The Current Situation of Museums Applying VR Technology to

Disseminate Traditional Culture

Ruien Zhou

Faculty of Art, Radio and Television Scriptwriting and Directing, Southwest Petroleum University, Chengdu, Sichuan

Province, China

Keywords: Virtual Reality, Museums, Cultural Dissemination.

Abstract: With the development of virtual reality (VR) technology, many museums have begun to apply this technology

to the exhibition of cultural relics to disseminate traditional culture. However, at present, the application of

VR technology in major museums has different modes, and there are problems such as “authenticity conflict”

and “wearing discomfort” in the application process. This paper will focus on the current situation of

museums' application of VR technology to disseminate culture, take the literature analysis method and case

study method to analyze the mode of museums' application of VR technology and its impact on the

dissemination of traditional culture. It is found that the immersion, interactivity, and telepresence of VR

technology also promote the effect of museums in disseminating traditional culture; the more realistic the

design of the virtual scene, the more the narrative tends to be user-driven, and the more concise the interaction

mode, the more the museum attracts users to come to experience it, and the effect of disseminating traditional

culture is better. This paper hopes that museums will continue to develop these advantages, and at the same

time, they can combine the “meta-universe” and AIGC with VR technology in the future to disseminate

traditional culture.

1 INTRODUCTION

As an institution with a long history of displaying

cultural heritage, museums have always used physical

exhibitions, but the physical exhibitions are

monotonous and dull, lacking interactivity and

playfulness. Moreover, the space of museums is

limited, which makes it difficult to cope with the huge

flow of people. Take the Hubei Provincial Museum

as an example, on weekends and other holidays, you

need to line up for one to two hours before you can

see the cultural relics of the “Sword of King

Goujian”, which undoubtedly reduces the museum

experience significantly. This may eventually lead to

the failure of the museum's function of disseminating

culture. However, with the rise of virtual reality (VR)

technology, many museums have begun to adopt this

technology for their exhibitions, such as the British

Museum, the Metropolitan Museum of Art, and the

Palace Museum. Academics have also begun to study

this phenomenon, but there are still some problems.

This paper will summarize the research on “VR

technology combined with museum exhibitions for

cultural communication”, at the same time, this paper

will point out the problems of the current research and

give specific solutions. Hoping to show the current

situation of museums applying VR technology and

provide references for related research.

2 THEORETICAL BASIS OF VR

TECHNOLOGY

2.1 Relevant Theoretical Support

2.1.1 Flow Theory

“Flow theory” was developed in 1975 by

Csikszentmihalyi, who believed that when skills and

challenges are balanced, a person enters a state known

as “flow”, where the person is extremely focused and

immersed (Csikszentmihalyi, 1990). In a VR

scenario, the audience can experience a

“telepresence” (Steuer, 1992) through multi-sensory

interactions in the virtual scene, which makes the

audience feel immersed in the scene and have the

496

Zhou, R.

The Current Situation of Museums Applying VR Technology to Disseminate Traditional Culture.

DOI: 10.5220/0013995100004916

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd International Conference on Public Relations and Media Communication (PRMC 2025), pages 496-502

ISBN: 978-989-758-778-8

feeling that “I can cope with these challenges in the

virtual scene”, triggering the “flow”.

2.1.2 Uses and Gratifications Approach

The “uses and gratifications theory” means that

“audiences choose a medium because they need the

medium to satisfy their needs, and their satisfaction

can be obtained from the medium” (Katz & Blumler,

1974). In the VR virtual scene of the museum, VR

technology satisfies the needs of visitors to “explore

cultural relics and learn cultural knowledge”. In this

way, VR technology is a good way to disseminate

traditional culture for the museum. This paper argues

that subsequent research by scholars on the

application of virtual reality technology in museums

is also rooted in this theory. For example, Economou

pointed out in Heritage in the Digital Age that virtual

reality technology can make users feel that they are in

the cultural heritage environment (Economou, 2015),

This paper argues that the scholar writes this because

VR technology well meets the user's demand for

“experiencing the real scene of ancient times”.

2.1.3 Technology Acceptance Model

The Technology Acceptance Model (TAM) was

proposed by Davis, which shows that users'

acceptance of technology depends on two factors:

“perceived usefulness” and “perceived ease of use”.

Perceived usefulness refers to “the degree to which

users perceive the technology to be useful to them”;

perceived ease of use refers to “how difficult users

perceive the technology to be to use” (Davis, 1989).

