Architectural Semiotics Unveiled: Parallel Investigations into Visual Processing Mechanisms and Cognitive Discrepancies of She Ethnic Motifs

Abstract

As an essential medium for the cultural narrative of architectural space, studying the cognitive transformation mechanisms of traditional ethnic decorative patterns is critical for their effective preservation and innovative application. This research focuses on typical decorative motifs found in She ethnic architectural heritage, systematically classifying them into five categories—animal, plant, human figure, totem, and geometric—based on symbolic themes, formal structure, and cultural function. Correspondingly, 20 sets of standardized black-and-white line drawing stimuli were developed for experimental use. Methodologically, this study utilized the EyeLink 1000 eye-tracking system to acquire real-time gaze metrics, including fixation duration and saccadic amplitude, as well as pupil dilation responses from participants engaged in a controlled pattern observation task. Immediately after observation, participants completed a semantic differential assessment using a five-point Likert scale. Data analysis employed descriptive statistics, analysis of variance (ANOVA), Kruskal–Wallis tests, and Bonferroni-adjusted post hoc comparisons (α = 0.05). Attention allocation was further examined through heatmaps and gaze trajectory visualizations to provide comprehensive insight into visual engagement. Two principal findings were identified: first, male participants showed a predominant focus on holistic structural composition and cultural symbol representation, whereas female participants exhibited a processing bias towards fine details; second, concrete symbols imbued with historical significance elicited more pronounced emotional responses, while abstract geometric patterns necessitated formal reconstruction to enhance cognitive accessibility. These findings offer empirical support for gender-inclusive architectural design strategies and inform practical approaches for safeguarding cultural heritage within contemporary architectural environments. Consequently, modern reinterpretation of traditional decorative patterns should balance cultural narrative fidelity with functional adaptation, achieving inclusive expression through contextual reconstruction and interactive design strategies. Future research directions include expanding participant demographics to encompass cross-cultural cohorts and incorporating multimodal neuroimaging techniques to elucidate the underlying cognitive and affective mechanisms, thereby advancing the sustainable transmission and innovation of ethnic cultural heritage.

1. Introduction

In the context of globalization, the protection and adaptation of ethnic cultural elements in architectural design have become a key challenge between maintaining cultural diversity and meeting modern functional requirements [1,2,3]. As important carriers of cultural memory, traditional ethnic cultures not only bear the historical narratives and spiritual beliefs of ethnic groups [4] but also bridge historical heritage and contemporary architectural practice through unique decorative patterns and architectural forms. Integrating traditional decorative patterns into modern architectural practice requires a deep understanding of how cultural elements are perceived, interpreted, and emotionally experienced by different user groups. Although international precedents such as the adaptive reuse of indigenous patterns in contemporary architecture demonstrate potential pathways for cultural integration, the specific mechanisms of successful cultural translation remain to be explored in depth, particularly in the context of Chinese ethnic minority cultures. This process essentially embodies the theoretical practice of glocalization—that is, how to achieve the modernization and spatial restructuring of indigenous cultural values within the context of globalization [5,6,7].

China is a multi-ethnic nation composed of 56 ethnic groups, including Han, Miao, Hui, Mongolian, Yao, She, and others. Among these ethnic minorities, which exhibit regional and ecological adaptive characteristics [8,9], the She ethnic group provides a particularly compelling case for architectural semiotics research due to its unique migration history and cultural transmission trajectory. The She people were already distributed across the border areas of Fujian, Guangdong, and Jiangxi provinces during the Sui and Tang dynasties. Through a long historical development process, they gradually expanded and migrated in a northeastward direction. Today, they mainly inhabit southern Zhejiang and eastern Fujian, with small populations also distributed in mountainous areas of Jiangxi, Anhui, and Guizhou, forming what Chinese scholars call a “dispersed in large areas, concentrated in small areas” distribution pattern.

It was precisely this origin background rooted in the mountainous regions of Southeastern China and the millennium-spanning migration process that enabled the She people to develop a highly adaptive and resilient cultural system. She culture is not only deeply rooted in mountain ecological systems, carrying survival wisdom for dealing with complex geographical conditions, but also manifests unique feminine cultural characteristics. The She people revere female ancestors and deities, honor female wisdom, and embody ethnic psychology that integrates ancestor worship, totem belief, and pragmatism. This unique cultural identity system profoundly shapes the She people’s visual symbolic system, which not only carries rich cultural connotations but also provides important reference for the inheritance and innovation of contemporary ethnic cultures in architectural design.

Based on this cultural background, this study systematically recorded and analyzed decorative patterns in the architectural spaces of She ethnic regions through fieldwork in She settlement areas (Figure 1), covering categories such as wall carvings, furniture decorations, and door and window components. Phoenix totem patterns on architectural structures embody the She people’s unique origins and worship systems, while geometric patterns on traditional cabinets display characteristics of cultural encoding through their rigorous structures. These patterns, transmitted through generations, have become living expressions of cultural memory, continuously conveying the values of ethnic culture in daily life and architectural decoration. These patterns can be categorized into five main types: animal-form patterns centered on the phoenix, plant-form designs reflecting mountain ecological wisdom, human-form representations with cultural connotations, totem patterns symbolizing ancestral worship, and abstract geometric patterns carrying migration memories.

Although field investigations have confirmed rich cultural connotations, the application of traditional patterns in modern architecture still faces numerous challenges when integrating contemporary design with practical functions. Current research mainly focuses on qualitative analysis of formal language and symbolic meaning, primarily guided by design studies, aesthetics, and ethnographic methodologies, but fails to deeply investigate their performance in architectural decoration or their cultural and emotional roles in design. Existing research has three key limitations: first, pattern design and application often rely on intuition and experience, lacking deep integration with constructional logic, cultural background, and regional characteristics, leading to superficial and iconographic expression; second, gender-differentiated visual processing strategies are overlooked, despite growing evidence of gender-specific cognitive patterns in visual perception research; third, there is a lack of systematic research on the emotional arousal mechanisms of cultural symbols, particularly the differences between figurative and abstract patterns in their ability to evoke emotional responses. These research gaps provide opportunities for innovative methodological applications and theoretical breakthroughs, as the effectiveness of cultural pattern integration depends not only on formal expression but also on audiences’ aesthetic and cognitive differences.

