The Evolution of Digital Cultural Heritage Research: Identifying Key Trends, Hotspots, and Challenges through Bibliometric Analysis

Abstract

Heritage preservation fundamentally represents an act of communication, with digitization and virtual access driving cultural heritage research development and dissemination. These tools stimulate the creation of cultural heritage content and inspire public engagement in learning about and preserving heritage. Despite substantial academic focus on digital cultural heritage (DCH) research, systematic assessment methods remain lacking. This paper researches the application of digital technologies in cultural heritage studies using CiteSpace 6.2 R4 to analyze the evolution of DCH, identifying research hotspots and predicting future trends. The key findings include the following: (1) Current DCH research focuses on countries with significant national power, but future studies should emphasize regions rich in cultural heritage and promote transnational and interdisciplinary research. (2) DCH research concentrates on three areas: the use of VR, AR, and other interactive digital technologies to enhance cultural heritage experiences; the development of cultural relic databases and digital archives; and the implementation of interactive exhibitions and multimedia guides. (3) Identified research hotspots include user immersion experiences, language and identity, and virtual reality technologies. Digital technologies enhance cultural heritage communication by driving innovations in preservation, information management, and digitization. (4) Future research should focus on practical DCH development, emphasizing innovative virtual technologies, database integration, and standardized assessment methods. These efforts aim to provide valuable insights for the sustainable global preservation and dissemination of cultural heritage. The use of digital technologies in cultural heritage is becoming increasingly important, but there is still a need to strike a balance between technological development and heritage preservation to ensure the sustainability of cultural heritage.

1. Introduction

According to UNESCO, heritage is defined as “the interplay between nature and man” [1], encompassing temporal and spatial displacement and cultural accumulation and requiring preservation in various forms [2]. The World Convention for the Protection of the Cultural and Natural Heritage, adopted by UNESCO in 1972, outlines the recognition and protection of both tangible and intangible values of natural and cultural heritage [3,4]. The concept of heritage has evolved beyond the cultural sphere to become a comprehensive “commodity” with economic and social value. It is now a focal point in discussions about its significance, preservation, and driving forces [5]. Heritage conservation is fundamentally “an act of communication” [6] involving the inheritance and development of heritage values. This perspective broadens the traditional definition of heritage as a resource of shared cultural values, creating a new ethical model for conservation [7]. Cultural heritage preservation involves identifying, appreciating, and popularizing cultural heritage by researching and analyzing the specific cultural connotations of a region, defining the distribution framework of cultures and traditions, and systematically conducting publicity and popularization activities [6]. Cultural heritage is generally categorized into tangible and intangible forms [3,8], with tangible heritage including architecture, sculpture, paintings, and artificial landscapes. In contrast, intangible heritage comprises the cultural space formed by practices, knowledge, skills, associated tools, artifacts, and other elements within a community’s cultural context [9]. Effective cultural heritage management and protection necessitate comprehensive research, considering the diversity and unpredictability of temporal and spatial changes, and exploring alternative strategies for cultural reserves, such as cross-media communication. By guiding the development of cultural heritage through the route of “collecting cultural elements–establishing display systems–facilitating audience personal experience–promoting multidimensional cultural communication”, the significance and connotations of cultural heritage can be effectively conveyed [10]. Human-centered digital interactive experiences are increasingly prominent in cultural heritage communication and conservation research [11,12,13], giving rise to new digital cultural heritage (DCH) design practices. Digital technologies enable audiences to experience cultural heritage personally [14], deepening their understanding of and identification with heritage sites [15,16,17], inspiring further learning and exploration, and actively promoting the dissemination and popularization of cultural heritage.

In this context, digital technologies such as the Internet of Things, artificial intelligence, augmented reality, and remote sensing have significantly advanced cultural heritage research by expanding its horizons. Digitization has become a crucial driver for developing and disseminating cultural heritage studies. Furthermore, digitizing cultural heritage as a preservation method presents unprecedented opportunities for its development [18]. Advances in digital technologies, such as the Internet of Things, artificial intelligence, augmented reality and remote sensing, have greatly facilitated the study and preservation of cultural heritage, which is closely linked to the principle of open access and the right to culture promoted in the Berlin Declaration [19]. Digitization is not only an effective way to safeguard cultural heritage, but it also provides new avenues for its development and dissemination. The 2011 European Strategic Plan highlights the importance of digitization and online access for the creation of cultural heritage content and for public understanding [20], which is highly compatible with the principle of open access advocated in the Berlin Declaration. Open access aims to make cultural and scientific heritage more accessible and understandable for a wider audience, and digitization is a key driver in achieving this goal, facilitating knowledge sharing and social change on a global scale and enhancing public understanding and practice of cultural rights. Expanding access to and the popularization of cultural materials through the digital reproduction of historical artefacts, skills, and landscapes not only transcends traditional notions of cultural preservation, but also fulfils the goal of enhancing the impact of cultural heritage and supporting cultural rights, as advocated in the Berlin Declaration [21].

The global significance lies in the reassessment of human history, as digital technologies have catalyzed social changes in economic and cultural fields in several countries [22]. Since the 1990s, digital technologies have been extensively employed in cultural heritage, providing robust support for its presentation and dissemination [4]. Positioning digital technologies as a virtual means to support cultural preservation transcends the traditional view of cultural heritage as needing protection [23]. This includes digitally reproducing historical artifacts, skills, and landscapes and expanding access to and popularizing cultural materials through specific data distribution systems [24]. DCH has optimized the communication environment and developed communication channels, transitioning from traditional forms like painting and photography to more dynamic formats such as animation, 3D reconstruction, and VR interaction [25]. New media significantly enhance and enrich the experience and interpretation of cultural heritage, moving beyond the limitations of print and broadcasting to offer multisensory, interactive displays. This shift increases the authenticity and interactivity of cultural heritage presentations and positions cultural heritage within new media as an expressive practice of media discourse [26], cultural emotion, and embodied experience [27]. This approach underscores cultural heritage’s social value, significance, and economic benefits. Therefore, the digitization of cultural heritage, with its inherent ability to enhance public personalized interaction and expand accessibility, also improves the refinement of databases and reduces the cost of cultural heritage protection, thereby achieving an open, efficient, and pluralistic paradigm [28]. This approach ensures that digitized cultural heritage reaches broader segments of society, enhancing dissemination. While digital technology is frequently employed for popularizing and presenting cultural heritage, it is often narrowly perceived as merely a media display platform or a replica of cultural artifacts. In contrast, DCH represents a more complex concept whose identification and assessment are intrinsically more intricate than those of traditional cultural heritage [29].

Summarizing the characteristics of DCH, some scholars have proposed analytical criteria encompassing historical significance (coherence and information about the past), aesthetic qualities (naturalness and authenticity), and management and utility (interactivity and economic value) [30]. These criteria are also regarded as multiple communicators of the self and the display. In contrast, Othman et al. analyzed the four-factor solution (engagement, learning, experience, and emotional connection) of the museum experience scale (MES) and the three-factor solution (usability, controllability, and quality of interaction) of mobile technologies multimedia guides (MMGS) to optimize the DCH communication model [31]. They identified the impact of digital technologies on visitors as a critical issue requiring further exploration. While digital technology continues to generate new opportunities and possibilities for heritage presentation, improper development and application can negatively impact heritage communication. There is a notable lack of up-to-date and comprehensive research on the application of digital media technologies in cultural heritage studies. Thus, it is essential to collect relevant literature, identify dominant research frameworks, and elucidate the research themes, frontiers, and trends in this field.

Therefore, this study conducted a systematic literature review on cultural heritage using bibliometric analysis to assist researchers in tracking advancements across institutions, countries, fields of study, and keyword co-occurrences. The knowledge gap was addressed by employing bibliometric methods to critically assess how cultural heritage has been evaluated from social, technological, and artistic perspectives. Firstly, the theoretical concepts were analyzed using the Web of Science and Scopus databases. Secondly, the characteristics of the published literature, including the number of publications and research themes, were reviewed. The cultural heritage research knowledge base was also analyzed, detailing the research topics and their evolution. Section 4 and Section 5 elucidate the relationships between different studies, summarize the limitations of existing research, and propose future research directions. This study does not compare research outcomes but provides an overview of the current state of the field, its evolution, and critical areas for future research. We hope this study will offer valuable recommendations for developing cultural heritage practices.

2. Materials and Methods

2.1. Data Sources

Bibliometrics involves applying quantitative techniques to analyze bibliometric data, aiding researchers in assessing scholarly research in specific areas [32,33]. This study selected reference journal articles from the Web of Science (WoS) and Scopus databases for consistent analysis. These databases are considered comprehensive and serve various purposes [34]. WoS, the first international bibliographic database, provides extensive bibliographic data, including core collections such as SCI-E, SSCI, and A&HCI, making it an influential source for journal selection, research evaluation, and bibliometric analysis [35,36]. In contrast, Scopus offers citation information and integrates patent data from the web and five of the world’s most prominent patent offices, providing a more convenient and faster literature search tool with high academic impact and objective reliability [37]. Although Google Scholar offers free access to scholarly literature across genres, languages, and fields, it was excluded from this study due to issues with inconsistent data, cluttered language versions, and lack of transparency in coverage. The research employed search strings limited to the “subject” search type to retrieve titles, abstracts, author keywords, and keywords. Keywords in quotation marks represent words and phrases appearing in the titles of the cited references, succinctly expressing the article’s content [38].

The second step was to select relevant journal articles using appropriate keywords. Due to the diversity of DCH research, “cultural heritage” was chosen as it represents “digital cultural heritage” more broadly than other terms. However, themes were used as a search method in the broad search for relevant research on DCH, and keywords were included to allow for a more comprehensive search. The search date was 23 January 2024, and “cultural heritage” and digital or “digital technology” were selected as the primary search terms (the WoS search formula was TS = (“heritage” OR “museum” OR “monuments” OR “painting” OR “conservatory” OR “archaeology” OR “cultural tourism” OR “art restoration” OR “arts and humanities” OR “preventive conservation” OR “collections care” OR “art conservation”) AND TS = (“Digital Media” OR “interactive digital”). The Scopus search formula was TITLE-ABS-KEY (“heritage” OR “museum” OR “monuments” OR “painting” OR “conservatory” OR “archaeology” OR “cultural tourism” OR “art restoration” OR “arts and humanities” OR “preventive conservation” OR “collections care” OR “art conservation”) AND TITLE- ABS-KEY (“digital media” OR “interactive digital”)), yielding 1630 preliminary relevant entries. This study focused on the author-specified keywords’ ability to interpret the subject matter and subject area coverage, among other things. After manually excluding articles that deviated from the central content of the study, a total of 1578 English-language publications in the field of DCH from 1997 to the present day were collected as the basis for the study analysis and exported in Ris format and as plain text files, with the records included in their entirety and saved in download txt format.