The first impression of VR is “real”, the user will

think “I want to experience VR, it's useful for me,

after all, I'd love to experience an ancient scene”, in

this way VR satisfies the user's needs, VR technology

is useful to the user. That would be consistent with

“perceived usefulness”. At the same time, the user is

also likely to feel that “this thing is easy to use, after

all, it's almost the same as reality”. That would be

consistent with “perceived ease of use”. After that,

Venkatesh's User acceptance of information

technology: Toward a unified view added two factors,

“social influence” (others' expectations of users' use

of technology) and “facilitating conditions”

(objective conditions supporting users' use of

technology) to the original TAM. This innovation

improved the theory of technology acceptance model

(Venkatesh et al., 2003).

2.2 Characteristics of VR Technology

The concept of “museums applying VR technology to

disseminate traditional culture” not only needs the

support of the theoretical foundation of

communication studies, but also should be analyzed

from the characteristics of VR technology itself.

Explore the question of “Why VR technology can

bring promotional factors for museums to

disseminate traditional culture?”. The following are

three characteristics of VR technology.

2.2.1 Immersion

Sutherland, in The Ultimate Display, suggests that the

ultimate goal of VR technology is to achieve “The

Ultimate Display”, a VR system that creates a “room”

where computers can control the existence of matter

through a variety of input devices, kinesthetic

displays, and multi-sensory experiences (Sutherland,

1965). This paper believes that the current VR

technology has already achieved “The Ultimate

Display” conceived by Sutherland to a certain extent.

The VR application in museum exhibitions allows

users to be more immersed in the cultural virtual

scene composed of cultural heritage so that they can

experience the traditional cultural atmosphere more

profoundly.

2.2.2 Interactivity

Fisher in Virtual Environment Display System

proposed that the interaction of VR display systems

will be easier to experience through multi-sensory

feedback from vision, hearing, and touch. This not

only reduces the difficulty of getting started with a

VR system, but also significantly enhances the sense

of presence (Fisher et al., 1987). This paper argues

that the strong interactivity of VR technology will

greatly improve the “communication” between

artifacts and audiences in museum exhibitions,

shortening the distance between artifacts and

audiences. The playfulness and interestingness of

exhibitions will also be greatly enhanced. The

museums will be more appealing to users to come to

visit and experience the atmosphere of traditional

culture.

2.2.3 Telepresence

According to Steuer, “telepresence” is a core feature

of VR systems. Unlike “presence” (the experience of

being in a natural environment), “telepresence” is the

experience of being in a virtual environment as

The Current Situation of Museums Applying VR Technology to Disseminate Traditional Culture

497

perceived by the user through the medium, which is

essentially a substitute for the perception of the

physical environment by the medium. “Vividness”

and “interactivity” are two important dimensions of

telepresence (Steuer, 1992). This paper argues that

the “telepresence” of VR technology can bring

museum visitors the wonderful experience of

“traveling through time and space” - the user can be

present at the time of the artifacts and experience the

stories that the artifacts have experienced. In this way,

it can stimulate users' emotional resonance with the

artifacts and enhance their understanding of

traditional culture.

3 APPLICATIONS OF VR

TECHNOLOGY IN MUSEUMS

3.1 Scenario Design

Scenario design is crucial to the VR experience, a

great scenario design can provide users with an

immersive and fantastic experience. Museums can

achieve as close a reproduction of reality as possible

through detailed 3D modeling, laser scanning, light

tracing and rendering technologies.

This elaborate scene design gives the VR system

a strong sense of presence: high resolution, high

refresh rate and delicate texture and light and shadow

so that the virtual scene can be close to the real world,

deepen the vividness, strengthen the sense of

telepresence (Steuer, 1992). Specifically speaking,

the museum can accurately restore the surface

texture, shape, and texture of the artifacts through

laser scanning technology because the artifacts are

prototypes in reality. In conclusion, museums today

tend to focus more on the “realism” of the virtual

scene than on the size and freedom of the scene when

building virtual scenes.

3.2 Narrative Design

VR systems not only need a real scene but also need

to guide users to be more immersed in the virtual

scene by reasonable narrative design. Different from

the traditional linear narrative, the narrative in a VR

environment tends to be more “fragmented” and

“user-driven”. The analogy to the game is the

difference between “linear narrative guides the

player” and “soul-like fragmented narrative where the

player can explore and recovers the storyline”. VR

system narratives are often explored and discovered

by the users themselves. In the “Digital Dunhuang”

project, users can explore the story of each mural and

learn about Dunhuang culture. In short, when

applying VR technology, museums need to achieve a

“user-centered” narrative that allows users to lead the

story themselves (Dong Hengshuo et al., 2024).