To address these methodological limitations, this study introduces a multimodal perceptual framework combining eye-tracking technology with subjective assessment methods. Eye-tracking technology can provide objective measurements of visual attention that are not subject to conscious control, capturing automatic visual behaviors that occur within the first few hundred milliseconds of perception—precisely the critical moment when cultural identification and emotional arousal are initiated. Unlike traditional survey methods that rely on subjective recall, eye-tracking can record attention allocation, gaze patterns, and pupil responses in real-time, directly reflecting cognitive load and emotional engagement levels. By combining objective physiological measurement data with subjective semantic differential assessments, this multimodal approach can simultaneously explore the patterns of implicit cognitive mechanisms and explicit aesthetic preferences, enabling researchers to identify potential differences between unconscious visual behaviors and conscious cultural judgments. Based on this innovative framework, this study provides scientific evidence for the modern application of ethnic cultural patterns, promoting their precise dissemination and effective adaptation in global architectural contexts (The research path is shown in Figure 2).

2. Research Background

2.1. Current Research on Cultural Patterns in Architectural Decoration

Architectural decoration serves not only as a fundamental element of spatial aesthetics [10], but also as a vital medium for cultural expression and identity formation [11,12,13]. Within multi-ethnic cultural contexts, architectural decoration frequently embodies complex historical memories, value systems, and regional perceptions [14,15]. Existing studies have primarily focused on the stylistic restoration, craft preservation, and symbolic interpretation of cultural patterns in architecture, emphasizing the correspondence between form and cultural connotation [16]. However, the prevailing studies predominantly adopt iconographic or semiotic approaches, overlooking the perceptual–cognitive dynamics of how decorative patterns are perceived, interpreted, and socially assimilated in contemporary architectural practice. Particularly underexplored is the tripartite interplay among ornamental components, surface texturation, and material semantics in shaping human–space interaction, revealing critical gaps in phenomenological investigations of architectural adornment.

The transdisciplinary interrogation of how ethnic cultural elements are effectively transposed and synthesized with modern architectural lexicons has emerged as a critical scholarly frontier in international architectural discourse. Different civilizations demonstrate distinctive adaptive pathways in this cultural translation process. In Europe, the revival of regional architectural traditions has been extensively documented, particularly in the Scandinavian Peninsula, where traditional craft motifs are reinterpreted through contemporary design languages. The Nordic approach emphasizes the preservation of cultural authenticity while addressing modern functional requirements, as exemplified in Peter Zumthor’s works, where traditional patterns are abstracted into material textures and spatial configurations. Japanese architecture demonstrates sophisticated approaches to traditional pattern integration, where historical motifs are transformed through digital fabrication techniques and parametric design methodologies. Islamic architectural traditions present another significant paradigm, where geometric patterns serve both decorative and spiritual functions, with contemporary interpretations in the Middle East and North Africa demonstrating innovative approaches to balancing cultural authenticity with contemporary spatial requirements.

In recent years, interdisciplinary trends in architectural decoration research have become increasingly evident [17,18]. Researchers have begun to integrate architectural design with fields such as psychology [19,20], cognitive science [21,22], and information visualization [23], exploring the reception of pattern language from perceptual perspectives. This interdisciplinary approach reflects broader shifts in design research methodology, transitioning from purely aesthetic or historical analyses toward empirically grounded investigations of user experience and cognitive processing.

International precedents demonstrate various approaches to cultural pattern integration. It has been found that the intricate patterns in Chinese Uyghur architectural decoration enhance visual appeal and aesthetic pleasure through their fluidity and playful characteristics, while also promoting understanding of deeper cultural meanings through symbolic expressions [24]. Additionally, some scholars have employed visual anthropology theory to explain how patterns activate cultural memory in viewers. For example, totems such as the snake, tiger, and dragon in traditional Tujia architectural decoration embody profound sociocultural psychological structures and historical values, vividly reflecting the Tujia people’s cultural identity and historical evolution [25]. The Sydney Opera House exemplifies such transcultural transposition through its deconstruction of Indigenous Australian Dreamtime totemic cosmologies into sail-inspired concrete vaults, where luminous spatial narratives reconfigure cultural memory via the choreographed interplay of light and shadow. Similarly, the Čoarvemátta Sámi Cultural and Educational Centre in Norway demonstrates how indigenous cultural patterns can be interpreted through contemporary architectural languages while maintaining cultural authenticity through organic timber curvatures and conical skylights that directly reference traditional Sámi spatial concepts.

Nevertheless, ethnic patterns in architectural decoration still face several critical challenges. First, existing research mainly focuses on qualitative analysis of formal pattern language and symbolic meanings, failing to thoroughly investigate their manifestations in architectural decoration or their cultural and emotional roles in design. Second, pattern design often relies on intuition and experience, lacking systematic research methods based on user perception feedback. These problems not only restrict the accurate expression and sustainability of cultural elements in architectural decoration, but also highlight the necessity of cognition-oriented empirical research in architectural decoration design.

2.2. Techno-Methodological Shifts in Visual Cognition and Aesthetic Inquiry

With the integration of cognitive science and digital technology, the field of architecture and design is transitioning from an empirical approach to an evidence-based research paradigm. Eye-tracking technology, as a pivotal tool for multi-modal measurement, has evolved from early applications in reading research to become a sophisticated instrument for analyzing complex visual behaviors. The technological evolution has progressed from early invasive head-mounted apparatus to contemporary systems utilizing advanced infrared tracking and machine learning algorithms, enabling unobtrusive monitoring of gaze patterns with millisecond precision and sub-degree accuracy.

Eye-tracking technology, as a pivotal tool for multi-modal measurement, can analyze visual attention distribution, aesthetic preferences, and emotional responses by recording gaze trajectories, hotspot distributions, pupil dilation, and other physiological indicators [26,27]. It not only quantifies users’ decision-making processes in complex environments [28], but also substantiates the impact of layout order, simplicity, and other design elements on visual cognitive efficiency in interactive interfaces [29]. Furthermore, it elucidates the connection between consumers’ latent needs and purchase intentions in product design [30]. Recent methodological advances have expanded the scope of applications through integration with electroencephalography (EEG) and functional magnetic resonance imaging (fMRI) to examine neural correlates of aesthetic experience [31,32], thereby extending the analytical framework.

Despite the widespread application of analytical methods targeting cultural elements in traditional architectural decoration [33,34], their effectiveness in deep cultural interpretation and modern design adaptation remains limited, because evaluation outcomes are susceptible to interference from cultural context and individual cognitive differences and they struggle to capture transient changes in the visual cognitive process. In comparison, eye-tracking technology systematically reconstructs observers’ visual interpretation pathways of architectural decoration patterns by recording data such as first fixation duration, number of regressions, and heatmap distribution [35,36]. This enables further analysis of their emotional responses and aesthetic preferences, thereby providing more objective data for the transformation of ethnic culture patterns in modern architecture. Although eye-tracking technology is maturely applied in art and product design, it has not yet been effectively transferred to research involving the patterns of ethnic culture in architectural decoration. Beyond this, existing studies focus on the superficial translation of visual symbols, relying on subjective semantic analysis and experiential aesthetic judgments, and lack cognitive logic interpretation based on behavioral data. Relevant empirical research remains particularly weak regarding exploration of the mechanisms that elicit emotional responses in design.