2.2. Methods

Bibliometric analysis is a robust and widely adopted method for exploring and analyzing extensive scientific datasets [39]. This methodology facilitates the identification of nuances and emerging trends within a specific field and the intuitive visual representation of quantitative disciplinary knowledge [39]. Knowledge mapping, a state-of-the-art technique in bibliometrics and scientometrics, visualizes quantitative research outcomes on a given topic [40]. Given the substantial volume of articles reviewed, this study employed an automated approach to data extraction and relied on advanced visualization tools to achieve its research objectives. Commonly used tools include HistCite [41], RefViz [42], VOSviewer [43], SATI [44], and CiteSpace [45]. However, CiteSpace 6.2 R4 was selected for its ability to comprehensively analyze the literature, particularly in tracking the evolution of research themes. CiteSpace extracts and analyzes thematic information, such as keywords, topics, authors, and institutions, and visually presents the interrelationships among these entities using knowledge graphs. It can also conduct co-occurrence and co-citation analysis and construct timeline diagrams to illustrate the development trends within a discipline or knowledge field, thereby revealing the current state of scientific knowledge.

Before the visual analysis, five duplicate articles (including invalid articles, letters, and conference abstracts) and nine documents from 2024 were removed using the CiteSpace 6.2 R4 Remove Duplicates command, resulting in a final dataset of 1564 valid articles. This research then used CiteSpace to examine the spatial and temporal distribution of digital cultural heritage (DCH) research, assessing its development over time and distribution across countries, research organizations, and research topics. Collaborative network analysis was conducted by setting the node type in CiteSpace to “country” and “organization”. The evolution of research topics was visualized by setting the node type to “category” and using the timeline view of the software. Keyword co-occurrence and cluster analyses identified cutting-edge research and hotspots at various stages within the field.

By synthesizing the results of these analyses, this research delineates the trends in DCH research and anticipates future challenges and breakthroughs. The study employed basic metrics provided by CiteSpace, such as “centrality”, which measures the likelihood of the shortest path passing through a node in a network [46]. Figure 1 illustrates the overall structure of this study.

3. Results

3.1. Spatial and Temporal Distribution

3.1.1. Distribution of Publications

Changes in the number of publications indicate progress in a research field [46]. To eliminate redundant articles, this paper used CiteSpace to retrieve 1573 articles in the field of DCH and their publication-year frequency distribution. Data analysis showed three distinct phases of DCH research from 1997 to 2023 (Figure 2).

• Between 1997 and 2006, 86 papers were published, representing only 5.5% of the total documents in this study’s period. Notably, only one article was published in 1998, accounting for a mere 0.0636%. During this time, the annual number of publications never exceeded 20. Despite the low literature volume, these early papers were pivotal in establishing the concept of DCH, laying the theoretical groundwork for subsequent research [47,48,49].
• From 2007 to 2016, there was a significant focus on the conceptual articulation of DCH. The surge in research during this period was notably influenced by the 2nd Workshop on Digital Media and its Application in Museum and Heritage [50]. This period peaked with 104 published articles exploring digital narrative frameworks [51] and virtual exploratory research [52]. By the end of this period, the number of publications had increased by more than 6.7 times compared to the previous period, comprising 36.4% of the total publications, marking an upward phase in DCH research.
• Since 2017, DCH research has entered a boom phase, with over 100 papers published annually. This surge was driven by the 26th International Symposium of ICOMOS/ISPRS International Scientific Committee on Heritage Documentation (CIPA) 2017 on Digital Workflows for Heritage Conservation [53]. During this period, the number of papers accounted for 57.5% of the total publications on DCH research, indicating that DCH has become a prominent area.

3.1.2. Cooperation Networks

By analyzing collaborative networks among countries and institutions, it is possible to identify the primary contributors to DCH research and elucidate their collaborative relationships [54]. From 1997 to 2023, the United States published 169 articles, China published 157 articles, and England published 143 articles (

Table 1. Top 10 countries and institutions in the field of DCH research (1997–2023).

Rank	Country	Centrality	Articles	Rank	Institution	Country	Articles
1	United States	0.17	169	1	University of London	England	17
2	China	0.18	157	2	Zhejiang University	China	13
3	England	0.18	143	3	University of Sarajevo	Bosnia	11
4	Italy	0.07	69	4	Beihang University	China	9
5	Germany	0.17	59	5	London South Bank University	England	8
6	Australia	0.05	45	6	University of Nottingham	England	8
7	Canada	0.02	43	7	University College London	England	8
8	Greece	0	41	8	University of Oslo	Norway	8
9	Spain	0.02	33	9	University of the Aegean	Turkey	6
10	Portugal	0	21	10	University of Central Florida	United States	6

). The analysis indicates that the top 10 countries with the most publications are concentrated in the Americas, Europe, and Asia. In China and certain European countries, digital preservation of cultural heritage has emerged as a specialized research field, supported by governmental initiatives, encouraging high-level academic institutions and researchers to engage in in-depth studies of relevant theories, methods, and technologies. Despite the dominance of the United States (169 publications) and China (157 publications), the distribution of research institutions in these countries differs significantly. There are a large number of published articles in the United States but fewer major research institutes, leading to more decentralized research. For instance, the most extensive research institution in the United States is the University of Florida, with six publications. In contrast, China’s research output is concentrated in key universities, such as Zhejiang University and Beijing University of Aeronautics and Astronautics. With 13 publications, Zhejiang University surpasses the production of any single research institution in the United States. The analysis also revealed a “K”-shaped crossover between institutions, enhancing academic exchanges and forming research networks across several countries (Figure 3). This pattern underscores the collaborative nature of DCH research and highlights the interconnectedness of global research efforts.

3.1.3. Research Themes

Using the node type “category” and a 1-year time slice, a thematic co-occurrence graph comprising 82 nodes and 128 connections was generated (Figure 4). Art research emerged as a prominent topic in DCH research around 2000, followed by themes related to dissemination, information, communication, and humanities. These themes gradually became the primary focus of DCH studies. This progression underscores the multidisciplinary nature of DCH research, reflecting a deeper and broader understanding of cultural heritage across a more extensive spatial and temporal range. The scope of “cultural heritage” is likely to continue expanding, encompassing the entire process of human social development, indicating the increasing relevance of and interdisciplinarity in this field.

Frequency analysis reveals that DCH is predominantly studied within the humanities and computing domains, including humanities, arts, information systems, and computer science (

Table 2. List of the most influential subjects.

Rank	Frequency	Centrality	Year	WoS Categories
1	76	0.2	2005	Humanities, Multidisciplinary
2	41	0.11	2000	Art
3	38	0.11	2003	Communication
4	28	0.13	2000	Computer science, Information Systems
5	28	0.11	2007	Archaeology
6	28	0.1	2007	Information Science and Library Science
7	23	0.09	2008	Computer Science, Interdisciplinary Applications
8	15	0	2005	Education and Educational Research
9	15	0	2000	Computer Science, Software Engineering
10	13	0.06	2004	Engineering, Electrical, and Electronics

). Since 2000, with advancements in computer science, information systems (28), software engineering (15), and art (41), DCH research has progressively incorporated visual software development and digital communication technologies (encompassing electrical science and information and library management). After 2003, DCH research began to gain traction in communication science and archaeology, with a growing emphasis on the relationship between cultural tourism and cultural heritage management. Furthermore, interdisciplinary computer science research has expanded into DCH-related sustainability studies, significantly contributing to pedagogical research.

3.2. Co-Citation and Cluster Analysis

3.2.1. Citing Articles and Cited References

Co-citation analysis is a crucial method in bibliometrics and scientific visualization research, facilitating the rapid identification of a research area’s structure, the core literature, and potential future directions [45,55,56]. In this paper, clustering labels were extracted using CiteSpace’s default algorithm, the log-likelihood ratio (LLR) test, which compares the likelihood ratios of two statistical models to determine the goodness-of-fit of data under different models and then decides whether to reject the null model [57]. The results indicate that the modularity Q value of the clustered network is 0.9818, signifying substantial network correlation within each cluster (Q > 0.3). The silhouette value (S) of 0.995 suggests reasonable similarity within the clusters (0.5 < S < 1). By setting node types to references and using a 1-year time slice, we generated a graph with 5204 nodes and 15,954 connections, identifying 10 significant clusters. These clusters were labeled with index terms such as Immersive Technology, Interaction Design, Interactive Digital Storytelling, Digital Archaeology, Wearable Technology, Arcs, Museum Analytics, Art Museum Archives, 3D Visualization, and Dissonant Heritage. All clusters, except Cluster #2, exhibit reasonable and rigorous similarity. Cluster #0 (Immersive Technology), Cluster #1 (Interaction Design), and Cluster #2 (Interactive Digital Storytelling) are the most significant clusters, with Cluster #0 being the largest. Regarding the average time of research formation, Cluster #4 (Wearable Technology) emerged earlier. In contrast, the most recently formed clusters are Cluster #2 (Interactive Digital Storytelling), Cluster #6 (Museum Digital Archaeology Analytics), and Cluster #10 (Dissonant Heritage) (

Table 3. Clustering of co-citations in the literature.

Cluster ID	Size	Silhouette	Mean (Year)	Label (LLR)
0	131	0.971	2020	Immersive Technology
1	104	0.992	2016	Interaction Design
2	93	0.954	2018	Interactive Digital Storytelling
3	77	0.994	2017	Digital Archaeology
4	73	1	2013	Wearable Technology
5	73	0.975	2017	Arcs
6	66	1	2019	Museum Digital Archaeology Analytics
8	60	0.995	2016	Art Museum Archives
9	59	0.974	2017	3D Visualization
10	56	1	2019	Dissonant Heritage

, Figure 5).

