary demands we can begin to see the contours of the diverse conceptual models the archives carry.

Kitâbu’t-Tahrîş ve Kitâbu’l-Makâlât’ın Tahkikinde Esas Alınan El Yazmaları Üzerine

With this study, it is aimed to clarify some ambiguities about the origin of the manuscripts that the edition of Kitāb al-Tahrīsh and Kitāb al-Maqālāt, which we published recently, rest on. Those editions which we expect to open new horizons in terms of the history of Islamic theology and hadith criticism, have reached today via Yemeni libraries, like other Muʿtazila cultural heritage items. Due to the political instability caused by the long-term civil wars in the country, a detailed inventory of private or official libraries in Yemen, which has rich collections of manuscripts on Islamic culture, has not been made until now. Although some of these manuscripts were collected in the Sanaa Library (Maktabat al-Awqāf), most of them are still preserved in mosques’ libraries or private collections under inappropriate conditions. Since there are no reliable records or indexes of these manuscripts, it is not possible to give reliable information about the origin of each item especially the status of those found in private collections or family libraries as called Buyūt alʿilm. Today, most of the Yemeni manuscripts found in the libraries of Europe, America and Islamic countries have been purchased by manuscript collectors, merchants, foreign researchers, or other illegal ways. The ones that have been published so far are either based on these manuscripts or similarly on copies from Yemen. This ambiguity about the origin of the manuscripts can sometimes lead to unjust accusations that target the editors of them, as if they used illegal copies on purpose. In this article, we tried to clarify the ambiguities and controversial points related to those manuscripts which our edition is based on by giving information about the obtaining manuscripts and edition processes.

Mnemonic ‘Boundary Objects’ and Postcolonial Restitution

AbstractDrawing on new materialist and object-centered historical criticism, this article analyses colonial and post-colonial discourses of the Greenlandic figurines of the mythical being of ill-wishing and revenge, tupilak (plural form: tupilait). It focuses on three tupilak figures, made in 1905/1906 by a shaman Mitsivarniannga on a request of a Danish ethnographer William Thalbitzer, which today are part of the Danish National Museum collections. In the early 20th century, Greenlandic tupilait (and Inuit cultural production in general) were an object of fascination among European collectors, artists, and the general public. Asking what these objects had come to mean in (and for) Europe, this article points to marginalized Greenlandic narratives of Mitsivarniannga’s tupilat, and builds a critical narrative of these objects as material effects of the disruptions of indigenous community and sustenance by Western colonialism. Drawing on critical insights from the current post-colonial restitution debates, it problematizes the differential political-economic conditions and relations of power, under which the colonial acquisitions and procurements took place. The article argues that cultural heritage items, such as the three tupilat, are mnemonic ‘boundary objects’ that can potentially forge links between disparate memories of colonialism in Denmark and Greenland.

Cultural communication and diversity along the Grand Canal of China: a case study of folk songs in intangible cultural heritage

As a UNESCO World Heritage Site, the Grand Canal of China has a rich intangible cultural heritage along its route. The intangible cultural heritage of folk songs is an important representative. The study of its distribution characteristics and influencing factors is of practical and social significance for promoting the protection and development of intangible cultural heritage in relevant areas and the construction of the Grand Canal Cultural Belt. This paper uses the theories of musicology, geography, sociology, data statistical analysis and spatial analysis to analyze the distribution pattern of intangible cultural heritage items in the Grand Canal basin from the dimensions of geographical space and folk song genre, and from the perspective of natural and social conditions. The results show that the spatial distribution of folk songs in the Grand Canal basin shows a trend of “distribution along the river, two cores and two belts”. Water system, landform and regional culture are the main influencing factors for the formation and dissemination of intangible cultural heritage of folk songs. At the same time, compared with the mountainous areas in western China, the economic and social development and frequent population flow in the Grand Canal basin lead to the diversified and unified musical culture characteristics of folk songs. Finally, this paper proposes the suggestions that the folk songs should be integrated into the local social and economic activities.