In visual preference research, the current literature indicates that eye-tracking technology has been extensively employed to analyze gaze trajectory and hotspots, thereby elucidating the patterns of visual attention distribution across various scenarios. However, within the realm of ethnic culture patterns and architectural decoration, research remains confined to the physical transformation of symbolic forms. Systematic inquiries into how cultural symbols elicit emotional resonance and the interplay between spatial element organization and emotional response are notably lacking, necessitating an urgent expansion of in-depth mechanism research grounded in eye movement behavioral data.

2.3. Gender Differences in Visual Cognition and Processing of Cultural Patterns

Integrating a gender perspective into visual cognition research has become a critical dimension for understanding how cultural patterns in architectural decoration are perceived, processed, and interpreted. Extensive neuropsychological studies have documented fundamental sex differences in spatial processing, attention allocation, and the formation of aesthetic preferences [37,38]. These differences reflect not merely biological predispositions but rather the complex interplay among neurophysiological characteristics, socio-cultural conditions, and cognitive developmental trajectories, fundamentally shaping individuals’ interactions with visual stimuli.

Within the context of architectural decoration and cultural pattern recognition, these cognitive differences translate into distinct visual exploration strategies and affective response patterns. Males typically demonstrate superior performance in spatial tasks and exhibit a preference for holistic processing strategies, focusing on the overall structural configuration and hierarchical relationships within visual stimuli [39,40]. This cognitive style is manifested in their tendency to rapidly identify dominant elements and establish a structural framework before scrutinizing detailed features. Conversely, females often display enhanced local processing abilities [41], showing higher sensitivity to fine-grained textural details, color variations, and contextual relationships. Their processing style is characterized by systematic scanning patterns that prioritize detailed examination and relational analysis among constituent elements.

The significance of a gender perspective transcends individual cognitive differences and encompasses broader socio-cultural considerations in architectural design and planning [42,43]. Traditional design approaches that overlook gender-differentiated visual processing inherently neglect a wider spectrum of user diversity—including age, cultural background, and physical ability—potentially leading to the unintentional exclusion or marginalization of diverse groups and resulting in spaces that inadequately serve heterogeneous populations. This issue is particularly salient within the context of ethnic cultural heritage preservation, where the transmission and interpretation of cultural meaning must resonate across gender boundaries to ensure comprehensive cultural continuity.

Furthermore, the intersection of gender and ethnic cultural identity introduces additional complexity to the visual cognitive process. Within specific ethnic contexts, gender roles and cultural responsibilities construct unique frameworks for interpreting and valuing cultural symbols. These culturally embedded gender perspectives not only influence visual processing of patterns but also affect how their cultural significance is comprehended, remembered, and transmitted intergenerationally.

However, existing research on gender-differentiated cognitive mechanisms regarding ethnic cultural patterns remains relatively sparse, especially empirical studies focused on specific ethnic symbolic systems. Therefore, incorporating a gender perspective into cultural pattern research is essential for formulating inclusive design strategies that respect the cognitive diversity inherent in human visual processing while reflecting the cultural complexity of heritage preservation. Such an approach ensures that architectural decoration maintains cultural authenticity and simultaneously creates meaningful experiences for all users, regardless of their gender-specific cognitive orientations and cultural backgrounds.

In conclusion, through analysis of eye movement data, this study investigates the influence of diverse cultural symbols in architectural decoration on observers’ visual processing and emotional arousal. Consequently, the primary questions to be addressed are (1) What is the visual acceptance mechanism of She ethnic patterns within architectural decoration, and how does the gender dimension modulate the associated cognitive differences and emotional response? And (2) how can multi-modal cognition technology be utilized to uncover the visual perception and emotional conveyance of She ethnic cultural patterns in decorative components, and what is the role of gender factors in the aesthetic acceptance process?

3. Materials and Methodology

This section outlines the materials and methods of the experiment, covering the collection and processing of experimental samples, the use of eye-tracking equipment, the control of potential influencing factors, sample setup and experimental design, as well as the statistical methods for data processing and result analysis(The experimental flow chart is shown in Figure 3).

3.1. Participants

This study employed convenience sampling to recruit participants in two stages within Zhejiang Sci-Tech University campus, ensuring a natural distribution of baseline data while maintaining balanced gender ratio control. The first stage (baseline data group) recruited 22 participants, including 12 males and 10 females, to collect eye-tracking baseline metrics under a natural gender distribution. The second stage (gender control group) recruited an additional 20 participants, comprising 10 males and 10 females. The two stages totaled 42 participants (22 males, 20 females) aged 18–28 years (M = 23.4, SD = 3.2); all were undergraduate or graduate students with homogeneous educational backgrounds.

Inclusion criteria: (a) Age 18–28 years; (b) normal or corrected-to-normal vision (Snellen chart ≥ 1.0); (c) no color vision deficiency; (d) right-handed; (e) no history of ophthalmic or neurological disorders; (f) no prior exposure to She ethnic pattern stimuli used in this experiment.

Exclusion criteria: Currently using medications affecting pupillary response; self-reported sleep deprivation (<6 h the previous night); or eye tracker calibration error > 1° after three calibration attempts.

These criteria were established to minimize individual differences affecting eye-tracking metrics. Excluding color vision deficiency prevents interference with grayscale stimuli, while controlling pattern familiarity reduces the influence of semantic priors on gaze patterns.

Age Selection Rationale. The 18–28 age range was selected based on three theoretical considerations. First, this represents the optimal period for cognitive maturation, where visual processing abilities are fully developed without age-related decline, providing the most reliable foundation for investigating cultural symbol processing mechanisms [44]. Second, emerging adulthood constitutes a critical stage for cultural identity formation, where participants demonstrate both openness to traditional symbols and sensitivity to modern design—essential for studying cultural transformation mechanisms [45]. While this age restriction limits generalizability across age cohorts, it enhances the precision of cognitive mechanism analysis and the practical relevance for contemporary architectural design practice.

3.2. Experimental Apparatus

In the field of visual perception research, eye movement behavior is not only a direct manifestation of ocular physiological activity but also an important window into individuals’ psychological states and cognitive processes. Given the central role of the visual system in information acquisition, eye-tracking technology has developed into a powerful tool for assessing the relationship between visual image features and users’ subjective perceptions. Eye trackers primarily use optical recording methods based on the corneal–pupil reflection principle: infrared light emitted from a source is reflected off the eye via a mirror, and specialized cameras continuously capture these optical signals. Data processing algorithms analyze variations in reflections between the cornea and pupil, ultimately obtaining precise gaze position data and eye movement trajectories.