The evolution of citation clusters can be observed in Figure 5, where node size corresponds to the number of citations and connecting lines indicate citation relationships between studies. According to the figure’s legend, Cluster #4 lacks relevant publications in the past five years, while Cluster #5 appears later but ends earlier (2014–2020), indicating a decline or cessation in research activity within this cluster. The extended duration of Cluster #1, Cluster #3, and Cluster #9 (2012–2022) suggest prolonged and continuous research activity, underscoring their significance as long-term research topics and potential areas of high interest. Furthermore, the emergence of new clusters based on existing research, with recent clusters such as #0, #2, and #10 maintaining development for over five years, suggests that the field of DCH exhibits rapid iteration, high research vitality, and substantial research value. By examining the time–evolution legend, the development of knowledge within the DCH research field can be traced, the dynamics and evolution of research within each cluster understood, and trends at the forefront of scientific exploration and the formation of new research hotspots over time revealed.

The top three cited references and citing articles for the five most essential clusters (Cluster #0, Cluster #1, Cluster #2, Cluster #3, and Cluster #4) are listed below:

• Cluster #0: Immersive Technology

Cluster #0 is the largest cluster related to DCH research. Immersive Technology innovatively integrates the real world with digital information [58], such as augmented reality (AR), virtual reality (VR), and mixed reality (MR). This technology enhances the integration between immersive technology and digital cultural heritage, improving audience perceptions of art, history, and cultural heritage through interactivity and presence [59]. It supports more effective exhibitions and educational activities. The primary focus is replicating and simulating immersive experiences in digital environments and efficiently collecting, preserving, analyzing, and evaluating digitized cultural heritage information. The most frequently cited references in this cluster are Pietroni et al.’s [60], Konstantakis and Caridakis’s [61], and Machidon et al.’s [62], representing foundational research. The cutting-edge research in this field includes Li et al.’s [63], Garro et al.’s [64], and Partarakis et al.’s [65] (

Table 4. Citations and cited references for Cluster #0.

Cluster #0 Immersive Technology
Cited References		Citing Articles
Citations	Author	Coverage %	Author
4	Pietroni et al. [60]	94	Li et al. [63]
3	Konstantakis and Caridakis [61]	24	Garro et al. [64]
3	Machidon et al. [62]	11	Partarakis et al. [65]

).

• Cluster #1: Interaction Design

Interaction Design examines integrating multiple perspectives, experiences, and values within the DCH domain [24,66]. This research empowers communities to participate in shaping and interpreting cultural heritage through inclusive heritage design, critical engagement with heritage discourse, and participatory design methods for co-creation [67,68]. Additionally, it highlights the potential of interaction design to enhance cultural heritage communication and educational experiences. This cluster has garnered significant attention recently, becoming a prominent research topic. Key references in this cluster include foundational works by Ciolfi [69], Johnson et al. [70], and Rogage et al. [71], as well as pioneering studies by Damala et al. [72] and Tsenova et al. [73] (

Table 5. Citations and cited references for Cluster #1.

Cluster #1 Interaction Design
Cited References		Citing Articles
Citations	Author	Coverage %	Author
3	Ciolfi [69]	35	Damala et al. [72]
3	Johnson et al. [70]	32	Tsenova et al. [73]
2	Rogage et al. [71]	-	-

).

• Cluster #2: Interactive Digital Storytelling

Interactive Digital Storytelling explores engaging narratives in DCH, utilizing virtual worlds constructed through linear or interactive narrative structures [74]. These narratives employ two-dimensional authoring methods, allowing stories to evolve freely or maintain coherence according to predetermined rules. The cluster emphasizes multimedia integration, dynamic presentation, and the emotional resonance of digital narratives, which are increasingly applied in education, entertainment, and cultural preservation [75,76]. Foundational references include Rizvic et al.’s [77], Vrettakis et al.’s [78], and Katifori et al.’s [79]. Cutting-edge research is represented by Trichopoulos et al. [80], Green et al. [81], and Stoyanova et al. [82] (

Table 6. Citation and cited references for Cluster #2.

Cluster #2 Interactive Digital Storytelling
Cited References		Citing Articles
Citations	Author	Coverage %	Author
5	Rizvic et al. [77]	87	Trichopoulos et al. [80]
4	Vrettakis et al. [78]	23	Green et al. [81]
4	Katifori et al. [79]	5	Stoyanova et al. [82]

).

• Cluster #3: Digital Archaeology

Digital Archaeology integrates traditional archaeological methods with advanced digital technologies to explore human behavior and cultural legacies [83]. Research focuses on using technologies such as drone photography, 3D modeling, and geographic information systems for the virtual reconstruction of archaeological sites and documentation of digital landscapes [84,85]. Notable foundational works include Reinhard’s [86], Reinhard’s [87], and Moshenska et al.’s [88]. Reinhard and Zaia [84] and Morgan and Wright [89] are at the forefront of this research (

Table 7. Citations and cited references for Cluster #3.

Cluster #3 Digital Archaeology
Cited References		Citing Articles
Citations	Author	Coverage %	Author
3	Reinhard [86]	27	Reinhard and Zaia [84]
2	Reinhard [87]	25	Morgan and Wright [89]
2	Moshenska et al. [88]	-	-

).

• Cluster #4: Wearable Technology

Wearable Technology refers to multisensory interactive devices used to enhance cultural heritage experiences [90,91,92]. These technologies includes motion capture, feedback technologies, and data collection/display technologies to assist in digitizing cultural heritage collections [93]. The cluster also explores wearable devices in archaeological research and the development of accessible systems to facilitate participation by particular groups. Key foundational references are Azuma’s [94], Bazely’s [95], and Bettadapura et al.’s [96]. The most-cited cutting-edge study in this field is Mason’s [97] (

Table 8. Citations and cited references for Cluster #4.

Cluster #4 Wearable Technology
Cited References		Citing Articles
Citations	Author	Coverage %	Author
2	Azuma [94]	54	Mason [97]
2	Bazely [95]	-	-
1	Bettadapura et al. [96]	-	-

).

3.2.2. Frequently Cited References

The database used in this study was searched for highly cited publications based on citation frequency. The resulting co-citation map identified 106 articles cited more than two times. Figure 6 illustrates the distribution of high-frequency cited references in the field, including the central behavioral norms used in research [98], emotional interactions [99], and models and methods for narrative assessment [100], especially in the field of virtual reality [101].

Table 9. High-frequency cited publications and categories.

Rank	Frequency	Author	Title	Categories
1	6	Bekele et al. [59]	A Survey of Augmented, Virtual, and Mixed Reality for Cultural Heritage	Review
2	5	Huhtamo and Parikka [102]	Media Archaeology: Approaches, Applications, and Implications	Book
3	4	Karuzaki et al. [103]	Realistic Virtual Humans for Cultural Heritage Applications	Case Study
4	4	Ernst [104]	Digital Memory and the Archive	Book
5	4	Roussou and Katifori [105]	Flow, Staging, Wayfinding, Personalization: Evaluating User Experience with Mobile Museum Narratives	Case Study
6	4	Konstantakis and Caridakis [61]	Adding Culture to UX: UX Research Methodologies and Applications in Cultural Heritage	Review
7	3	Rizvic et al. [106]	Guidelines for Interactive Digital Storytelling Presentations of Cultural Heritage	Conference Paper
8	3	Bowen [107]	Curating Digital Life and Culture: Art and Information	Conference Paper
9	3	Pietroni et al. [60]	UX Designer and Software Developer at the Mirror: Assessing Sensory Immersion and Emotional Involvement in Virtual Museums	Perspective
10	3	Schofield et al. [108]	Viking VR: Designing a Virtual Reality Experience for a Museum	Model

lists the 10 most frequently cited publications, of which 30% are literature reviews and perspectives, 20% are books, 20% are case studies, 20% are conference papers, and 10% are research methods studies.

3.3. Research Topic Evolution

3.3.1. Analysis of the Co-Occurrence Network of Keywords

Researchers use keywords to identify central ideas and themes in the relevant literature and assess the frequency and prevalence of specific phrases. Keyword co-occurrence analysis is a valuable tool for identifying current research trends and historical hotspots. This study analyzed data from 1564 documents using CiteSpace. The software’s keyword path calculation method was employed to map keyword knowledge graphs, determine keyword centrality, and assess co-occurrence frequencies. To construct the keyword co-occurrence configuration map for DCH studies, keywords with a citation frequency of more than seven from 1997 to 2023 were selected, with keywords set as network nodes. A total of 876 nodes and 3786 links were identified in this analysis. Figure 7 shows the keywords “digital storage” and “digital media” as the two most prominent nodes, indicating their prominence in this research field. Digitalization is pivotal in preserving cultural heritage, acting as the “glue” that connects dimensions of sustainable development [109,110]. Terms such as engineering education, the internet, and artificial intelligence highlight the interdisciplinary nature of DCH.

3.3.2. Research Clustering

Keyword cluster analysis using CiteSpace effectively expands the knowledge base and provides visualization support for constructing themes in cultural heritage research (see Figure 8). By organizing the knowledge structure and development trends of related research fields, it can better understand cultural heritage preservation and inheritance’s current status and knowledge lineage. Management information systems, an early-emerging research field, has not received sustained attention, exhibiting intermittent research trends and a lack of a cohesive academic communication network. Conversely, digital storage and interactive digital storytelling began gaining attention at the start of the 21st century and have maintained active research trends, forming concentrated research communities. In contrast, interest in painting research has declined since 2014, potentially indicating a shift in research focus or more profound integration with other cultural heritage preservation fields. Based on the keyword clustering analysis conducted using CiteSpace, the themes of cultural heritage research can be categorized into three primary directions: firstly, technological innovation and application (including genetic algorithms, virtual reality, interactive digital storytelling, digital media, and other advanced technologies); secondly, information management and technical support (such as digital storage, management information systems, and repositories); thirdly, digitization and protection of cultural heritage (encompassing areas like painting, cultural heritage, and digital heritage). These categories provide a critical perspective for further expanding the theoretical framework and practical applications of cultural heritage research.