Museums for ex situ tangible heritage conservation: A neo-institutional analytical and empirical economic analysis

As a first attempt to position the role of museums in land use planning, this paper modifies a neo-institutional economic perspective to canvass the economic advantages of a museum as a form of real property in a community. It explains that a museum, outdoor or indoor, as a derived demand for real property because selected ex situ heritage items need space to concentrate. Such concentration not only reduces the transaction costs of searching for users but also accumulates value by being positioned at a fixed location, as in the case of a heritage building as in situ heritage, so that it may even become a new heritage site (if not also a heritage building) over a period of time. This is demonstrated by the case of London Bus Museum, which stands in sharp contrast to a hidden private collection of retired buses in Hong Kong. An empirical test of the effects on values of neighbouring property of a cattle depot/slaughter house reused as an art museum was conducted to shed light on the economic advantages of a museum. This paper expands the understanding of curating to encompass the formation of a museum and the gaining of heritage value for the museum itself. Some land use implications are discussed, particularly that museums should be purpose-built rather than being accommodated in heritage buildings.

Synergies for World Heritage

In this paper we want to describe current as well as heritage classifications and their effectiveness as tools to protect and preserve heritage sites in the official documents that have being written in those years. We want to emphasize that there is no inherent difference between the heritage values concealed in movable, immovable and intangible heritage assets. We are dealing with the same values differently expressed, interwoven with values of other sectors within development in one and the same spatial concept. Moreover, all heritage exists “somewhere”. Festivities, narratives, habits and customs are undertaken “somewhere” by a local population and locations that are meaningful for it. Local population makes no difference between the perception of landscape, town or village, or of movable heritage items in their churches, mosques, temples and museums, or of festivals, customs, habits and tales which live on in. They perceive this as a single synthetic whole, not segmented into analytic, rational categories of “immovable”, “movable” and “intangible”. This leads us to the insight that the interpretation and implementation of heritage values needs to take place across all heritage sectors together in an integral heritage approach, in which the responsables make take a common approach and forge the necessary synergies.

Square-shaped wooden churches in Zavolzhsky District of the Nizhny Novgorod Region. New typological studies

Introduction. The study focuses on typology of square-shaped wooden churches, namely, three virtually unexplored wooden churches that date back to the 17th–18th centuries. They are located in Zavolzhsky district of the Nizhny Novgorod region. This study discovers new, previously unknown architectural solutions. This work is valuable for the practical preservation and restoration of cultural heritage items. The goal of the study is to analyze architectural and construction traditions typical for wooden churches in Central Russia. The objectives of the study include field surveys of the church facilities, review of archived and literary sources, identification of construction periods, comparison of similar construction facilities, and consolidation of distinctive features of wooden churches in Central Russia.
 
 Materials and methods. This work employs a comprehensive approach combining practical restoration methods and research methods of comparative topological, historical, and evolutionary analysis. By adding architectural solutions to the general timeline of wooden architecture, the authors identify architectural solutions, techniques and forms typical for Central Russia.
 
 Results. The following church facilities were studied: Church of the Ascension of the Lord dated 1703 (late 19th century) in Zarubino, Gorodetsky district; Church of the Life-Giving Trinity dated 18th–19th century in Khudyakovo village, Gorodetsky district; Church of the Nativity dated 1776 in Gari village, Sokolsky district. Construction periods and original architectural design were identified. The function and architectural features of the church facilities were identified. These were cold (summer) square-shaped churches with spacious premises capable of accommodating considerable numbers of people. As to their forms, these structures generally demonstrate all the typological features of square-shaped churches, except for their size and absence of heating.
 
 Conclusions. The subgroup of cold square-shaped churches, known for their large size, was identified within the typological group of square-shaped wooden churches. As heated wooden churches turned more frequent, church complexes having two same-type buildings — cold and warm — were constructed.

Conceptualizing a Methodology for Cultural Heritage Futures: Using Futurist Hindsight to Make ‘Known Unknowns’ Knowable

In a broad conceptual framing, cultural heritage is the result of humankind’s interactions with their environment and one another, both in its tangible and intangible expressions. Cultural heritage management is by nature a retrospective discipline, as the assessment and evaluation of cultural significance of heritage assets requires the passage of time. Practitioners often struggle with the evaluation and management of very modern and contemporary heritage items. There is a need to examine whether current approaches and practices are fit for purpose. Current cultural heritage theory abounds with the concept of heritage stewardship with the embedded futurist stance that we should hand on our heritage in good shape to the next generation, yet all approaches are retrospective and rooted in the values of the present. This paper examines to what extent stewardship, as well as two other futurist concepts, the precautionary principle and strategic foresight, are suitable tools for heritage management. Based on that review, this paper then conceptualizes and proposes an assessment model that positions the valuer into a strategic foresight-derived, modelled future ‘reality’ at a 15 to 30-year horizon, which then allows the valuer to apply standard heritage hindsight assessment methodology to contemporary heritage items.