The experimental setup consists of an EyeLink 1000 eye tracker (manufactured by SR Research, Kanata, Canada) with a sampling rate of 1000 Hz, a resolution of 1024 × 768 pixels, and a spatial resolution of 0.01°, as well as two computers. The master computer, operated by the experimenter, is responsible for presenting the participant’s eye movement trajectories and related visual information during the experiment, recording and storing eye-tracking data, and performing scene overlays. The other computer serves as the participant’s terminal, equipped with Experiment Builder and Data Viewer software(version 2.0.1). Experiment Builder is used to program the experiment and control the presentation sequence of stimuli, while Data Viewer outputs raw eye-tracking data and performs basic data processing. The two computers work collaboratively to ensure precise control of the experimental procedure and efficient data collection.

3.3. Influencing Factors

To avoid deviations in experimental results caused by other factors during the experiment, this paper analyzes and addresses the influencing factors from two aspects—experimental samples and participants—thereby reducing their impact on the results. Additionally, control parameters have been set for each variable factor, as shown in

Table 1. Analysis of influencing factors in the eye movement process.

Variable Category	Influencing Factors	Solution
Samples	Image Fidelity	Convert original patterns to black-and-white line drawings by using Adobe Illustrator.
	Playback Order	Spatial positions balanced using Latin square design; temporal sequence randomized for each participant.
	Single Sample Playback Time	Control the playback duration of each sample to 6 s.
	Visual Afterimage	Insert gray transition pages.
Participants	Gender Ratio	Natural recruitment for the first group; 10 males and 10 females for the second group.
	Educational Level	Undergraduates and postgraduates.
	Age	18–28.
	Familiarity with Samples	All participants are encountering the experimental samples for the first time.

.

3.4. Sample Setting

3.4.1. Pattern Collection and Standardized Processing

Based on ethnographic fieldwork conducted in She ethnic enclaves, this study systematically collected primary traditional pattern resources through a triangulated approach integrating gazetteers, genealogical archives, museum collections, and academic publications. The amassed motifs were categorized and systematized into five typological groups: zoomorphic, phytomorphic, anthropomorphic, geometric, and totemic motifs. Four representative specimens from each category (totaling twenty motifs) were selected to construct the stimulus sample set(as shown in Figure 4). To minimize potential confounding effects from textural and chromatic variables on cognitive evaluation, all original patterns were digitally converted into monochromatic line drawings with well-defined contours using Adobe Illustrator CC 2024, ensuring standardized visual stimuli for experimental protocols.

3.4.2. Layout Processing of Initial Experimental Stimulus Materials

The 20 patterns are evenly distributed into five groups (four patterns per group) based on category. Following the classic experimental design approach, a Latin square arrangement is employed to balance the screen placements, ensuring each pattern is equally presented in the four cardinal directions of left, right, up, and down. This results in five sets of spatially balanced stimulus materials, as depicted in Figure 5.

3.4.3. Presentation Order Control

While the Latin square design controlled for spatial positioning effects within each stimulus set, the temporal presentation order of the 20 stimulus sets was independently randomized for each participant. This dual-control approach ensured that (1) spatial position bias was eliminated through systematic counterbalancing, and (2) temporal order effects were controlled through randomization. Each participant viewed the same 20 stimulus sets but in a unique random sequence, preventing any systematic influence of presentation order on the experimental results.

3.4.4. Optimization of Experimental Materials and Layout Reconstruction for the Second Round

Based on the results of the first round of experiments, five types of high-attention patterns were selected, along with a blank control image, to form six groups of stimuli. To achieve a multilevel experimental design, the principle of the Latin square design was utilized to adjust the spatial arrangement, arranging the six samples in a circular layout. Each pattern corresponds to the positions of 2, 4, 6, 8, 10, and 12 o’clock on a clock face, with six independent analysis areas delineated (as shown in Figure 6).

3.5. Experimental Design

The study comprises two phases: the eye-tracking experiment and the subjective evaluation. The eye-tracking experiment consists of two independent tests, with the entire experimental design and execution utilizing a USB dongle to ensure the security of data collection and analysis. In the first experiment, participants view an instruction interface for 4 s, followed by the free observation of 20 randomly arranged sets of She ethnic patterns (resolution 1024 × 768 pixels), each displayed for a fixed duration of 6 s. After each pattern is shown, the system automatically switches to the next image; a closing message is displayed at the end of the experiment, completing data collection for the current participant (as shown in Figure 7). In the second experiment, maintaining the same duration for the instruction, stimulus presentation time, and equipment parameters, the patterns are replaced with high-attention samples selected from the first experiment, with additional blank interference images added as a control (process shown in Figure 8). To prevent interference from the visual persistence effect, a 0.5 s blank screen interval was used in both experiments to transition between stimulus patterns. Additionally, a standardized calibration procedure was conducted before the experiment to ensure the accuracy and precision of the eye-tracking equipment.

The Subjective Evaluation phase is conducted after the initial eye-tracking experiment. In this stage, participants’ aesthetic preference data on patterns are collected via Structured Questionnaire. This phase employs a 5-point Likert scale to evaluate the subjective reference for each group of patterns (as shown in Figure 9), with scale levels defined as 1 point (strongly dislike), 2 points (dislike), 3 points (neutral), 4 points (like), and 5 points (strongly like). By calculating the average scores for each group of patterns, the differences in participants’ preferences for different categories of patterns can be analyzed.

The specific implementation steps are as follows(as shown in Figure 10): The experiment is conducted in a professional eye-tracking laboratory equipped with soundproofing, light control, and anti-interference systems to ensure that participants are not disturbed by external noise and light, allowing them to maintain a high level of concentration throughout. Before the experiment begins, participants adjust their seats so that their line of sight is level with the center of the screen (at a distance of 70–80 cm) and familiarize themselves with the experimental environment and equipment functions to reduce tension. They then perform the 9-point calibration procedure to ensure the positioning accuracy of the eye tracker. The experimenter clarifies the experimental task requirements through instruction (freely observing She ethnic group pictures and providing genuine preferences as feedback). During the experiment, participants must maintain a stable sitting posture and avoid moving their heads. The experiment is divided into two phases: free viewing of pictures (each displayed for 6 s) and subsequent completion of the subjective evaluation form. The entire experiment takes an average of about 10 min (including 2 min for initial equipment setup, 3 min for experiment execution, and 5 min for feedback). After the experiment, eye-tracking data are exported and saved using specialized software, and the calibration of the equipment and data integrity are checked through standardized verification procedures to ensure the validity and reliability of the data.