4. Analysis of Results

4.1. Spatio-Temporal Distribution Analysis

DCH research development can be broadly categorized into three phases based on the number of publications: budding, rising, and booming phases. During the budding phase (1997–2006), the focus was on designing accessible and sustainable information systems by integrating diverse information types such as text, 3D models, and images. This period explored new metaphors for spatial representation and navigation through experimental environments, laying the theoretical and methodological foundations for future advancements in digital heritage displays and interactive technologies [111]. These early efforts indirectly contributed to developing assessment models for cultural heritage, encompassing participation, interaction, dissemination, and sustainability in DCH research [112]. In the rising phase (2007–2016), the emphasis shifted to case studies of numerous DCH projects worldwide [46,113,114]. During this period, researchers highlighted the role of DCH in various fields, including site conservation, cultural tourism, and economic development. Empirical research became the predominant methodology, with a deepening focus on sustainable development in DCH. Discussions during this phase included the relationship between cultural heritage management and digital visual presentation [115], the role of information practices in cultural heritage conservation [116], and the social and communicative efficacy of cultural heritage information [117]. The booming phase (2017–present) is characterized by a surge in research activities, making DCH a prominent field of study. Research has expanded to encompass broader discussions on cultural heritage, emphasizing the integration of digital visualization in heritage management and communication efficacy. This period signifies the maturation of the field and its widespread recognition as a crucial area of study.

Geographically, China and the United States are the leading contributors to DCH research, likely due to their rich cultural resources, robust scientific research capabilities, and shared concerns about global cultural heritage preservation and development. Active international cooperation has facilitated sharing resources and addressing global heritage preservation issues. Institutionally, the University of London leads in citations and collaborative networks. However, research outputs are often decentralized or small-scale, lacking solid interinstitutional connections. Despite the high number of publications from the United States, major research institutions are few, indicating a need for more prominent research networks. DCH research is inherently interdisciplinary, integrating humanities, arts, information systems, and computer science methods. This multidisciplinary approach promotes collaboration between authors and institutions across different fields, enhancing the impact and reach of DCH research.

4.2. Exploratory Analysis of Co-Citation Clusters

4.2.1. Cluster Analysis

To illustrate the citation profile, this paper selects the top 3 cited references and cited articles from the five most essential clusters (#0, #1, #2, #3, and #4) identified by CiteSpace. It identified each cluster’s research base and frontiers by reading influential literature with high co-citation or citation rates and organized their knowledge structure.

• Cluster #0: Immersive Technology

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Research Base

Citespace defines Pietroni et al.’s [60], Konstantakis and Caridakis’s [61], and Machidon et al.’s [62] as cited references, representing the research base. This research cluster focuses on the use of immersive technologies in digital cultural heritage [60], especially in virtual museums to enhance user experience, interactivity, and cultural diversity, and analyzes the impact of this technology in terms of user satisfaction [63], cross-cultural experience, and related technological challenges [65].

The digital revolution has dramatically expanded access to cultural heritage through digital media. Immersive technology, encompassing augmented reality (AR), virtual reality (VR), and mixed reality (MR), plays a pivotal role in this domain by enhancing experiential practices through virtual museums (VMs). Integrating these digital technologies blurs the boundaries between physical perceptions and the digital realm, increasing interactivity and inclusiveness for users [60]. Immersive technology has become a significant focus in CH research, driven by advancements in hardware devices and software algorithms to enhance immersion and interactivity. For instance, the combined use of rendering technology and computer graphics significantly improves the visual realism of immersive experiences [61]. Users have distinct goals and requirements at different stages of their experience—before, during, and after a visit. The application of immersive technology enhances learning and interpretation, improves information retention, and stimulates critical thinking skills.

Research in this cluster emphasizes the impact of new technologies on user satisfaction, feedback, and the willingness to disseminate evaluations. This includes analyzing user behaviors and feedback to optimize design solutions for interactive digital exhibits, enhance user-experience value, and promote cultural diversity. The core objectives of immersive technology research focus on addressing diverse user groups’ emotions, senses, needs, and environmental contexts [63] and creating highly realistic and immersive virtual environments, including aspects of disability accessibility (e.g., interactive areas and multisensory presentation capabilities (visual, auditory, tactile, etc.)), health and safety (e.g., uncontrollable health events such as the COVID-19 pandemic), and cross-regional cultural experiences (e.g., online museums). Furthermore, immersive technology is recognized for delivering effective narratives, which are crucial for connecting emotional identities across different cultural groups [65]. Despite significant advancements, immersive technology in museum exhibitions presents technical challenges such as physiological adaptation and content production. Issues like “VR sickness”, comfort in wearing devices, screen refresh rates, and viewpoint delays are actively being addressed in ongoing research [118,119,120]. Additionally, immersive content production involves complex processes such as 3D modeling, material rendering, and interaction design. Researchers have proposed user-friendly and efficient content editing tools and explored technologies like distributed rendering and edge computing to streamline content production and enhance the fluidity of multiperson collaborative interactions [121,122,123].

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Research Frontiers

Citespace defines Li et al.’s [63], Garro et al.’s [64], and Partarakis et al.’s [65] as citing articles, representing the frontiers of research. It focuses on the evolution of the use of immersive technologies in virtual museums [60], in particular combining advanced technologies such as artificial intelligence and blockchaining to enhance the user experience through emotion, perception, and interactivity, and emphasizes the role of technology in adapting museums to crises, facilitating lifelong learning, and improving cultural heritage education [63].

Immersive technology has made significant strides, from its initial application in specific museum and cultural institution settings to integrating advanced technologies such as artificial intelligence and blockchaining into digital museum exhibitions [124,125,126]. The research focus has shifted from the impact of immersive technologies on diverse visitor groups—differentiated by age, technological literacy, and cultural background—to a user-centered approach emphasizing the overall user experience [60]. Recent interdisciplinary studies underscore the importance of emotions, senses, perceptions, and environmental ambiance in shaping visitors’ experiences in virtual museums, often outweighing technical factors like usability and affordability [127]. The COVID-19 pandemic has further highlighted the need to understand how museums adapt and remain resilient during crises. Immersive technology has proven instrumental in enhancing traditional museum experiences by adding contextualization, narrative, personalization, interactivity, and enrichment layers. This evolution demands technological innovation and robust collaboration between the humanities and technology sectors to foster virtual museums that support lifelong learning.

Notably, integrating games and virtual reality significantly enhances learning in cultural heritage contexts [128,129,130]. Games leverage virtual characters to create interactive experiences, while virtual humans (VHs) interact with environments and artifacts, visually and verbally engaging with real visitors [63]. This dynamic interaction increases user engagement and enriches learning outcomes by simulating social behaviors and deepening understanding of historical facts. Despite existing frameworks for assessing the user experience in cultural spaces, there remains a need for deeper insights into visitor interactions with new technologies and exhibits, pointing the way for future research.

• Cluster #1: Interaction Design

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Research Base

Citespace defines Ciolfi’s [69], Johnson et al.’s [70], and Rogage et al.’s [71] as cited references, representing the research base. It focuses on the application of interaction design to digital cultural heritage [69], particularly through AR and VR technologies to create immersive experiences, promote community engagement, and enhance cultural inclusiveness [72], and emphasizes the importance of interdisciplinary collaboration and user-centered design approaches in enhancing cultural heritage experiences [131].

Interaction design facilitates communication and interaction in daily life and work by bridging the real and digital worlds through nontraditional inputs such as specific objects or bodily movements [69]. Since the early 21st century, interactive technologies have been increasingly integrated into cultural heritage practices to enhance historical narratives, immersion, and participation in live interactive installations, blending material culture with digital technologies. Despite numerous new systems being created and evaluated in this field, theoretical frameworks remain underdeveloped, resulting in a lack of unified language and systematic understanding within the profession [70]. This deficiency hampers effective communication among professionals, potentially stifling innovation and reducing design efficacy and quality [71]. Therefore, the complexity of interaction design necessitates interdisciplinary collaboration across fields such as human–computer interaction, software engineering, psychology, entertainment, and sociology to address its multifaceted challenges.

Current research hotspots in interaction design focus on three main areas: building immersive interaction environments using technologies like AR and VR to provide in-depth participatory experiences and enhance community involvement through social interaction and gamification; innovative applications of interaction technologies, such as using body movements or voice commands to facilitate natural interactions; and personalized experience design, tailoring content based on user characteristics [72]. The four-phase model of the interaction design process—needs analysis, conceptual design, prototyping, and user-experience evaluation—is considered critical for achieving optimal design outcomes [131], emphasizing the importance of involving end-users to ensure that designs meet real needs. As research paradigms evolve, interaction design in DCH has shifted from being technology-driven to user-oriented, focusing on user experience. Through AR and VR technologies, this approach explores inclusive access for culturally [73], cognitively, and need-diverse users, proposing cross-cultural methodological approaches and resilient development strategies. These innovations promote inclusion, intercultural dialogue, and improved design of tangible and intangible cultural heritage experiences.

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Research Frontiers

Citespace defines Damala et al.’s [72] and Tsenova et al.’s [73] as citing articles, representing research frontiers focused on the importance of interaction design in the field of digital cultural heritage [71], particularly through interdisciplinary integration and technological innovation to enhance user experience [72], promote social inclusion and facilitate the education and dissemination of cultural heritage through immersive technologies and user-centered design methodologies [132], as well as addressing the cost and maintenance challenges of technological applications.

Recent trends in scholarship on interaction design within the DCH field highlight the profound impact of interdisciplinary convergence and technological innovation on promoting social inclusion and enhancing the user experience [71]. Studies indicate that cultural, social, economic, cognitive, and regulatory barriers to interaction design present diverse challenges, necessitating systematic design strategies and a deep understanding of user needs and interaction patterns in various cultural contexts [133,134,135]. Interaction design is pivotal in fostering social cohesion and cross-cultural communication by promoting participation and identification among diverse groups through innovative information and communication technologies [132]. The prominence of user-experience design has increased in recent years, with research emphasizing user-centered co-creation processes [72]. This approach involves designing services and products that are more relevant to diverse user groups by gaining a deeper understanding of user behavior and needs. Innovations in user modeling and detailed analysis of interaction processes ensure the accessibility and continuity of cultural heritage content, thus broadening the audience base [136,137,138]. Immersive technologies, including virtual reality (VR), augmented reality (AR), and mixed reality (MR), are emerging as cutting-edge tools for cultural heritage experiences. These technologies create multimodal immersive environments that facilitate collaborative interactions, enhancing the connection between users and cultural heritage while promoting new educational and engagement modes [69].