3.3 Interaction Design

Interaction design is the key to VR systems, which

will directly affect the “telepresence” of the virtual

scene (Steuer, 1992). VR systems can generally

interact with the user through gesture recognition

(manipulating objects in the virtual space by

recognizing hand gestures), somatic interaction

(providing feedback such as vibration, images, and

sound effects), voice interaction (manipulating the

virtual reality system by voice) (Fisher et al., 1987),

and eye-tracking (tracking eye movements to produce

perspective changes) and other technological ways to

achieve the interaction with users.

Simple interaction logic is necessary. In

Exploring the suitability of Virtual Reality

interactivity for exhibitions through an integrated

evaluation: the case of the Ename Museum, scholars

studied the “Timeline” exhibition at the Ename

Museum in Belgium and found that cumbersome

interaction logic is counterintuitive, which directly

affects the user's sense of immersion. The simplicity

of the interaction logic is positively correlated with

the user's sense of immersion (Tost & Economou,

2007).

This paper argues that the interaction between the

virtual scene and the user must be kept as real-time as

possible to reduce the latency of the system's

response, which may lead to lag, thus seriously

weakening the immersion of the virtual scene.

4 THE IMPACT OF

APPLICATIONS OF VR

TECHNOLOGY IN MUSEUMS

ON CULTURAL

COMMUNICATION

4.1 Impact Based on the Theory of

Virtual Reality

As mentioned above, the VR system has the

characteristics of strong immersion, interactivity,

sense of telepresence, the point of view has been

demonstrated through the articles of other scholars,

VR technology through these three characteristics

attracts the public to experience the virtual space. In

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this way, the user does not have to stare at the cold

artifacts but can directly “communicate” with

artifacts.

From the point of view of “learning cultural

knowledge”, users can travel to the era in which the

cultural relics are located and can personally

experience the stories behind the cultural relics,

which is certainly more impressive than watching the

introduction of the cultural relics outside the booth.

From the point of view of “stimulating interest”,

the main reason why many people are reluctant to go

to the museum is that the traditional museum

exhibitions are boring and tedious. However, the

exhibition through the emerging technology of virtual

reality can greatly stimulate people's interest in

entering museums to experience traditional culture.

Not only that, VR technology allows visitors from

different parts of the world to interact and explore in

the virtual space. This is a feature that museums can

take advantage of (Slater & Sanchez-Vives, 2016).

This paper argues that museums can try to integrate

their traditional culture into the virtual space and

attract tourists from all over the world to experience

it through both online and offline channels. This is a

better way to disseminate their traditional culture.

4.2 Impact Based on Communication

Theory

From the perspective of communication theory, the

application of VR technology in museums can also

promote the dissemination of traditional culture. This

paper will introduce a classic theory of

communication – cultivation theory. Cultivation

theory was proposed by G. Gerbner, which means

that people are exposed to the “pseudo-environment”

constructed by TV media for a long time, thus their

values will be influenced by the media. This process

is long-term (Gerbner & Gross, 1976).

Based on the theory of Cultivation, this paper

argues that VR technology can build a more realistic

“pseudo-environment” than traditional media

(newspaper, television, etc.) through immersive

experience. The reason for this is that it transforms

the audience from the “third person” to the “first

person” and puts them in the perspective of the news

parties. Such role-playing may accelerate the

assimilation of values, and the media can influence

the audience faster and deeper. The New York Times

has launched a VR news client, “NYT VR”, which

allows users to come to the scene of the news through

immersive reporting, an experience that may enable

the audience to accept the information promoted by

the newspaper and the hidden values behind it in a

short time. From this point of view, the museum itself

is a more ceremonial and serious cultural

communication place, through the application of VR

technology. The application of VR technology can

better transform the medium's “long-term

cultivation” to “instant resonance”, well stimulate the

users' awareness of “protecting cultural heritage and

valuing traditional culture”.