3.6. Data Processing and Statistical Methods

Experimental data are categorized into two dimensions: psychological indicators (subjective evaluation results) and physiological indicators (eye movement parameters: average fixation duration, number of fixation points, movement trajectories, and heatmaps). DATA VIEWER software, equipped with the EYELINK1000 eye tracker, is employed for raw data organization (eliminating invalid fixation events) to extract valid parameters. The data are divided into two groups for analysis. The baseline data group (n = 22) utilizes one-way ANOVA to compare differences among five types of patterns, whereas the gender control group (n = 20, comprising 10 males and 10 females) is analyzed through gender stratification. Data normality is verified using the Shapiro–Wilk test (p > 0.05), and homogeneity of variance is confirmed via the Levene test (p > 0.10). For groups exhibiting unequal variances, the Kruskal–Wallis H non-parametric test is employed for analysis. Ultimately, statistical computations are conducted using SPSS 27 software, with the significance level set at α = 0.05, and the Bonferroni correction is applied for multiple comparisons.

4. Results

4.1. Results of the Average Fixation Duration for Participants in Group 1

This study performed a descriptive analysis of fixation duration across five pattern categories: plants, animals, humans, totems, and geometrics, each comprising four independent samples. By calculating the mean fixation duration (ms), standard deviation (SD), and 95% confidence interval (CI), the sample with the longest average fixation duration in each category was identified (see detailed statistical parameters in Table 1): plant sample D (M = 1422.47 ms), animal sample R (M = 1457.34 ms), human sample E (M = 1454.95 ms), totem sample J (M = 1386.72 ms), and geometric sample P (M = 1422.47 ms). These high-fixation samples were subsequently employed in joint visual competition experiments to systematically investigate the interactions in attention allocation among different pattern types using a multi-category combination paradigm.

Based on the screening results in

Table 2. Statistical results of viewing time for five pattern types.

Category	Sample	M	SD	95% CI
	A	1263.17	679.83	[939.87, 1586.47]
Plants	B	1146.73	651.68	[868.78, 1424.68]
	C	1158.74	671.91	[859.60, 1457.88]
	D	1422.47	667.06	[1290.11, 1554.83]
	E	1454.95	778.91	[1300.40, 1609.50]
Humans	F	1339.92	678.77	[1012.71, 1667.13]
	G	1174.2	614.98	[961.78, 1386.62]
	H	1024.1	591.44	[838.99, 1209.21]
	I	1195.08	694.81	[789.81, 1600.35]
Totems	J	1386.72	646.71	[1234.75, 1538.69]
	K	1305.97	617.55	[1052.07, 1559.87]
	L	1135.92	597.15	[916.61, 1355.22]
	M	1415.88	753.81	[968.74, 1863.02]
Geometrics	N	1144.82	593.62	[874.73, 1414.91]
	O	1066.57	481.13	[902.77, 1230.37]
	P	1422.47	667.06	[1290.11, 1554.83]
	Q	984.07	657.36	[667.99, 1300.16]
Animals	R	1457.34	834.04	[1266.76, 1647.93]
	S	1362.52	689.73	[993.42, 1731.62]
	T	1140.12	679.69	[813.73, 1466.51]

, five types of high-attention samples were selected as core visual stimuli materials. To analyze the gender differences in the visual processing of She ethnic patterns, the study was conducted from the following four aspects (4.2 to 4.6): (1) heatmap distribution analyzes the spatial characteristics of male and female gaze; (2) gaze trajectory dynamically captures the gender differences in visual exploration strategies; (3) statistical comparison of gaze duration and frequency quantifies differences in attention intensity; and (4) aesthetic preference evaluation connects subjective ratings with objective eye-tracking data.

4.2. Heatmap Analysis

A gaze heatmap is a visualization analysis technique based on eye-tracking data that presents the attention distribution characteristics of participants on the visual interface using a heat spectrum. As shown in Figure 11 and Figure 12, the color temperature gradient transitions smoothly from warm tones (red/orange) to cool tones (green), reflecting the intensity of visual cognition resource allocation and the priority of information processing. High-density hotspot areas often show a strong correlation with key decision elements or design focus points in the interface, providing important reference points.

The analysis of the heatmaps for males and females in She ethnic patterns reveals significant differences in their gaze patterns. The male group’s heatmap shows that their gaze is primarily focused on the overall structure and prominent design features of the patterns, with areas of prolonged gaze duration forming distinct hotspot clusters. In contrast, the female group’s heatmap indicates a higher gaze density, suggesting that females are more inclined to systematically analyze the detailed features within the patterns. For the blank pattern, which serves as a blank control, the heatmap shows lower gaze density and shorter gaze duration across both gender groups, with gaze points distributed randomly.

4.3. Results of Gaze Trajectory

The sequence of gaze points is composed of gaze shifts between different areas of interest. Figure 13 and Figure 14 display representative images of gaze patterns for male and female participants. Figure 11 illustrates the gaze trajectory map for males.

The male gaze trajectory demonstrates strong directional coherence, with paths that are more direct and straightforward, indicating a tendency to quickly capture and integrate the overall framework during visual exploration. In contrast, the female gaze trajectory exhibits divergent characteristics, with paths frequently doubling back in local areas, forming a denser network, and showing short-distance jumps in detailed areas, reflecting women’s systematic need to capture detailed information. In the blank pattern, used as a control, both male and female groups’ gaze trajectory show lower complexity and a more disordered distribution, with significantly fewer path intersections.

4.4. Results of Average Fixation Duration

Since the data did not meet the assumption of homogeneity of variance (Levene’s test, male: p = 0.014, female: p = 0.177), this study used the Kruskal–Wallis test for males and one-way analysis of variance (ANOVA) for females to analyze the effects of different She ethnic patterns on fixation duration. The test results indicated that in the male group, the main effect of pattern type on fixation duration was significant (H(5) = 31.541, p < 0.001), while in the female group, the one-way analysis of variance results also showed a significant main effect (F(5, 60) = 6.732, p < 0.001). These results are presented in Figure 15 and

Table 3. Test of between-subject effects for average fixation duration.

	df1	df2	F	Sig.
Female	4	5	32.668	<0.001
Male	4	5	31.541	<0.001

. Further analysis revealed that male participants had significantly longer fixation durations on figure patterns (Pattern E) (M ± SD = 1196.00 ± 349.93 ms) and plant patterns (Pattern D) (M ± SD = 1001.28 ± 181.76 ms) compared to other patterns, with the shortest fixation duration on the blank interference pattern (M ± SD = 158.82 ± 166.34 ms). In contrast, female participants demonstrated the longest fixation durations on plant patterns (Pattern D) (M ± SD = 1098.45 ± 208.87 ms) and animal patterns (Pattern R) (M ± SD = 1043.18 ± 277.38 ms), with the fixation duration on the blank pattern (M ± SD = 109.70 ± 100.38 ms) being significantly shorter than for other patterns. Finally, the blank image suggests that without specific visual stimuli, the fixation duration of participant is shorter and they tend to shift their gaze quickly.