Despite challenges related to costs, technological maturity, and the need for specialized skills, immersive experiences are becoming increasingly accessible and efficient with advancements in hardware and technology, particularly in education, exhibitions, and cultural heritage [139]. Emerging research trends indicate the development of new business models and collaboration strategies to address the limitations of immersive technology applications in traditional museums and heritage sites, such as high initial investment and complex technical maintenance. Cultural institutions increasingly collaborate with technology companies to develop adaptable and cost-effective solutions [140]. Furthermore, there is a growing demand for intuitive user interfaces and human-centered interaction design, emphasizing ease of use and seamless experiences to achieve universal accessibility and enrich the cultural heritage experience [141].

• Cluster #2: Interactive Digital Storytelling

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Research Base

Citespace defines Rizvic et al.’s [77], Vrettakis et al.’s [78], and Katifori et al.’s [79] as cited references, representing the research base. It focuses on the application of interactive digital storytelling in the field of digital cultural heritage [81], in particular the provision of personalized cultural experiences through the interactive and nonlinear features of digital media [82], and emphasizes its importance in virtual museums, cultural education, and preservation, with a multidisciplinary focus on user needs, technological approaches, and evaluation frameworks [142].

Interactive digital storytelling is a significant research focus in the DCH field. It leverages digital media’s interactivity and nonlinear characteristics to merge narrative with digital technology, offering users unique, personalized cultural heritage experiences. This innovative approach has extensive applications in virtual museums, cultural heritage education, interpretation, dissemination, and preservation, enhancing users’ understanding and emotional connection to cultural heritage, thereby promoting its transmission and conservation [81]. The research on interactive digital storytelling is multidisciplinary, integrating techniques and methodologies from computer graphics, artificial intelligence, natural language processing, and virtual reality [82]. Researchers emphasize user-centered design principles, thoroughly considering user needs, preferences, and interaction behaviors to provide personalized, adaptive experiences. Furthermore, evaluating user experiences and educational outcomes of interactive digital storytelling is crucial, necessitating the development of appropriate assessment frameworks and methods [80].

The primary research areas of interactive digital storytelling include theoretical foundations, key technologies, practical applications, and user studies [78]. Investigation of its theoretical basis and conceptual framework aims to elucidate its characteristics and significance within the digital cultural heritage context [143]. Building on theoretical research, exploring key technologies and methods such as intelligent story generation, adaptive narrative adjustment, and immersive user interaction is essential. Analyzing practical cases across various cultural heritage application scenarios helps summarize design strategies and implementation experiences. Ultimately, user studies and evaluations are conducted to deeply understand user behavior patterns and experiences, optimizing design and application [142]. Additionally, interactive digital storytelling offers new perspectives for DCH experience research. From linguistic, anthropological, and sociological viewpoints, it examines the role of language in cultural heritage digitization, analyzing the relationship between language, culture, and identity and providing a multimodal ethnographic perspective [144]. The immersion theory in digital applications, with self-emotional identification and subjective emotional experience as moderating factors, offers new insights into the digitalization of cultural heritage. This approach promotes innovative transmission and digital transformation of cultural heritage, contributing to preserving and disseminating human civilization.

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Research Frontiers

Citespace defines Trichopoulos et al.’s [80], Green et al.’s [81], and Stoyanova et al.’s [82] as cited articles, representing the frontiers of research focused on the latest trends in interactive digital storytelling [82], including new interactive and nonlinear narrative forms, the application of virtual and augmented reality technologies, the potential of artificial intelligence in storytelling [145], and the prospects for its application in the fields of cultural heritage presentation and education [146].

Interactive digital storytelling aims to generate highly engaging and expressive narratives through interactive media technologies. Recent advancements in technology and interdisciplinary research have driven the field’s diversification. A key research direction involves exploring new interactive and nonlinear narrative forms [82]. Researchers focus on developing selective interactive narratives and procedural narrative generation to give audiences greater freedom and control [79]. The rise of VR and AR technologies offers unprecedented opportunities for creating immersive and interactive storytelling experiences. Researchers are investigating integrating these emerging technologies with storylines, environments, and character representations to enhance the sense of presence and immersion [147]. Another promising trend is the application of AI technologies in storytelling. AI has significant potential in generating storylines, modeling characters, and creating adaptive narratives, which can assist or autonomously produce engaging and interactive digital stories. Researchers are exploring AI–human collaborations and fully AI-driven story-creation systems [145].

Interactive digital storytelling increasingly emphasizes interdisciplinary collaboration and user-experience research, integrating computer science, design, and art knowledge and methods. User research is essential to optimize interactive digital storytelling experiences, enhancing their appeal and effectiveness [148]. Furthermore, interactive digital storytelling is an effective medium for presenting and interpreting cultural heritage, enhancing public understanding and identification with cultural heritage, and revitalizing its preservation and dissemination [146]. Notably, interactive digital storytelling also presents new opportunities in education. Creating engaging and interactive narratives can increase learner engagement and improve learning efficiency, particularly in cultural and historical education.

• Cluster #3: Digital Archaeology

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Research Base

Citespace defines Reinhard’s [86], Reinhard’s [87], and Moshenska’s [88] as cited references, representing the research base. It focuses on the innovative use of digital technologies in cultural heritage research [149], the exploration of digital spatial archaeology, the importance of data management and analysis, the expansion of digital archaeology into new domains (e.g., virtual environments) [88], as well as emphasizing the importance of cross-disciplinary collaborations and the development of digital literacy in advancing digital archaeology [86].

The research trajectory of digital archaeology embodies a dual focus on technological advancement and theoretical deepening, highlighting both the innovative application of digital tools in cultural heritage research and the exploration of digital spatial archaeology [149]. Rapid advancements in information technology, particularly the internet, and technologies like 3D modeling, VR, and AR have significantly expanded the scope of archaeology. These advancements enhance public engagement and facilitate three-dimensional reproduction and immersive cultural heritage experiences [87]. Digital technologies integrate physical space reproduction with creating new virtual environments, offering users interactive and exploratory learning experiences [88]. Effective data management and analytical capabilities are crucial, necessitating researchers to adeptly utilize new technological tools while prioritizing understanding data ethics, transparency, and long-term preservation. For instance, the Data Management Plan (DMP) underscores the importance that research funding agencies place on research process transparency and data accessibility, signaling a shift toward managing research quality and professionalism in archaeology [86]. This shift entails rigorous attention to ethical data collection, secure management during fieldwork, and transparent community engagement and data analysis to ensure research reliability and replicability.

Furthermore, digital archaeology expands into novel domains by employing traditional and innovative archaeological theories and methods to explore human activity traces in digital realms [86,150]. For instance, analyzing video game environments offers insights into the formation and evolution of virtual societies. The study of digital heritage enriches archaeological discourse while presenting challenges to existing theoretical frameworks [88], prompting researchers to adapt and extend archaeological concepts and practices to new environments. Interdisciplinary collaboration and cultivating digital literacy are pivotal for advancing digital archaeology, necessitating proficient technological skills and a comprehensive understanding of data lifecycle management and ethical integration into archaeological practice, ensuring effective utilization and enduring data preservation.

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Research Frontiers

Citespace defines Reinhard and Zaia’s [84] and Morgan and Wright’s [89] as cited articles, representing the frontiers of research. It focuses on trends in digital archaeology [151], including the application of 3D digitization technology in heritage conservation and research [84], the role of geospatial data analysis in the reconstruction of ancient environments, the potential of computer simulation and artificial intelligence technologies in archaeological research [89], and the innovative use of virtual reality in the presentation of cultural heritage, while also mentioning the ethical and data management challenges posed by digitization [152].

Digital archaeology aims to employ digital technology and computational methods to innovate cultural heritage preservation, research, display, and dissemination. Digital archaeology has exhibited a diverse developmental trajectory in recent years, driven by rapid technological advancements and interdisciplinary research. Key among these advancements is the utilization of 3D digitization technology, which stands out as a focal area of investigation [151]. High-precision 3D digital capture of cultural artifacts and sites, facilitated by methods such as 3D scanning, optical measurement, and computer vision, not only enhances heritage preservation and research capabilities but also forms the basis for virtual reconstruction and display [84]. Moreover, integrating drones, satellite remote sensing, and other technologies for acquiring high-resolution geospatial data, coupled with geographic information systems (GISs) and spatial analysis methods, facilitates discovering and examining buried cultural sites [88]. This approach enables the reconstruction of ancient environments and human activity patterns, broadening the scope and depth of archaeological inquiry [89].

Another significant trend involves using computer simulation and modeling technologies to reconstruct the production processes of ancient structures and artifacts and simulate ancient environments and human behaviors, thus offering more profound insights into the evolution of ancient civilizations [153]. In parallel, artificial intelligence technologies, including computer vision and machine learning, demonstrate considerable potential in automating artifact identification, classification, and pattern recognition, thereby enhancing research efficiency [152]. Additionally, virtual reality (VR) and augmented reality (AR) technologies introduce novel interactive experiences for cultural heritage display and interpretation, presenting new avenues for artistic education. Nevertheless, addressing ethical, copyright, and intellectual property concerns associated with digitized cultural heritage has become a pressing research priority. Effectively managing and preserving vast quantities of digitized heritage data to ensure long-term accessibility and usability remains a significant challenge requiring support from appropriate technologies and standards.

• Cluster #4: Wearable Technology

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Research Base

Citespace defines Azuma’s [94], Bazely’s [95], and Bettadapura et al.’s [96] as cited references, representing the research base. The main focus is on the application of wearable technologies in the field of cultural heritage [154], including the incorporation of virtual and augmented reality to enhance the cultural heritage experience [97], the use of digital twins for heritage management, and the exploration of the interface design of wearable devices in scenarios such as museums, emphasizing the potential of these technologies to change the way cultural heritage information is disseminated [155].