5 THE STATE OF PRACTICAL

APPLICATION OF VR

TECHNOLOGY

5.1 Application of Virtual Reality

Technology in the Palace Museum

The Palace Museum, for example, the Palace

Museum at the same time using VR and AR

(Augmented Reality) technology, VR technology is

mainly used to build the virtual scene, and the Palace

Museum uses Unity engine to complete the

construction of the virtual scene, improve the sense of

presence by the dynamic water, light rendering and

panoramic weather. The museum provides visitors

with two modes of operation to experience virtual

reality: keyboard and mouse, and somatosensory

devices. The keyboard and mouse allow users to roam

around the Forbidden City and even “fly” up to look

down on the Palace; the VR somatosensory devices,

which further enhance the sense of immersion,

allowing users to experience immersive tours through

somatosensory interactive devices (Chen, Feng, &

Wang, Feng, 2020).

However, at present, the virtual Forbidden City

still has some defects. For example, for visitors in the

virtual scene the degree of freedom is low: “Cloud

Tour of The Forbidden City” provides a “V

Forbidden City” and “Panoramic View of The

Forbidden City” two kinds of modes to explore the

virtual scene. No matter what the difference between

the two, visitors need to click on specific points in

order to move in the virtual scene, the distance

between the two points has been omitted, rather than

“moving”, it should be called “transmission”, which

leads to the immersion brought by VR technology is

greatly reduced. This article suggests that the VR

application can refer to most 3D games that use

keyboard buttons (such as WASD) to allow the

character to move.

5.2 The Virtual Exhibition Application

of Dunhuang Academy

The Dunhuang Academy launched a “Digital Cave of

Sutras” game in 2023 to showcase Cave 16 of the

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Mogao Grottoes. Although the game application does

not use head-mounted displays and various types of

somatosensory devices for the virtual scene

experience, the high degree of freedom of the virtual

scene and the narrative approach is considered worthy

of reference by other museums.

The “Digital Cave of Sutras” adopts the

Photogrammetry technology, which is used by many

3d games in the market for scene restoration.

Photogrammetry technology refers to the use of

multiple angles to capture the scene in reality, thus

improving the efficiency of scene restoration (Ding,

2025). In this way, the “Digital Cave of Sutras”

utilizes beautiful mapping and textures to greatly

reproduce the scene of Cave 16 of Mogao Caves in

reality. The “Digital Cave of Sutras” uses rockers and

keyboards to maneuver the characters on the PE and

PC respectively, which has significantly improved the

immersion of the display compared to the VR project

of the Palace Museum.

From a narrative point of view, the “Digital Cave”

adopts a first-person perspective, and the users can

experience the story of the cultural relics Guiyijun

Nga Fu Wine and Broken Calendar by interacting

with a number of historical figures. Users can freely

explore the scene and collect props to complete the

task with a strong sense of immersion. As mentioned

above, the first-person immersion will accelerate the

influence of the medium on the audience. Therefore,

this paper argues that the game immerses players in a

virtual environment full of Dunhuang cultural

aesthetics, which enhances the players' goodwill

towards Dunhuang culture and their desire to explore,

achieving the cultural dissemination purpose of

“spreading Dunhuang culture and Buddhist culture”.

6 OPTIMIZATION

RECOMMENDATIONS

6.1 Limitations of Current Research

The first limitation is that virtual reality-generated

content may conflict with cultural authenticity. This

issue has been partially addressed by scholar

Economou in Heritage in the Digital Age. The

limitation may be caused by two reasons. First, the

artifacts in the virtual scene lack the examination of

details in the process of production by the designer,

and such insufficient professional operation also

lacks the authoritative audit in the whole VR system

development process. Secondly, modern aesthetics

and the aesthetics of the era in which the artifacts are

located may be completely different, and modern bias

may have an impact on the generation of cultural

relics in the virtual environment, which leads to the

developers attracting users and deliberately tamper

with the original image of the artifacts in accordance

with the modern aesthetics so that the virtual

generation of the artifacts and the real artifacts is

different.

The second problem is that the current VR

headset equipment at present still has obvious

wearing discomfort. For example, the user may feel

the pressure on the eyes when wearing and experience

a 3d effect in the process of vertigo nausea. Users

wearing comfort will greatly affect the degree of

immersion in virtual reality.

6.2 Recommendations

For the conflict between virtual scene content and

cultural authenticity, this paper argues that the

Museum of Cultural Relics Protection experts should

be required to participate in the development of a

virtual reality system to ensure the authenticity of

cultural relics in the virtual scene, balancing the

commercial value of VR technology with the value of

cultural protection and dissemination. At the same

time, the development process should be published on

the museum website so that the public can participate

in the process of supervision of the design of cultural

relics in virtual reality.