Additionally, further analysis using Dunn’s post hoc test (for males) and Tukey’s HSD test (for females) revealed that in the male group, the human pattern (Pattern E) was significantly more appealing than the animal pattern (Pattern R) (M ± SD = 825.97 ± 186.63 ms), the totem pattern (Pattern J) (M ± SD = 871.35 ± 220.85 ms), and the geometric pattern (Pattern P) (M ± SD = 804.96 ± 272.30 ms) (p ≤ 0.004). In the female group, the plant pattern (Pattern D) (M ± SD = 1098.45 ± 208.87 ms) and the human pattern (Pattern E) (M ± SD = 1062.52 ± 312.09 ms) were significantly more appealing than the geometric pattern (Pattern P) (M ± SD = 680.75 ± 276.82 ms) (p = 0.001). Although there were differences in preferences for highly attractive patterns between males and females (males preferred Pattern E while females preferred Pattern D), geometric patterns (Pattern P) exhibited the lowest visual attraction in both gender groups. The low fixation behavior on the blank pattern reflected the impact of the absence of visual stimuli on attention maintenance.

4.5. Average Number of Fixations

In the analysis of fixations, the homogeneity of variance test results for the male group satisfied the conditions for parametric testing (p = 0.144 > 0.05), so ANOVA was conducted. The results indicated that the pattern type had a significant main effect on the number of fixations (F(5, 60) = 5.892, p < 0.001). For the female group, due to the non-homogeneity of variance (p = 0.012 < 0.05), the Kruskal–Wallis test was applied, and the results were also significant (H(5) = 32.574, p < 0.001).Results are shown in Figure 16 and

Table 4. Test of Between-Subject Effects for Average Number of Fixations.

	df1	df2	F	Sig.
Female	4	5	32.574	<0.001
Male	4	5	30.594	<0.001

.

Specifically, male participants demonstrated a higher frequency of attention to the figure pattern (Pattern E) (M ± SD = 4.2340 ± 1.0923 times) and the plant pattern (Pattern D) (M ± SD = 3.5170 ± 0.8914 times), whereas the number of fixations on the blank pattern (M ± SD = 0.5670 ± 0.3926 times) was significantly lower than that for the other groups. Female participants showed a higher frequency of attention to the totem pattern (Pattern J) (M ± SD = 3.9830 ± 1.3396 times), figure pattern (Pattern E) (M ± SD = 3.8840 ± 1.3398 times), and plant pattern (Pattern D) (M ± SD = 3.5500 ± 0.7334 times), with the blank pattern (M ± SD = 0.4490 ± 0.3422 times) also being the lowest. This suggests that in the absence of structured visual stimuli, both genders exhibit a pattern of rapidly shifting attention.

Further analysis using Tukey’s HSD test (for males) and Dunn’s post hoc test (for females) revealed that in the male group, the human pattern (Pattern E) (M ± SD = 4.2340 ± 1.0923 times) was significantly more frequently fixated on than the animal pattern (Pattern R) (M ± SD = 3.1320 ± 0.9030 times), totem pattern (Pattern J) (M ± SD = 3.7000 ± 1.1097 times), and geometric pattern (Pattern P) (M ± SD = 3.0500 ± 1.1817 times) (p ≤ 0.004). In the female group, the animal pattern (Pattern R) (M ± SD = 3.4830 ± 0.9299 times) was significantly less frequently fixated on than the plant pattern (Pattern D) (M ± SD = 3.5500 ± 0.7334 times), totem pattern (Pattern J) (M ± SD = 3.9830 ± 1.3396 times), and human pattern (Pattern E) (M ± SD = 3.8840 ± 1.3398 times) (p < 0.001), while the geometric pattern (Pattern P) (M ± SD = 2.3830 ± 0.7864 times) was significantly less frequently fixated on than Patterns R and D (p ≤ 0.001). These results collectively indicate that although there are differences in the preference for highly attractive patterns between genders (males favor Pattern E, while females favor Patterns J and E), the low gaze behavior on the blank pattern across genders, along with the weak performance of Pattern P in both genders, supports a strong correlation between visual complexity and attention maintenance.

4.6. Analysis of Results for Setting Preferences

The results of the one-way analysis of variance (Figure 17,

Table 5. Test of between-subject effects for image preference values.

	df1	df2	F	Sig.
Female	4	5	3.467	0.015
Male	4	5	7.585	<0.001

) indicate that the type of She ethnic patterns had a significant main effect on the aesthetic preference of both male and female participants. It is important to note that the blank pattern in this study was used solely for the control analysis of eye-tracking data and was not part of the aesthetic evaluation by the participants. Consequently, the preference value analysis excluded the rating data for the blank pattern. For the female group, the pattern factor’s effect on preference ratings reached statistical significance (F = 3.467, p = 0.015), whereas the male group exhibited even more pronounced intergroup differences (F = 7.585, p < 0.001). Compared to females, the male group demonstrated higher discriminative sensitivity in their aesthetic preference for different She ethnic patterns. To further explore the preference differences between specific pattern categories, Tukey’s HSD test was employed for post hoc multiple comparisons.

Tukey’s HSD post hoc analysis results indicate that there are specific selective differences in preference scores among female participants for different She ethnic patterns. After multiple comparison corrections, a significant preference difference was observed only between geometric patterns and totem patterns (MD = 1.20, p = 0.006), while comparisons between other groups did not achieve statistical significance (p > 0.05). Further descriptive statistical analysis revealed that the average preference score of female participants for the totem pattern (Pattern J) (M ± SD = 1.60 ± 0.52) was significantly higher than for the geometric pattern (Pattern P) (M ± SD = 0.40 ± 0.52), indicating a more consistent preference in aesthetic evaluation among the female group. However, the score distributions among the animal pattern (Pattern R) (M ± SD = 1.00 ± 0.82), human pattern (Pattern E) (M ± SD = 1.20 ± 0.63), and plant pattern (Pattern D) (M ± SD = 1.00 ± 1.05) showed considerable overlap, and the mean differences did not reach statistical significance (F(3, 9) = 3.47, p = 0.015).