Wearable technology is an essential tool for preserving and transmitting cultural heritage. Research has focused on using virtual reality technology and sensory devices to enhance the interactive and immersive experience of cultural heritage. New ways of exploring and experiencing cultural heritage have broadened the application of digital technology in cultural preservation and education [154]. The combination of AR technology and wearable devices has greatly enhanced the accessibility of historical artifacts and sites, as well as their attractiveness and educational significance, providing visitors with more profound knowledge and experiences. In other words, wearable devices collect human information through integrated sensors and use digital technology to enhance or simulate human senses, such as vision, hearing, and touch [156,157], enabling audiences to interact more intuitively with cultural heritage to obtain richer information. These technologies show great potential for virtually recreating historical sites, creating immersive and interactive experiences, and re-inheriting cultural heritage. Wearable technologies combined with AR play an essential role in cultural heritage digitization, such as high-precision 3D modeling and virtual restoration [97].

In cultural heritage site tours, wearable devices enable real-time information overlay and contextual reproduction, enhancing user engagement and understanding of historical structures and taking cultural heritage to a broader target group [95]. Digital twin technology further enhances these applications by integrating VR, AR, or MR to build platforms for risk assessment and predictive maintenance, creating more interactive and immersive environments and enabling direct interaction between digital twins and various types of users. In addition, wearable technologies can passively or actively provide visitors with relevant cultural heritage information, reducing the barriers to accessing and communicating information [156]. However, several technical and design challenges must be addressed to fully utilize these technologies’ applications. Researchers have also focused on the potential application of wearable AR in cultural heritage scenarios such as museums and art galleries, and they have proposed a variety of interface design solutions based on human–computer interaction theories, including voice recognition, gesture control, eye-movement interaction, and touch interfaces. Meanwhile, wearable AR interface design requires personalized adaptation strategies for users of different age groups and backgrounds. This technology changes how cultural heritage information is retrieved, processed, and shared [155]; has various applications, from 3D spatial information acquisition to analyzing human behavioral perceptions; and has potential for use in social interactions.

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Research Frontiers

Citespace defines Mason’s [97] as a cited articles, representing the frontiers of research. It focuses on the cutting-edge research directions of wearable technologies in the field of cultural heritage [90], focusing on the integration and application of emerging technologies such as AR/VR immersive experience, intelligent tour guiding systems, and affective computing analytics [158], as well as the innovative potential of these technologies to enhance cultural heritage preservation, presentation, and public engagement.

With the development of technology and the depth of interdisciplinary research, wearable technology’s application in the cultural heritage field shows a diversified development trend. Integrating AR and VR technologies with wearable devices to provide users with immersive cultural heritage experiences is an important research direction. Displaying 3D reconstructions of cultural scenes through wearable devices helps to enhance understanding and knowledge of cultural relics and sites [90]. Meanwhile, the development of location awareness and navigation systems for cultural heritage venues using sensors and positioning technologies on wearable devices to provide visitors with personalized guided tours and related information has also become a hot area of research [159]. Accordingly, research on gesture recognition and interaction technologies based on wearable devices enables users to instantly interact with cultural content through natural gestures for a more immersive experience. In addition, the physiological data of users are collected through wearable devices, and, combined with emotional computing technology, users’ emotional experience and feedback on cultural content are analyzed to provide a basis for optimizing the display of content [158].

In addition, with the mobility and portability of wearable devices, researchers can use various sensors on wearable devices to monitor the environmental conditions of cultural relics and sites in real time, discover potential damage risks promptly, collect data related to cultural heritage more efficiently, and provide strong support for the protection of cultural heritage [160]. Meanwhile, the application of wearable technology to cultural heritage and education is also one of the important research directions in this field. Study in this area expands data sources and improves data quality by utilizing crowdsourcing to involve the public in the collection and annotation of cultural data to improve the public’s understanding and awareness of cultural heritage.

4.2.2. Constant Citation Analysis

In a journal article on literature reviews or perspectives, Bekele MK et al. found that AR, VR, and MR technologies significantly enhance visitor interactivity and immersion by studying their application in cultural heritage preservation and presentation, pointing out that the use of digital media technologies is an established trend in the development of cultural heritage [59]. Konstantakis M et al. further deepened the relationship between the user experience and the interactive links between cultural heritage by integrating information material from users before, during, and after they visit cultural heritage sites; defining goals and needs at each stage; and experimenting with and refining a framework for measuring user experience in cultural spaces [61]. Pietroni E et al. proposed social research methods, such as qualitative interviews and anthropological assessments, to define the impact of immersive experiences in virtual museums on cultural heritage communication and the preservation of its social value [60].

In a study of books in the literature, Huhtamo E et al. analyzed the concepts related to DCH from the perspective of media archaeology, revealed the evolutionary trend of media technology applications by mining historical data, and showed that media are a product of technology and culture. A relationship exists between shaping and being shaped at the social level [161]. Ernst W proposed the concept of digital memory, which traces the contemporary digital media ecology of new opportunities and dynamics of identity construction, providing a practical, theoretical basis for algorithmic prediction, art curation, and self-presentation in digitizing cultural heritage [104]. In a case study, Karuzaki E et al. investigated the interactive presentation of a wearable motion-capture system and visualization software technology for a virtual cultural heritage exhibition in the Mastic Museum of Chios. The results support the importance of maintaining an emotional expression between avatars’ characters and individual audience members and proposing a guideline for the future regarding information quality, educational value, and perceived experience [103]. Roussou Maria et al. showed that with the development of the experience economy, cultural institutions (e.g., museums) are increasingly focusing on implementing user-experience concepts [105]. Digital technologies, as a means of preservation in cultural institutions, can attract younger users and expand audiences by ensuring user access to a large amount of information, filtered and personalized according to different visitor styles, interests, and needs.

Rizvic S and Bowen et al.’s research on conference documents focused on the interactive narrativity of communication media. For example, Rizvic S’s interactive documentary application proposed a new interactive narrative approach to digital cultural heritage. It was shown that narrative techniques that enhance user participation and interactive experiences can significantly improve digital cultural heritage’s expressive and educational effects. The research results were organized into guiding recommendations for evaluating future interdisciplinary team collaborations to develop innovative interactive digital narrative approaches [106]. The study by Giannini T et al. described the relationship between digital life and art and culture. It proposed a shift from the traditional gatekeeping curatorial practice to an open practice that seeks to allow art and culture to transcend the boundaries of the medium in terms of the visual, audio, and textual aspects of art and culture [107]. A smaller number of cited studies focused on DCH research methods suggested that scholars in the field need to increase their focus by exploring innovative assessment methods. Schofield G. et al.’s study presented an analysis of the interaction design issues regarding virtual museums for VR experiences, as well as connections to related concepts, such as natural environments, digital narratives, and identity. These case studies point out that the digital reconstruction of historical events requires continued exploration, discussion, and testing in the fields of archaeology and history [108]. The small percentage of cited studies in the literature on digital cultural heritage that focused on assessment methods suggested that the field still needs to explore innovative assessment methods in depth.

4.3. Keyword Cluster Analysis

In terms of research themes, the main focus is on three aspects: technological Innovation and application (e.g., genetic algorithms, virtual reality, interactive digital storytelling, digital media, and e-learning), information management and technical support (e.g., digital storage, management information systems, and repositories), and digitization and preservation of cultural heritage (e.g., paintings, cultural heritage, and digital heritage).

• Technology Innovation and Application

The Genetic Algorithms cluster focuses on using interactive genetic algorithms that incorporate subjective emotions into the design of the fitness function in the optimization process [162]. The method takes into account the genetic characteristics of the individual and the overall distribution of the population. It calculates user engagement as a cognitive conclusion, an intermediate stage, and a fatigue stage [163]. The integration of technology and culture is realized by simulating the natural environment to interact with users through new media technologies such as virtual reality [164]. This approach is widely used in many fields, including the internet, education, and imaging. Therefore, hot research topics, including photography technology, learning systems, cultural memory, 3D visualization, digital divide, multimedia tools, educational tourism, and so on, have become the main keywords of genetic algorithms in cultural heritage digitization.

The Virtual Reality (VR) cluster explores how VR technology has revolutionized the preservation and presentation of cultural heritage [153,165]. It includes research on digital communication systems, data transfer, datasets, 3D vision, 3D reconstruction, virtual museums, immersive experiences, and visitor experiences that have enhanced the interactivity and immersivity of educational experiences by providing viewers with in-depth understanding of the historical context of cultural heritage through virtual environments, i.e., the user accesses the learning experience through the platform using the interfaces of a 3D engine and in the process acquires learning in the form of emotional reflections and social interactions. The application of these technologies not only provides new ways for the public to engage with cultural heritage but also opens up innovative methods for the dissemination and protection of cultural heritage [166], e.g., in concrete practice through high-precision 3D scanning and virtual reconstruction and precise restoration of, e.g., murals in the Mogao Grottoes of Dunhuang [167] and architectural details of Milan Cathedral [168], so that cultural heritage can be made available to the global public without the need for physical contact. The openness of cultural heritage to the worldwide public without the need for physical contact fully demonstrates the great potential of VR in the future management and display of cultural heritage.

The Interactive Digital Storytelling cluster suggests cultural stories through multimedia interactive technologies, including mobile augmented reality, computer interaction, artificial intelligence, multimedia systems interactivity, visual research, and virtual museums. Digital narratives, especially in museums and historical sites, have shown their effectiveness [169], for instance, through interactive documentary formats that continue to engage audiences and reveal hidden or forgotten cultural heritage [78]. This suggests that this digital narrative framework promotes the preservation and dissemination of cultural heritage and allows the public to explore and interpret history more freely [170]. In addition, the application of this technology maps the educational and emotional value of cultural heritage into digital narratives [171], supporting cultural heritage management and decision making, as well as social inclusion. Research in the Digital Media cluster explores the use of digital media technologies in preserving, disseminating, and enhancing the interactivity of cultural heritage. Studies including video art, art audience, art exhibition, media ecology, media policy, and digital archaeology reveal the effectiveness of digital media in preserving historical and cultural heritage. Digital media’s effectiveness in preserving historical and cultural heritage has been revealed. Digital media technologies have transformed the experience of cultural heritage landscapes, providing immersive and accessible ways of experiencing culture, such as interactive media in heritage attractions in Northern Ireland, which effectively enhance the visitor’s experience and make the delivery of cultural content more vivid and intuitive. In addition, research has highlighted the role of social media in cultural heritage conservation, showing that digital platforms can support broader social engagement and conservation activities [172]. These research findings promote the digital treatment and management of cultural heritage [173] and provide valuable theoretical and strategic guidance for related practices.

