Abstract: For a long time, physical research and display characterized by intuition and empirical evidence have been the most fundamental and important means for cultural and museum institutions to conduct cultural relic research. With the development of digital technology, can cultural relic research objects break free from the constraints of physical media and expand to use data as an important research resource? Can this exploration lead to new perspectives, new models, and new methods for cultural relic research? At the same time, can data visualization serve as a means to drive the improvement and transformation of museum digital displays on this basis, generating new pathways for museum knowledge production and dissemination?

Speaker Bio: Graduated from Shanghai University School of Literature, Department of History, majoring in Archaeology and Museology in 1984, and joined the Shanghai Museum in the same year. Started working on museum digitization construction in 2000, and is the main designer of the Shanghai Museum collection database and official website. Has led and completed projects including the Shanghai Museum Digital Center project, Shanghai Museum Decision Support System; Dong Qichang Digital Humanities project and the "Emperor Huizong of Song and His Era" digital humanities theme; Republic of China banknote digitization research system, among others.

Abstract: Beijing, as a cultural city with a long history of city construction and capital establishment, has accumulated rich multi-layered "cultural strata". Based on the "spatial turn" in humanities and the development of digital humanities technology, this research focuses on urban "cultural landmarks", integrating multi-dimensional historical data including historical events, hydrology and climate, geographical vegetation, population and products, institutional evolution, and architectural figures. Using methods such as HGIS, knowledge graphs, visual analytics, and visualization, the project reconstructs the cultural context and historical narrative of landmarks. The project aims to reveal the spatial mechanisms of urban memory, explore the computable expression and visual representation of cultural information, and provide new pathways for the digital expression of the capital's cultural roots.

Speaker Bio: Jing Chen, PhD, Associate Professor at the School of Arts, Nanjing University. Main research interests include digital humanities, digital heritage, and digital art studies. Has published over 20 Chinese and English papers, and led or participated in more than ten international research projects, National Social Science Foundation projects, provincial and ministerial level projects, and university-level projects. Also serves as Secretary-General of the Digital Humanities Committee of the Chinese Literary Theory Society and editorial board member of journals including "Digital Humanities", "Digital Humanities Research", and "Digital Archive and Digital Humanities".

Abstract: This report explores the relationships between images, material carriers, and recorded texts in cultural heritage, attempting to construct data relationships between images, words, and objects in image databases. It breaks through existing semantic annotation methods at the pre-iconographic and iconographic levels, providing comprehensive annotation of the material materials used in creating images, as well as the content and structure of images. This method originates from research on Han Dynasty painting databases and is also preparing new technical pathways for ancient Egyptian image databases.

Speaker Bio: Associate Researcher at the Institute of World Art History, Shanghai International Studies University, and Executive Committee member of the Computational Arts Branch of the China Computer Federation. In recent years, has focused on computational art history research and the developmental history of digital art. Has completed one National Natural Science Foundation project as principal investigator and participated as a main contributor in multiple National Natural Science Foundation projects. Related work has resulted in over twenty published papers and three authorized Chinese invention patents.

Abstract: Ancient paintings suffer irreversible color degradation due to erosion by time and inappropriate preservation methods. To protect these precious cultural heritage artifacts, accurately annotating the true colors of degraded ancient paintings becomes crucial, but this task is challenging due to missing color information. This report introduces an interactive visualization tool (CAnnotator) to assist in color annotation of faded ancient paintings. Through human-AI collaboration, it integrates three views: pigment annotation, photo reference, and pigment mixing, leveraging technologies such as deep learning and texture tracking models to enhance users' confidence in color annotation, reduce manual effort, and achieve efficient color restoration.

Speaker Bio: Assistant Professor in the "ZJU 100 Young Professor" (doctoral supervisor) at the School of Art and Archaeology, Zhejiang University. Has published over 30 papers in top international academic conferences and journals in human-computer interaction, visualization, and virtual reality (such as IEEE TVCG, IEEE VIS/VR, ACM CHI/UIST), receiving multiple best paper nominations. As a member of the "Complete Collection of Chinese Paintings Throughout History" exhibition planning team, participated in the 60th Venice International Art Biennale Chinese National Pavilion project. Related work has been reported multiple times by authoritative media such as CCTV.