For the male group, Tukey’s HSD post hoc analysis results indicate that male participants exhibit a more pronounced differentiation in preference ratings for different She decorative patterns. After multiple comparison corrections, the differences in ratings between the animal pattern (Pattern R) and geometric pattern (Pattern P) (p = 0.033), geometric pattern (Pattern P) and totem pattern (Pattern J), and totem pattern (Pattern J) and plant pattern (Pattern D) (p = 0.0011) all reached statistical significance, while no significant differences were found between other patterns (p > 0.05). Further descriptive statistical analysis showed that male participants rated totem pattern (Pattern J) (M ± SD = 1.50 ± 0.71) significantly higher than the geometric pattern (Pattern P) (M ± SD = −0.10 ± 0.74) and plant pattern (Pattern D) (M ± SD = 0.10 ± 0.74), with the lowest ratings for the geometric pattern (Pattern P) indicating a clear aesthetic aversion among males towards the geometric pattern.

Despite some differences in pattern ratings between males and females, both genders show significant commonality in overall aesthetic trends: the totem pattern received the highest preference ratings from both male and female groups, while the geometric pattern received lower ratings from both genders, with males in particular rating the geometric pattern significantly lower than other patterns.

5. Discussion

5.1. Gender Differences in Visual Cognition

Eye-tracking technology is utilized to explore gender-based variations in the visual cognition of She decorative patterns, offering empirical evidence for gender-sensitive architectural decoration design. Specifically, male participants exhibited greater attention to the overall structural composition of patterns, particularly for culturally significant motifs with distinctive morphological features, such as phoenix totems and geometric fretwork patterns. Males demonstrated the longest average fixation duration on the human figure (Pattern E (M = 1196.00 ± 349.93 ms)), which was significantly higher than that for other patterns, reflecting a preference for symbols conveying clear cultural authority and hierarchical structural characteristics. Analysis of eye-tracking data heatmaps showed that males’ visual focus predominantly centered on pattern cores, suggesting a holistic approach to structural interpretation. This cognitive tendency aligns with males’ documented preference for logical, orderly, and simplified pattern processing [46], which may relate to the cultural symbol significance of She totems (e.g., Fenghuang) and males’ emotional resonance with these symbolic representations.

Unlike their male counterparts, females’ eye movement trajectory reveals that females pay attention to the detail. Female participants display concentrated local scanning patterns in their gaze trajectory when observing floral motifs and figurative designs, characterized by repeated fixations on intricate elements like foliage textures and facial features. Females demonstrated the longest fixation duration on plant Pattern D (M = 1098.45 ± 208.87 ms), with gaze trajectory analysis revealing that females exhibited higher-frequency local scanning patterns, while fixation counts also indicated a preference for detailed patterns (fixation frequency on the plant pattern (Pattern D): M = 3.5500 ± 0.7334 times). This detail-oriented visual processing approach underscores women’s acute awareness of the ecological significance and cultural symbolism conveyed through these patterns. Within the context of the She ethnic group’s “slash-and-burn” subsistence practices and migration history, the natural symbolism in floral patterns and collective memory embedded in figurative designs emerge as central points of female attention. In particular, subjective evaluation data further substantiates that women’s preference scores for floral and figurative patterns show significant positive correlations with viewing duration, suggesting their aesthetic judgments prioritize engagement with cultural symbolism and emotional association [47].

The differences above arise not merely from inherent physiological and psychological tendencies [48,49] and must be explained through the universal logic of gender role construction within ethnic culture. Within the distinct social structure shaped by mountain-based civilization, the She ethnic society has sustained its tradition of venerating female ancestors and deities, solidifying women’s central role in the belief system, economic activities, and cultural continuity. This has forged a female-veneration-oriented cultural identity system, manifesting distinct gender-specific cultural traits and an ethnic spiritual core. Such cultural values translate into gendered cognitive divergences in pattern interpretation and visual attention modes: on one hand, totemic worship constructs visual representations through ecological metaphors, while the cosmogonic narrative of San Gongzhu (Three Princess) in the Panhu mythology [50] reinforces women’s sacred role as cultural gene carriers via migratory epics. On the other hand, this symbolic system extends into the productive ethic of “women farming, men hunting”, with narrative-driven architectural ornamentation governing the transmission and interpretation of cultural memory. These cognitive differences fundamentally stem from the interplay between gender role construction, mountainous subsistence wisdom, and the totem belief system in She ethnic culture, which reveals the complexity and deeper rationale behind visual cognition variations within ethnic culture [51]. Based on the quantitative evidence of these cognitive differences, modern architectural pattern design should establish a multi-scale cognitive adaptation framework, at the macro-level, emphasizing bold totemic compositions visible from distance to accommodate male structural preferences, and at the micro-level, providing detailed narrative elements accessible through close-range interaction to respond to female detail-processing patterns, thereby achieving gender-inclusive spatial expression.

5.2. Emotional Evocation and Cognitive Adaptability of Cultural Symbols

The emotional resonance and cognitive adaptability of the cultural symbols of the She ethnic group in architectural decoration stem from their narrative richness and the symbolic logic embedded in their formal characteristics. Heatmap analysis indicates that figurative symbols (e.g., Fenghuang totem and human patterns) effectively elicit emotional responses across genders, owing to their storytelling quality and historical memory. Subjective evaluation scores revealed that figurative symbols achieved significantly higher preference ratings across both genders, with the totem pattern (Pattern J) receiving high scores among females (M = 1.60 ± 0.52) and males (M = 1.50 ± 0.71) and the geometric pattern (Pattern P) receiving the lowest scores (females: M = 0.40 ± 0.52; males: M = −0.10 ± 0.74). These symbols demonstrate compelling visual and affective appeal regardless of gender and reveal how their deep-rooted cultural symbol meaning surpasses mere aesthetics to evoke profound cultural identity [52]. Based on the quantitative evidence that totem patterns achieved the highest preference scores, phoenix totems and human figure patterns should be prominently featured in building entrances for high emotional-impact architectural applications, as their positive emotional associations can create welcoming experiences. Simultaneously, figurative patterns should be prioritized in cultural heritage spaces of museums, cultural centers, and community buildings to maximize cultural identity effects.

Concretely, eye movement trajectory analysis revealed that participants exhibited complex cognitive processing when viewing these cultural symbols, which demonstrates multiple regressions during interpretation. Moreover, the re-visitation patterns indicate that the multi-layered semantics of cultural symbols require deeper processing, especially when involving cultural symbolism and historical memory, leading viewers to repeatedly examine details for comprehension. For example, in floral and figural motifs, viewers’ eye movement trajectory displayed frequent re-fixations on leaf textures or garment details, reflecting thorough processing of their intricate cultural meanings. These regressive behaviors show that cultural symbols are not just visual stimuli but symbols requiring repeated contemplation and emotional engagement, possessing strong affective arousal and cultural adaptability [53,54]. This finding supports implementing a progressive information revelation strategy in architectural design: first-level viewing achieves basic pattern recognition (fundamental forms such as phoenix and human figures), second-level re-visitation conducts cultural decoding (cultural connotations including Panhu legends and the Three Princess mythology), and third-level fixation accomplishes emotional resonance (deep experiences such as ethnic identity and cultural belonging). Through modern means such as AR technology, scan-triggered interfaces can be provided to activate historical pattern analysis, simultaneously meeting diverse hierarchical needs from rapid identification to in-depth understanding.