• Information Management and Technical Support

The Digital Storage cluster focuses on managing, preserving, and presenting cultural heritage through digital technologies [174]. This includes the use of 3D technologies to record and reproduce historical objects and scenes accurately and the creation of accurate digital copies of cultural heritage through multidimensional sensors and photogrammetry [175], enhancing the management of cultural heritage classifications, temporal definitions, and the identification of potential scales, providing new possibilities for the detailed documentation and restoration of cultural heritage [176] as well as support for related decision making. Therefore, cultural heritage, historical preservation, artistic computing, and 3D graphics computing techniques are important keywords under this cluster. The Management Information Systems (MISs) cluster has significantly impacted the DCH field, especially in archaeology and cultural heritage management, providing a framework for systematically processing, analyzing, and interpreting cultural heritage data. Studies including computer architecture, database systems, computer software, image reconstruction, archaeological theory, the oculus rift, amongst other resources, have revealed that cultural heritage is a significant source of information. Other studies on the semantic attributes and subordination of cultural heritage [177] have shown that MISs not only promote in-depth understanding of the spatial management model of cultural heritage and prediction of future development trends, but also strengthen the integration of cultural heritage with social resources, broadening the scope of its application in education, tourism, and social identity. These interdisciplinary information management systems dramatically improve the efficiency of data analysis; provide strong technical support for cultural heritage preservation, research, and dissemination; and open up new avenues for alternative values and applications of cultural heritage in modern society. The Repository cluster plays a vital role in cultural heritage preservation and dissemination [178], including archives, digital libraries, analog authenticity, experimental art technical images, experience design in museums, interactive media, and open access. Cross-platform sharing of knowledge is promoted by enhancing the dissemination and accessibility of cultural heritage [179]. Based on big data repositories, new digital technologies provide audiences with immersive cultural experiences. This effectively bridges the intergenerational divide and supports continuous innovation and educational development of cultural heritage. Thus, this cluster not only ensures the long-term preservation and effective transmission of cultural heritage, but also provides a platform for learning and sharing for a wide range of groups by expanding its influence and social value, demonstrating the potential of cultural heritage to evolve and grow in modern society [180].

• Digitization and Preservation of Cultural Heritage

The Painting cluster plays a crucial role in cultural heritage research, covering the preservation and transmission of traditional arts, complex technical challenges, and interdisciplinary cooperation. It includes algorithms, interactive narrative spaces, essential techniques, co-location, mass media, artistic media, and digital representations. The field focuses on the digital recording, analysis, and evaluation of cultural heritage resources by modern information technologies for long-term preservation and chain sharing [181]. The process relies on digital image analysis techniques to record works in detail and analyze their damage. Meanwhile, the intersection of materials science, computer science, and chemistry provides strong technical support. Cultural heritage is a cross-generational research field focusing on preserving and inheriting cultural assets and their innovative applications in the digital age. The research on mobile computing, digital storage, exhibitions, visualization, and historic preservation highlights how cultural heritage maintains its value and adapts to the development of modern society. It also pays special attention to digital preservation methods, information, and information technology. In particular, the field focuses on digital preservation methods, integration of information management systems, and databases that enhance and leverage public interaction and education [182]. Essentially, the field aims to promote the sustainable development and innovative dissemination of cultural heritage globally [183].

Another significant cluster is Digital Heritage, which is a crucial research category within the cultural heritage field, including technology and culture, digital storytelling, technology and culture, digital storytelling media, and interactive broadcasting. Digital history focuses on the transformation of cultural assets into digital materials to create digital narratives and preserve social memory through online interaction. The process includes selecting, collecting, analogically converting, storing, and organizing information about heritage [184]. With the development of digital technologies, digital management and preservation of cultural heritage have become important areas for future research in this field [185,186]. Cluster analysis of keywords found in different fields using CiteSpace helps to expand and establish the knowledge base of DCH research. It is carried out by visually presenting a network of knowledge-related DCH mappings. In recent years, more research has been carried out on the e-Learning cluster. With their rapid development, new media technologies have significantly enhanced the authenticity of learning content and learner engagement through immersive and interactive learning experiences [187] and promoted the innovation of teaching methods, significantly enriching virtual environments by enhancing perception of and interaction with the real world, which interaction substantially enriches learning with respect to knowledge distribution, creative collaboration, and time management in virtual environments and effectively improves the efficiency and quality of learning [188]. Therefore, these research hotspots based on new media, such as digital arts, art inheritance, digital museums, digital narratives, and digital learning, mark a new chapter of education technology innovation. Technology innovation also shows great potential and value in enhancing learning motivation and participation and personalized learning.

5. Discussion

This study systematically combed the research literature on digital cultural heritage (DCH) published between 1997 and 2023 using the CiteSpace bibliometric analysis tool to quantitatively and intuitively assess academic achievements and progress in the field. By presenting a knowledge map, the article reveals the evolution of the knowledge structure of the field from macro- to micro-levels and identifies potential trends for future research. The article further distinguishes four stages of development of DCH research, including a particularly significant period of growth in the diversity of publications and research areas between 2017 and 2023, emphasizing the importance of integrating cultural experiences into heritage conservation assessment. The study shows that data integrating user experiences is heavily referenced to communicate and protect cultural heritage more comprehensively. Digitization is critical in this process, connecting heritage resources with user experiences. Overall, the development of cultural heritage shows a shift towards technology, knowledge, and data (Figure 9).

5.1. Discussion of Major Findings

DCH research was initially focused on technologically developed countries. However, as the global awareness of cultural heritage protection increases, countries and regions with rich heritage resources have also begun to adopt unique digital methods. For example, Bosnia has launched the Cultural Heritage Reconstruction project, which utilizes digital technology to restore damaged cultural assets, which helps protect cultural heritage and promotes regional economic development [189,190,191]. In addition, countries such as Fiji have strengthened legal measures to protect cultural heritage. Globally, research explores utilizing advanced technologies to stimulate public interest in cultural heritage and achieve its practical preservation. This requires sustained technological innovation and legal support to ensure the safe protection of cultural heritage and cultural respect. However, there are challenges in implementing advanced technologies in countries (regions) with less developed digital infrastructures. For example, scholars have pointed out that there are major impediments to keeping digital repositories technologically and culturally appropriate and sustainable. This involves addressing issues related to cultural sensitivity, intellectual property rights, and the digital divide that may exist between regions [192,193,194]. Other studies have shown that the success of DCH projects depends to a large extent on interdisciplinary cooperation and the involvement of local communities. Studies from different regions emphasize the importance of tailoring digital heritage projects to the specific cultural and social contexts of the regions in which they are implemented [195,196]. For example, projects in the Asia–Pacific region have highlighted the need to integrate local knowledge systems with digital technologies to ensure that conservation efforts are both effective and respectful of cultural traditions. Therefore, global policymakers and researchers need to collaborate to create supportive environments that facilitate the digital transformation of cultural heritage while ensuring that the research process is culturally sensitive and maintains a condition of sustainability. Such interdisciplinary and cross-border collaboration is essential for the future preservation and transmission of cultural heritage.

Furthermore, this study delves into multiple aspects of the research foundation of DCH, including user immersion experiences, language and identity, and the intersection of practical and virtual reality technologies. Meanwhile, the convergence of the internet, virtual social networks, and information and communication technologies has created a set fundamental tools for cultural dissemination and artistic expression, such as using VR and AR to provide practical channels for multimodal audiovisual experiences and digital theoretical innovations in cultural heritage. A growing body of research demonstrates the need to configure experience design into digital innovations of traditional culture and historical heritage, such as through interactive artistic expression focusing on the subjective psychological states of participants during the period they are being served and their behavioral interactions with the service, product, or system, which provides a broader perspective on user interaction, makes people more aware of their behaviors, and helps them to reach the true center of the practical experience. Exploring practices and virtual reality technologies reveals challenges and opportunities regarding enhancing the visitor experience and generating DCH-related data. While existing research in DCH highlights the transformative potential of technologies such as VR and AR, there is also a reduction of cultural heritage to a visual spectacle and a lack of deeper awareness and cultural engagement [197]. Effective design prioritizes not only interactivity but also cultural sensitivity, and a balance between interactivity and cultural sensitivity is needed to ensure the authenticity of digital heritage [198]. At the same time, digitization has facilitated the expansion of the study of language and identity to include the complexities of intercultural communication and multilingual environments, with research pointing to the role of language in transmitting collective memories and constructing identities, as well as revealing that language itself is a form and practice of heritage. Furthermore, while digital platforms offer new ways to preserve linguistic heritage, they often oversimplify and distort complex cross-cultural and multilingual contexts [199]. Therefore, addressing regional differences, DCH research and practice must be adapted to the unique cultural and technological landscapes of different communities.

At the level of technology application, early research focused on using scanning technologies and database management systems to document and preserve cultural heritage [200,201,202]. However, these approaches often lack interactivity and user engagement, and their main function is to translate physical cultural heritage into a digital format and store it in static databases. As technology advances, the focus of research is gradually shifting in the direction of enhancing the audience experience, using technologies such as AR, VR, and 3D modeling. While this shift has improved audience interaction and engagement, it has also raised concerns about over-reliance on technology. While these advanced technologies show great potential for cultural education and economic promotion, their actual effectiveness may be overestimated due to a lack of in-depth user experience research [203,204].