For the problem of wearing discomfort of VR

equipment, this article suggests that developers

should put user experience in the first place. The

museums can optimize the structure and display

effect of the headset equipment: adopt a more

scientifically reasonable ergonomic design to make

the structure of the VR headset equipment fit the head

better. The museums should synchronize the image

transformation with the human eye movement as

much as possible to prevent motion sickness caused

by the incongruity between the screen and the human

eye.

7 PROSPECTS

7.1 “Metaverse” Extension in VR

Technologies

Since the 2020s, virtual reality technology has

introduced the concept of “metaverse” in its

development. Xiao Zhang and Deling Yang have

explored the potential of the metaverse in the field of

cultural heritage communication and preservation in

Metaverse for Cultural Heritages, where Zhang and

Yang mention the concept of metaverse as a way to

recreate the plot of “The Eight Immortals Crossing

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the Sea”. The users can participate in the scene

interaction with the plot from their first perspective,

which can greatly enhance the interactive experience

and deepen their understanding of the connotation of

“The Eight Immortals' Culture” (Zhang et al., 2022).

Although Metaverse for Cultural Heritages does

not directly mention the application of metaverse in

museums, this paper believes that museums can learn

the metaverse application mode from the cultural

heritage of “Eight Immortals Crossing the Sea”. The

reason is that both museum exhibits and “Eight

Immortals Crossing the Sea” culture belong to

cultural heritage and both can utilize metaverse based

on virtual reality technology for cultural heritage

protection and cultural dissemination. At the same

time, there are many exhibits in museums, so it is

necessary to design different virtual scenes for

different exhibits and use the metaverse to show the

stories and values of different cultural relics. Since

2020, several museums, including the British

Museum, the Dunhuang Academy, and the Henan

Museum, have had their own metaverse projects.

7.2 Application of AIGC in Building

Virtual Reality Scenes in Museums

Artificial intelligence technology has been

developing rapidly in recent years. This paper argues

that museums can also combine it with VR

technology, which may become a future development

trend.

The current cost of operating a VR system is huge

and unaffordable for many museums (Dong Yunuo &

Zhu Xiaoyi, 2022). In Prospect analysis based on the

current application of VR exhibitions, the author

Dong Hengshuo argues that the development of

Artificial Intelligence Produced Content (AIGC) can

help reduce costs and increase efficiency in the

application of VR technology in museums. Dong

mentions that AI can help generate 3D modeling,

mapping, texture generation and so on. In this way,

the scene design, which is the costliest part of VR

scene building, can take advantage of AI's assistance

and thus reduce costs. With the continuous

development and progress of AI technology in the

future, the mapping, modeling, and texture generation

will be more elaborate and realistic, and museums

will be able to pay less cost to build a virtual scene

with better content (Dong Hengshuo et al., 2024). For

example, museums can use Deep Learning Super

Sampling (DLSS) technology to increase the number

of frames played in the virtual scene and improve the

image quality at the same time, and the resolution of

the image can be improved through AI calculation. In

this way, the hardware requirements for museums to

build virtual scenes are also reduced and at the same

time can bring users a more immersive and realistic

experience (Chen & Cao, 2024).

Combining VR technology with AI technology

also holds great promise. This paper believes that

museums will be able to utilize a combination of the

two in the near future.

8 CONCLUSIONS

This study finds that the communication theory of

“museums applying VR technology to disseminate

culture” and the characteristics of VR technology

itself enable museums to utilize this technology to

better disseminate traditional culture. At the same

time, the more realistic the scene design, the more

user-oriented narrative mode they adopt, the simpler

the interaction design, the more the museum attracts

users to come to experience it so that the scope of

dissemination of traditional culture will be wider and

more deeply rooted in people's hearts. However, the

current application of VR technology in museums

still has the problems of “authenticity conflict” and

“wearing discomfort”. Therefore, this paper hopes

that museums can continue to develop their own

advantages when applying VR technology and solve

the defect of “authenticity conflict” through more

authoritative and professional supervision, solving

the problem of “wearing discomfort” by adopting

more reasonable and advanced hardware design at the

same time. This study summarizes the current

application of VR technology in museums and points

out the impact of this application on the dissemination

of traditional culture. It is hoped that this study will

be helpful for related research. In the future, when

museums apply VR technology, they can combine

“metaverse” and AIGC technology to create a more

real, more inclusive, and more attractive virtual

world. The public can experience the charm of the

traditional culture in this virtual world.

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