In contrast, the abstract nature and low narrative density of geometric patterns yield weaker emotional arousal. However, their cognitive adaptability can be improved through formal reconstruction: for instance, converting continuous fret pattern units into decorative architectural joints (like cornice transitions or wall segmentation lines) maintains geometric order while adding functional value. It helps address the limitations of simple symbolic reproduction. Based on experimental evidence that the geometric Pattern P consistently performed poorest across all measurements (with preference scores showing negative values or near zero in both genders), geometric patterns should be repositioned, no longer serving as independent decorative elements but instead integrated as functional components of architectural systems. Specific application strategies include transformation into structural elements such as window mullion divisions, floor wayfinding patterns, and ceiling grid systems, enabling their organizational properties to serve practical purposes, thereby addressing the insufficient functionality of traditional patterns in contemporary applications.

To summarize, this study, which was about emotional arousal and cognitive adaptability related to cultural symbols of the She ethnic group in architectural decoration, clarifies the dynamic transformation mechanism and logical framework of ethnic cultural elements in modern design. From this work, effectively balancing emotional resonance with cultural relevance, while integrating the narrative potential of semiotic elements and their visual articulation, has emerged as a pivotal consideration for enhancing design quality and cultural profundity [55]. Through the innovative application of traditional cultural symbols, designers can not only convey the historical memory and symbolic significance of ethnic culture, but also meet modern architecture’s dual demands for functionality and aesthetics. Therefore, achieving organic integration of cultural values and design functionality will directly determine a building space’s effectiveness in creating emotional resonance and fostering cultural identity.

6. Conclusions

This study systematically reveals the visual reception mechanism of traditional She patterns in architectural decoration and gender differences by applying multimodal combination eye-tracking technology with subjective evaluation. The experimental results successfully validated both primary research hypotheses through quantitative data: first, gender significantly modulates the visual acceptance mechanisms for She ethnic patterns, with statistical analysis demonstrating significant main effects for both male groups (H(5) = 31.541, p < 0.001) and female groups (F(5, 60) = 6.732, p < 0.001) in fixation duration patterns; second, multimodal cognitive technology effectively revealed visual perception and emotional conveyance mechanisms, with eye-tracking data successfully identifying pattern-specific attention allocation patterns, while the combination of physiological and subjective measurements demonstrated convergent validity in emotional response assessment, proving that this methodology can quantify previously subjective aesthetic judgments. Specifically, gender significantly influences observers’ cognitive strategies and emotional responses to cultural symbols. In addition, heatmap distribution revealed males’ preference for symbols conveying clear cultural authority and a sense of order. In contrast, female participants demonstrated the “detail-driven” cognitive characteristic, which means females explore details more frequently, while their subjective scores showed significant positive correlations with ecological metaphors and emotional narratives. These differences stem not only from neurophysiological predispositions in visual cognition between genders, but are fundamentally shaped by the She ethnic group’s tradition of “Fenghuang veneration” and matrilineal reverence, which reveals deep-seated sociocultural constructs embedded within ethnic visual representation systems.

Based on findings validated by experimental data, this study proposes that She cultural patterns in contemporary architectural decoration should adopt an integration strategy that balances a cultural narrative with functionality. Firstly, figurative symbols can enhance cultural context through scenario-based reconstruction. For instance, dynamic lighting techniques may recreate migration epics. When applied to building entrances or atrium spaces, these interventions amplify symbolic emotional resonance. Secondly, abstract geometric patterns should transcend mere replication by transforming into functional components (e.g., eave joints, grille textures), preserving cultural order while meeting modern architectural needs through modular combinations. Finally, spatial design should integrate diverse cognitive preferences, achieving inclusive expression through dynamic symbol layering and interactive design. For example, organically blending overarching motifs (e.g., phoenix totem) with detailed narrative elements (e.g., micro-carved floral patterns) in public areas (lobbies, corridors, cultural exhibition zones). Moreover, augmented reality (AR) enables multidimensional cultural exploration. For example, scan-triggered interfaces can activate historical pattern analysis. This methodology simultaneously addresses visual coherence demands and cultural narrative immersion. Through such integration, AR achieves gender-inclusive aesthetic equilibrium and cross-cultural resonance within unified spatial environments.

Beyond these practical applications, these findings contribute to heritage preservation theory by demonstrating that effective cultural transmission requires engagement with diverse cognitive processing styles. The observed gender differences illuminate complementary pathways for cultural knowledge acquisition and interpretation, suggesting that inclusive design strategies must accommodate multiple cognitive frameworks to ensure comprehensive cultural continuity across diverse populations. This approach positions gender-differentiated visual processing not as a design constraint but as a strategic resource for creating more effective and inclusive cultural spaces.

However, this study has several limitations. The participants were all young adults aged 18–28, and future research should include diverse age groups and cross-cultural populations. Subsequent studies could employ virtual reality (VR) technology to simulate material and color interactions through multi-sensory experiences. Furthermore, incorporating neuroimaging tools (e.g., EEG or fMRI) could elucidate the neural mechanisms underlying cultural symbol processing (such as narrative-related deep processing in the prefrontal cortex), offering neuroaesthetic insights to inform design practices.

Nevertheless, the core contribution of this study lies in establishing a quantitative analytical framework for ethnic pattern visual cognition based on eye-tracking technology and demonstrating that cultural authenticity and modern functionality are not competing objectives but can be synergistically achieved through scientifically informed design strategies. This strategy emphasizes cultural narratives and cognitive diversity, providing methodological support for the design of architectural decoration within globalized contexts. In addition, it is proved that innovation in ethnic cultural elements should integrate three core principles: multi-layered interaction of symbols, functional adaptability, and immersive design aligned with audience cognition. Considering individual differences in visual processing, this approach positions architectural spaces as shared cultural memory media for diverse communities. Through the integration of the narrative logic of traditional symbols and modern design language, the findings of this study enable architectural spaces to not only convey historical depth but also foster cross-generational and cross-cultural emotional resonance and cultural identity via inclusive strategies. Ultimately, this creates mutual reinforcement between cultural preservation and contemporary social values, offering a scientifically validated and practical approach to organically blending tradition with modernity.