In addition, the current research phase emphasizes the importance of interdisciplinary collaboration to ensure that technological advances can effectively support the preservation and popularization of cultural heritage worldwide while respecting and promoting cultural diversity. Technological innovations and applications determine the core trends in cultural heritage user practices [154], creating immersive and interactive cultural heritage experiential environments through digital technology tools (e.g., AR, VR, etc.). Digital technologies enhance the understanding of cultural elements and local cultural values defined by “communication”, by showcasing cultural heritage and combining it with participatory digital presentations based on narrative content and gaming experiences. Experiential digital technologies go beyond traditional cultural heritage preservation, with interactive modes emphasizing user roles through user choice and time-guided systems to increase user engagement in virtual exploration and understanding of content through direct experience [31]. The emotional value of the user, the interactive experience, or the mediated narrative is commonly mentioned in DCH research, accelerating this field’s evolutionary trend regarding digital media and data systems. On the other hand, scholars have emphasized the crucial role of interdisciplinary cooperation in the digitization of cultural heritage, pointing out that in technology development projects, without the participation of cultural heritage experts, the problem of simplification or misunderstanding of cultural elements often arises, leading to a deviation from the goals of cultural heritage preservation [205,206]. These studies further support the current use of digital technologies in cultural heritage preservation, but they also remind us of the importance of maintaining a balance between technological applications and cultural connotations to ensure that technological advances truly serve the preservation and popularization of cultural heritage.

Information management and technical support are the cornerstone of ensuring the long-term preservation, efficient management, and wide dissemination of heritage materials. Firstly, developing digital storage technologies is crucial for preserving heritage materials, including documents, images, sounds, and 3D digitized items [207]. Research has shifted to exploring more efficient and durable storage solutions, such as cloud storage and distributed file systems, for secure backup, efficient data access, and sharing [208]. Secondly, MISs are essential in optimizing resource allocation, project management, and heritage information management in cultural institutions [209]. These systems are customized and developed to meet the specific needs of cultural heritage institutions while using data analysis tools to support strategy development and service improvement. The construction and management of cultural heritage repositories are at the heart of digitization, with research focusing on applying metadata standards and enhancing repositories’ discoverability and user experience [176]. However, while numerous studies in recent years have supported the key role of information management and technology support in cultural heritage preservation, for example, cloud storage and distributed file systems have emerged as important tools for backup and data sharing, demonstrating significant advantages in the field of cultural heritage, in particular with regard to data backup and sharing on a global scale. However, the security, sustainability and long-term cost-effectiveness of these technologies still need to be further validated. Scholars have identified potential risks in terms of data security and long-term preservation, emphasizing the need for continuous assessment and improvement. Meanwhile, metadata standardization is considered an important tool to improve the discoverability of cultural heritage repositories. Nonetheless, current standards still fall short when dealing with multilingual and multicultural contexts, which highlights the complexities that need to be considered during the digitization of cultural heritage. These studies not only reveal the potential of technology in cultural heritage preservation, but also point out the challenges that need to be addressed, providing directions for future research and practice.

The study of cultural heritage preservation and expression focuses on the practical conservation, transmission, and representation of cultural heritage through multimodal media and presentations while emphasizing the central role of digital technologies in cultural communication, enhancing preservation strategies, and optimizing user experiences [210]. This field encompasses various tools, from museum displays and paintings to annotated portfolios. It explores how social media and multimedia technologies can deepen the visitor experience and enhance the delivery of culturally relevant information through experiential education and immersive tourism, promoting rapid understanding and interest in learning [211]. Digital preservation research in cultural heritage focuses on applying high-precision technologies such as VR and AR in tangible and intangible heritage and the standardization of metadata and digital asset management to support the systematic management of materials. Similarly, the preservation of cultural heritage faces technological challenges. On the one hand, while high-precision technologies such as VR and AR can enhance the user experience and promote cultural understanding, the application of these technologies may lead to the simplification or distortion of cultural content, ignoring the complexity and diversity of cultural contexts [212]. On the other hand, social media and multimedia technologies, while expanding the audience of cultural heritage, may lead to the fragmentation and commercialization of cultural heritage expression, thus weakening its wholeness and depth [211]. Future research should aim to develop new technologies to enhance heritage quality and management efficiency and facilitate global sharing [213]. These studies will promote technological innovation, ensure the continuous transmission of cultural heritage and the joint protection of international cultural heritage, and reinforce the social value of cultural diversity.

5.2. Future Research

The dominance of some countries (e.g., China and the United States) in DCH research reflects possible regional differences in global DCH practices. Such differences stem from the unevenness of technology adoption, policy support, cultural values, and resource allocation. DCH research and practice is contextualized in different regional and cultural environments. Europe may focus more on digitizing historical buildings and artifacts, while Asia may concentrate on the digital documentation of intangible cultural heritage and folklore. In the future, DCH practices should focus more on adapting to local realities, considering the level of economic development, technological infrastructure, and geographic and socio-cultural factors. DCH projects should be designed through localized strategies to effectively reflect and serve the needs of local communities, promote sustainable cultural development, and enhance public awareness of and participation in cultural heritage.

The use of technology is becoming increasingly important in the field of DCH, especially the use of advanced research devices such as VR and AR. These technologies increase the interactivity and immersion of cultural heritage presentations and significantly expand the possibilities for research and education. For example, users can interact with restored historical scenes through digital technology, an experience far beyond traditional exhibitions’ limitations. In addition, the digital twin model provides a new platform for the digital preservation of cultural heritage and its interactive display, enhancing user experience and engagement [214]. These results support interdisciplinary cultural heritage research and provide richer cultural and educational resources for the public, demonstrating the potential of database technology in cultural heritage preservation and education. With the continuous development and popularization of digital technologies, future research will focus heavily on the application of virtual technologies (e.g., AR kits and AR core technologies) [215,216] to explore and realize the potential of these technologies in cultural heritage preservation and dissemination in greater depth. In addition, the research needs to be carried out in close conjunction with practical applications to ensure that both the development and application of technologies are based on a deep understanding and precise analysis of the real needs of cultural heritage.

Database integration and extension are also essential components in DCH research. Researchers can effectively organize and link dispersed cultural heritage data by creating a unified semantic framework and standardized data formats, improving data management efficiency and accessibility [217]. For example, cluster analysis of cultural heritage data helps researchers identify patterns and trends to support decision making and academic research, and database technologies can be combined with advanced analytical tools such as AI learning and data mining [218]. Future research will continue to explore how databases can be integrated and extended through technological innovations, including ways to further improve the efficiency and accessibility of data management. This could involve the development of more innovative and more efficient data integration and processing tools to cope with the growth and diversity of digital cultural heritage data [219]. In addition, research could focus on how database technologies can be utilized to support more complex cultural heritage research, such as interdisciplinary data analysis and the development of cultural heritage preservation strategies. The level and effectiveness of digital cultural heritage management and research can be further enhanced through sustained research efforts.

In addition, although the current stage of DCH research has progressed in technical aspects such as data management, preservation strategies, and digitization standards, it still faces several challenges. Current research ignores cultural, social, and economic contexts and suffers from fragmented assessment methods and a lack of uniform standards [220,221]. Future research should adopt an interdisciplinary approach, combining cultural studies, sociology, anthropology, and computational science to develop more comprehensive and sensitive assessment tools. In addition, research should also focus on the long-term sustainability of DCH, promote the standardization and operationalization of assessment, and establish uniform assessment standards and methods.

5.3. Limitations

The limitation of the bibliometric analysis in this study is that the methodology relied on citation models from selected datasets in the WoS and Scopus databases and excluded other datasets, such as CNKI—a choice that may have limited the research sample’s breadth and the data’s richness. The analysis was limited to English-language articles, ignoring studies in other languages. Second, CiteSpace mainly processes data through co-citation and cluster analysis, a technical tool that can effectively reveal research trends and network structures, but which is limited in parsing complex cultural and historical content, and the accuracy of the analysis results depends on the algorithms and parameter configurations chosen. Using only the LLR algorithm for clustering in the scientific knowledge graphing may have limited the accuracy, which could be improved by combining multiple analysis algorithms. Due to space constraints, the focus was on critical clusters, neglecting in-depth discussion of unfocused clusters. While the software analysis used to identify research frontiers and trends added objectivity, a further literature review is required to draw accurate conclusions.

In addition, CiteSpace focuses on macro-trend risks, overlooking the contributions of small or marginal research communities. As the academic community’s interest in digital cultural heritage research grows, so does the number of publications, suggesting that we need to continuously and dynamically focus on and track interdisciplinary research in digital contexts to maintain the comprehensiveness of the literature and clarify the overall trajectory of the field. Therefore, future research should combine qualitative and quantitative methods and incorporate a broader range of data sources and diverse analytical tools to increase the comprehensiveness and breadth of the study.

6. Conclusions

This research reviews the literature in the field of DCH; demonstrates the current state of development, major research themes, and literature citations; and reveals the field’s evolution from its infancy to its current prosperity. The development of the field of DCH has benefited from the research inputs of stronger countries (regions) in applying digitization to cultural heritage resources, and, to a certain extent, it has also boosted the research momentum in cultural heritage resources to a certain extent and increased the research motivation of rich countries and contributed to the globalization of this research. However, although DCH research has achieved initial international cooperation, in-depth cooperation on interdisciplinary and regional characteristics of this field still needs to be strengthened. As research has progressed, the field of DCH has evolved from theoretical discussions to practical applications. It has expanded from a single discipline to a multidisciplinary one, with managing and applying “digital technologies” in cultural heritage resources becoming a key research focus. This multidisciplinary trend is mainly reflected in the widespread adoption of computer science research methods.

In recent years, the focus of research has shifted from general issues to more fine-grained informational and humanistic levels, using virtual reality, augmented reality, and other digital interactive technologies to enhance the display and experience of cultural heritage and, at the same time, construct cultural relic databases and digital archives to realize the effective management of digital resources of cultural heritage and analyze and integrate user data to improve interactive exhibitions, multimedia guides, and other interactive means of telling the story of cultural heritage in a more vivid way, which has significantly promoted the development of cultural heritage management and applications. Telling the story of cultural heritage significantly promotes the depth and breadth of cultural heritage recording, reproduction, and interactive experience. It allows for the precise restoration and deep, immersive experience of cultural heritage.

Future research directions will explore the potential of digital technologies and artificial intelligence in the reconstruction and interpretation of cultural heritage, as well as the new opportunities for database integration and evaluation systems in preserving the integrity of cultural heritage and enhancing interactive experiences. In addition, research needs to balance the considerations of technological development and cultural heritage preservation to ensure that technological innovations contribute to the sustainable development of cultural heritage and enhance the public’s awareness of and respect for cultural heritage values, thus promoting the globalization of cultural heritage preservation and popularization in a high-quality manner.