Nanjing Great Bao'en Temple Ruins Museum: How Its Global 'DIGITAL HERITAGE' Contest Showcases Immersive Technologies Reshaping Cultural Heritage

Immersive technologies are entering the field of cultural heritage at an unprecedented pace. From exhibition spaces to cultural tourism experiences, AR, VR, and interactive installations are reshaping the industry’s value chain. The traditional model that relied on artifacts and static displays is gradually being replaced by digital experiences that are interactive, participatory, and experiential. Against this backdrop, 2025 “DIGITAL HERITAGE” Global Innovator Contest , hosted by the Nanjing Great Bao’en Temple Ruins Museum, offers a compelling case study: it brings together young creatives from around the world with immersive technologies and is emerging as a new driving force in the cultural and creative industries.

This year’s competition received around 700 applications from 19 countries, with 31 finalists selected for the grand finale, representing China, the United Kingdom, Germany, Greece, India, Azerbaijan, and more. The participants leveraged immersive technologies to explore new possibilities for heritage expression, presenting diverse proposals ranging from interactive exhibitions to virtual reconstructions.

The competition’s international participation is particularly noteworthy. Supported by UNESCO, the event brought together a panel of mentors and judges that included senior museum consultant from the United Kingdom, as well as lecturers from University College London, Goldsmiths, University of London, the University of Bristol, and the Royal College of Art. They not only provided academic and technical guidance but also offered young participants deep insights into cross-cultural pathways for innovation.

The inception of this competition is closely tied to one of the lost wonders of the world. The Nanjing Porcelain Tower of the Great Bao'en Temple, once an imperial temple of the Ming Dynasty, was introduced to Europe in the 17th century through the engravings of Dutch traveler Johan Nieuhof, becoming the iconic image of the "Porcelain Tower of Nanking." It even inspired the design of the Pagoda at Kew Gardens in London. This landmark also frequently appears in modern pop culture symbols—from Chinese takeout boxes in the US to the Wonder building in the game Civilization V. Today, through digital reconstruction, this heritage has once again become a cultural medium connecting the world.

Among the entries, the Echo Silk team won the top prize with their project “Garden of Living Bells”. Centered on AR technology, the work connects the bell of the Great Bao’en Pagoda with the history of the Maritime Silk Road: dynamic scenes of merchant ships and bustling ports appear in the air, and when viewers tap on the virtual ships, they hear the crisp sound of the bell while literary works from Nanjing are displayed before their eyes. Another finalist, “Canopy of Echoes”, uses VR technology to let audiences experience the history of the Ming City Wall bricks in a virtual space, creating a tangible, immersive experience. These explorations demonstrate that immersive technologies not only enhance viewers’ sensory engagement but are also driving the ways cultural heritage is presented toward education, tourism, and urban branding.

Regarding the contest, Shahbaz Khan, Director of UNESCO’s East Asia Regional Office, commented: “It sets a new standard for international collaboration and contributes to the renewal of Nanjing’s city brand as a centre of global cultural dialogue.” Senior museum consultant Lizzy Moriarty added: “This is a prime example of the convergence of creativity, technology, history, and public engagement.”

Amid the wave of digitalization, such cross-border collaboration among young innovators is gradually showing its industrial significance. It is not only an experiment in cultural heritage preservation but also has the potential to become a growth driver for the cultural and creative industries. Digital heritage is opening up new markets; from virtual exhibitions to urban branding, the commercial potential of immersive technologies is increasingly evident. Nanjing’s practice may be just a microcosm, but it reveals a broader trend: cultural heritage is becoming a “new laboratory” in the digital era, with young people serving as the engine of innovation.