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Cultural relics and historical sites serve as carriers of cultural, historical, and artistic information. However, any damage incurred by these cultural relics can result in the loss of information, consequently impacting sustainable conservation and revitalization of the cultural heritage. Han Dynasty stone reliefs are a representative carrier of art and history during the Han Dynasty, an early stage of Chinese history. Due to the influence of materials, carving techniques, and protective measures, the conservation and revitalization of Han Dynasty stone reliefs have been significantly restricted. In this study, a systematic investigation was carried out to study the current situation and existing problems related to the protection of Han Dynasty stone reliefs. Additionally, a case study was conducted using the Wuling Ancestral Hall (Wuliang Shrine) as an example, to explore the integration of 3D digital technology as a new sustainable approach. The results show that natural weathering and conventional techniques have caused irreversible information loss. Thus, adopting a three-dimensional digital perspective is crucial when considering the information preservation and revitalization of Han Dynasty stone reliefs. To achieve this, 3D digital models of representative stone reliefs, tomb chambers, and other sculptures from the Wuliang Ancestral Hall were established. These models provide new paths for accurately recording 3D information and better utilizing cultural heritage. Faced with the challenge of preserving historical heritage and its associated information, a workflow including 3D scanning, data collection and processing, 3D modeling, visualization, and information utilization is proposed. This approach offers new approaches for sustainable conservation and revitalization of Han Dynasty stone reliefs. Full article

This paper argues that there exist two Queen Mothers of the West (Xiwangmu) in the Han era (206 BC–AD 220): one worshipped as a goddess of longevity and immortality by people from the upper class; the other worshipped by the ordinary people as a seemingly omnipotent deity with divine power over both the immortal world and the mortal world. This argument is based on a thorough comparative investigation of the surviving corpus of Han rhapsodies (fu) and Han paintings, the two major genres of art that give form to her cult in the Han period. Full article