Since 2019, the application of digital technology (DT) in cultural heritage conservation (CHC) has transitioned through various phases: from structural prediction and maintenance, to parametric modeling workflows, to collaborative heritage management and assessment, and finally to the integration of technologies and new applications across interdisciplinary fields. What development trends can be observed in the application of DT to CHC in recent years? What difficulties and challenges does it face? Recent studies have primarily focused on technology-driven approaches, but there is a lack of systematic reviews on the current state of research, application progress, and development trends. This paper addresses these research gaps by utilizing bibliometric techniques, including trend analysis through yearly publication and citation line graphs, mapping with visual tools, subject categorization and distribution statistics, co-authorship and keyword-based biclustering, keyword frequency analysis, thematic co-occurrence networks, and content analysis of key articles. A scientometric analysis, conducted using COOC 6.725 and VOS Viewer, applied a Boolean search strategy to filter 345 articles from the Web of Science Core Collection, covering the period from 2019 to 2024. The document types analyzed include articles, reviews, and conference proceedings, all in the English language. The objectives of this paper are to: (1) summarize progressive research trends; (2) analyze interdisciplinary integration; (3) map out author collaboration networks; (4) explore the application potential of DT; (5) reveal cutting-edge topics; and (6) investigate focal issues. Lastly, this paper discusses ethical and social responsibility concerns in DT applications, particularly the challenges related to technology accessibility and data protection. With the rapid development of AI and DT, DT is expected to demonstrate even greater potential and value in CHC.

The study of clan paintings reveals a shift in perspective from art aesthetics to cultural connotations to cultural identity, yet literature seldom discusses the relationship between art and kinship culture. Taking the murals of ancestral hall architecture in Guangzhou as an example, this paper utilizes text mining to identify factors influencing its decorative art. It reveals the traditional rites' artistic expression through dimensions of characters' demeanor and the transmission of content values, offering a fresh perspective for heritage value research. Findings: (1) themes and implications are mostly oriented towards positive value transmission, transitioning from idealistic layman life to the realism of lower-class existence, emphasizing humanization; (2) the extroverted portrayal of characters contrasts with the dignified, restrained etiquette of traditional rites, with some characters' portrayal and facial expressions exuding approachability; (3) murals conveying positive emotions are mostly related to longevity, auspiciousness, fortune, and heroic deeds, while those conveying negative emotions mainly involve elderly male figures, reflecting a content bias related to characters; (4) historical allusion murals with complex content reduce the emotional resonance and arousal efficiency of the viewer; (5) incomplete mural content increases negative emotions in perceivers, highlighting the impact of mural preservation on emotional resonance. To delve into the formation of clan painting art, it is essential not only to interpret the diversity of its patterns but also to demonstrate the representation of its social attributes in decorative art. The formation of clan painting decorative art exhibits kinship cultural attributes, epitomizing the essence of traditional ceremonial thought.

Recent research has primarily focused on the genealogical relationship between ancestral temple painting and its spatial carriers, highlighting a shift in perspective from artistry to symbolism to kinship. While some scholars have noted the influence of ritual culture on architectural painting, few have explored its kinship relationship with architectural carriers. By incorporating relational sociology theory, this study chronologically reviews events influencing the formation of ancestral temple ritual culture, constructs a developmental model, and conducts case studies on the ethicality of architectural painting art, thus establishing a relational sociology analysis framework. Findings: (1) Ancestral temple architectural painting exhibits the ethicality and educational value inherent in Confucian concepts; (2) Themes such as immortal life, literati and scholars, and common folk simplicity highlight the spiritual and material kinship of ancestral temple painting. The vocabulary used in titles such as "He (rapprochement-和)", "He (reunification-合)", "wealth (财)", "happiness (乐)", "blessing (福)", and "longevity (寿)" reveals a positive transmission of Confucian values; (3) The five main artistic expressions of ancestral temple painting are metaphor through objects (借物喻意), the personification of events (以人喻事), using the past to illuminate the present (借古喻今), expressing aspirations through objects (托物喻志), and pun-based symbolism (谐音寓意); (4) The decorative elements of ancestral temples correspond to the forms of their painting art, with the former extending the space of the tomb sacrificial system and the latter representing artistic inheritance. The development of ancestral temple architecture has formed dual developmental contexts centered on ritual culture and supplemented by academic dissemination, fluctuating with the status of Confucianism. The relational sociology model shows that the political aspects of ancestral temples form a sub-lineage of their ritual culture, closely linked to reforms in the educational system and transformations in building functions, further influencing architectural form and decorative art.