Innovation Process Modelling for Human-Centred Cultural Heritage Spaces: Developing a Business Model Canvas for Smart Digital Immersion

The cultural heritage sector offers an opportunity to gain an insight into the customs and traditions of previous generations and acquire an understanding of the progression of society. This discipline is important for an individual to maintain a sense of identity in the world and attain knowledge of important historical events. Cultural heritage items that are reflective of a group within society can be presented in the form of artefacts or works of art in a setting such as a museum or art gallery. Innovation is key when implementing technological solutions to continuously look towards new methods that will efficiently showcase all items as desired and preserve this content for future generations. A museum for example generally exhibits tangible and intangible heritage with the difference being the ability to physically interact with the items. Emergent digital technologies offer an opportunity to progress from the traditional user experience to an immersive and personalised control system. This opportunity has not yet been fully explored within the cultural heritage sector where Artificial Intelligence (AI) and the Internet of Things (IOT) can be utilised in tandem to achieve this objective. The Business Model Canvas (BMC) was created to mitigate uncertainty regarding the operation of commercial ideas through enhanced visualisation. This paper presents a populated BMC for smart digital immersion in cultural heritage spaces and addresses the significance of an alignment with the human-centred philosophy when incorporating immersive technologies in the user journey.

Становище музеїв України в період російсько-української війни (за матеріалами медіа-ресурсів)

It would seem that humanity received two doses of the vaccine in the 20th century to reject the desire to wage aggressive war forever. However, the beginning of the 21st century was also marked by the war of aggression that Russia started against Ukraine. The territory of Ukraine suffered (and continues to suffer) special losses: it was the theater of hostilities of the First World War, the Second World War, and now another war is destroying life, the country, and our cultural heritage. War, like any other type of destructive activity, negatively affects people's lives, the economy of countries, and the world in general; the sphere of culture suffers, including museums. At this stage, it is possible conditionally distinguish two periods in the Russian-Ukrainian war (respectively, two stages in the activity of museums at this time): 1) February 2014 - February 24, 2022; 2) after February 24, 2022. Russia's aggression against Ukraine began in February 2014 with the occupation of Crimea, the organization of pro-Russian rallies in cities in the east and south of Ukraine, and the occupation of certain areas of Luhansk and Donetsk regions. Museum institutions in these territories became automatically under occupation or under threat of destruction as a result of hostilities. The central government of Ukraine was not ready for aggression and occupation, museum collections were not evacuated, even information about these collections can be considered lost. According to the registers of the Ministry of Culture and Information Policy, by 2014 there were 99 museums in Crimea, 24 in Donetsk Oblast, 23 in Luhansk, which stored hundreds of thousands (perhaps millions) of movable cultural heritage items. After February 24, 2022, the entire heritage of Ukraine, both cultural and natural, is under threat of destruction, because Russian missiles can reach any point in Ukraine (and not only). Museums in the territory controlled by Ukraine or evacuated from the occupied territory must resume their activities. For the evacuated institutions, the problem of restoring the statutory and financial documentation and the museum staff actually arose. Other museum institutions have started the process of documenting the course of military actions in Ukraine and informing the world about the events in Ukraine. Museum institutions and individual employees are coming together to help each other in difficult times: the Heritage Rescue Headquarters and the Museum Crisis Center have been created, and initiatives that existed before the full-scale invasion continue to help museums (to cope with new challenges). Despite the disassembled exhibits, museum life in Ukraine has not stopped - new exhibitions, other cultural events, exhibitions of museum objects from Ukraine abroad are taking place, trainings and courses are organized on how to work in a crisis period, and foreign colleagues come to familiarize themselves with the experience of museums during war. Key words: museums of Ukraine, russian-Ukrainian war, museum collections, evacuation, cultural values.

Research on the Teaching Reform of Cultural and Creative Product Design Course in College under the Perspective of Intangible Cultural Heritage

Intangible cultural heritage is a local traditional culture that has been passed down from generation to generation and is constantly recreated. The combination of intangible cultural heritage items with the Cultural and Creative Product Design course in colleges and universities can enrich the teaching resources of the course and promote the protection and transmission of local intangible cultural heritage. This paper discusses the feasibility and effectiveness of the teaching reform of the Cultural and Creative Product Design course in colleges and universities under the perspective of intangible cultural heritage, taking the Cultural and Creative Product Design course of Sichuan Minzu College as an example and from the three aspects of the overview of the course design, the innovation of teaching forms and the demonstration of teaching results.