The formation of decorative patterns on export porcelain has risen to the research dimension of cross-regional culture. The interplay between social elements and the formal evolution of export porcelain bowls from the Qing Dynasty in Guangzhou remains nebulous. This study elucidates these underlying cultural dynamics through the lenses of utility and societal implications, thus addressing how societal components contribute to the molding of tangible cultural heritage. Key findings include: (1) A dominance of the ring-foot design in the bases of Qing Dynasty export bowls; (2) The diameter and height of the Qing Dynasty export bowls show relatively concentrated characteristics, reflecting a systemic production trend and relative consistency in form; (3) Some of the Qing Dynasty bowls exceed the parameter range of typical tableware, reflecting the adaptability and innovation of production mechanisms in responding to special market demands. The morphological evolution of the Qing Dynasty export bowls is a true reflection of the interweaving of multiple factors such as comfort design and aesthetic preferences, while the uniformity in shape is a comprehensive reflection of meeting market demands and advances in production technology. This study extends the research dimension to the interaction between standardized production techniques and socio-cultural demands.

Study on export paintings has gradually shifted from artistic form to cultural connotation, with an emphasis on cross-cultural communication. Although the economic and social dimensions of their artistic value have been explored, few studies delve into the connection between Qing-era Guangzhou's trade culture and its color characteristics. Utilizing the HSV color model and the k-means algorithm, this study analyzes the color traits of 35 export paintings depicting Guangzhou landscapes and works from the "Thirteen-houses commercial zone," revealing Qing-era Guangzhou's urban impressions and Sino-Western artistic interactions. Key findings include: (1) the hue pixel range in Guangzhou export paintings primarily spans 10°–60° and 120°–250° (dominated by red and yellow-green), saturation values range from 1–82% (primarily low saturation), and value values range from 11–94% (with a wide variance); (2) compared to traditional Chinese paintings, the transformation from pure color (正色) → inter-color (间色) → projection-perspective and light source illustrates both the blending of Eastern and Western artistic cultures and a diminishing influence of traditional ceremonial culture; (3) in contrast with Western artworks, some Guangzhou export paintings display a Westernization trend in color structures, evident in vibrant colors and stark chiaroscuro contrasts. As bespoke art commodities, export paintings microscopically reflect Guangzhou's unique trade culture and socio-political dynamics. The shifts in color schemes, integration of realistic styles, and human-centric characteristics unveil the intricate interplay between quasi-realism and transcendental aesthetics in Qing-era Guangzhou, as well as the nuanced dynamics between social capital and art within a global trade network.

The relationship between social factors and the formation of exported mug designs is blurred. This study addresses how they influence material design. Based on a quantitative typological analysis, this paper interprets the cultural relationships underlying the evolution of mug designs exported during the Ming and Qing dynasties. The study reveals: (1) the typology and handle styles of mugs can be categorized into six types, with a predominance of Cylindrical bodies and Ear-shaped handles. Notably, artistic emphasis is concentrated on Bulbous cup bodies and Tail outward curved handles; (2) the design of mugs in the eighteenth century exhibited diversity, morphological similarities, and feature continuity, evolving from representational (Ming Dynasty) to abstract and then to minimalistic styles (Qing Dynasty), particularly evident in the three-dimensional modeling of handles for ergonomic comfort (transitioning from a singular Outward curved form to Ear-shaped form, and then to Entwined branch form); (3) the body shape of mugs transformed from Arc-barrel bodies to Bulbous bodies (focusing on heat retention), and eventually to Cylindrical bodies (prioritizing heat retention, practicality, and cost-efficiency).; (4) the volume of mugs steadily increased from the early eighteenth century, generally classified into large volume (≥ 500 ml), medium volume (200-499 ml), and small volume (< 200 ml); (5) considering the extreme range of volume (11090 ml) and height (25 cm), it indicates that these two variables do not necessarily have a direct positive correlation; (6) the low center of gravity in handle design (average width of 3.4 cm against an average height of 9.9 cm for the body) reflects considerations for the distribution of liquid weight and operational convenience. The volume of sample-10 (11127 ml) notably exceeds the typical range for tea-drinking utensils, revealing the mechanism of wealth and status symbolism. Market demand orientation emerged as the primary driver for the evolution of export mug designs during the Ming and Qing Dynasties, with adjustments in the merchant system playing a secondary role. The transformation in mug design reflects the interplay of multiple factors, with the trend toward minimalist design being a response to market demands.