From Cultural Symbols to User Value Construction:A Grounded Theory Study of Heritage-Based Creative Products

From Cultural Symbols to User Value Construction:A Grounded Theory Study of Heritage-Based Creative Products | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article From Cultural Symbols to User Value Construction:A Grounded Theory Study of Heritage-Based Creative Products 勒勒 朱, 赫威玲 锡克 This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-8448462/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract In the context of cultural heritage revitalization and the rapid development of the cultural and creative industries, how traditional cultural symbols can be effectively transformed into creative products with contemporary value perception has become a critical issue in design and cultural studies. Existing research has largely focused on symbolic representation or design strategies, while relatively little attention has been paid to users’ experiential perspectives and the underlying mechanisms through which cultural symbols are translated into perceived product value. Against this background, this study takes cultural and creative products derived from Fuxi culture at Taihao Mausoleum in Huaiyang as its empirical case and adopts a grounded theory approach. Through open coding, axial coding, and selective coding of interview data and supplementary textual materials, the study constructs a user-oriented value structure model for cultural heritage creative products. The findings reveal that emotional value, social value, and functional value constitute the core dimensions of users’ value perception. Among them, emotional value plays a dominant role and exerts influence on users’ cultural identification and consumption decisions through its interaction with social and functional values. Based on these findings, the study further proposes an analytical pathway centered on user value structures to explain the mechanism through which cultural symbols generate value in specific consumption contexts. This research provides empirical evidence for understanding the value construction of cultural heritage creative products and offers a comparative analytical framework applicable to other cultural heritage contexts. Humanities/Cultural and media studies Social science/Cultural and media studies Social science/Science technology and society grounded theory user value cultural heritage creative products cultural symbols Figures Figure 1 Introduction With the deep integration of cultural heritage preservation and the cultural and creative industries, intangible cultural heritage is no longer treated merely as a static historical legacy but is increasingly regarded as a dynamic cultural resource with contemporary communicative value and market potential. Recent international scholarship has gradually shifted from a protection-oriented approach toward a value-creation-oriented perspective, emphasizing the sustainable transformation of heritage value through innovative design and experiential consumption ( Shakya & Vagnarelli, 2024 ). In this context, how traditional cultural symbols can be translated into cultural products with contemporary relevance has become a key concern shared by both cultural studies and design research. Cultural heritage-based creative products not only function as vehicles for cultural transmission ( Smith, 2006 ) but also actively reshape users’ perceptions and interpretations of cultural value through consumption practices ( Graham et al., 2016 ). As an important ancestral cultural heritage of Chinese civilization, Fuxi culture has been continuously sustained through ritual spaces, ceremonial practices, and folk traditions, forming a highly symbolic cultural system (Zhang, 2016). In recent years, driven by the development of cultural tourism and creative industries, Fuxi culture has been increasingly incorporated into the design of cultural and creative products, serving as a medium that connects traditional cultural narratives with contemporary everyday life. However, this process of transformation has encountered substantial challenges in practice. Existing Fuxi culture-related creative products are often characterized by superficial appropriation of cultural symbols, design homogenization, and limited user experience. Many products rely heavily on visual replication or decorative use of symbols, lacking systematic cultural translation and thus failing to generate stable value perception at the levels of emotional engagement, social interaction, and practical use. Such supply-driven development models frequently result in a disconnect between cultural meaning and user-perceived value, thereby constraining the sustainable development of cultural heritage creative products. From a research perspective, prior studies have primarily focused on symbolic representation, narrative strategies, or industrial development pathways, while paying comparatively little attention to users’ lived experiences. In particular, there remains a lack of empirical research that systematically explains how cultural symbols are transformed into multidimensional value structures within specific consumption contexts. Within the realm of cultural heritage creative products, the relationships among emotional experience, social meaning, and functional expectations have yet to be sufficiently theorized based on empirical evidence. Against this backdrop, this study adopts a grounded theory approach to investigate cultural and creative products derived from Fuxi culture at Taihao Mausoleum in Huaiyang. From a user-centered perspective, the study aims to explore how users perceive and construct value through their interactions with heritage-based creative products. Specifically, this research seeks to address the following questions: (1) What core dimensions constitute the user value structure of Fuxi culture-based creative products? (2) How do these value dimensions interact to influence the perception and transformation of cultural meaning? By constructing a user-oriented value structure model for cultural heritage creative products, this study seeks to provide an interpretable and transferable theoretical pathway for translating cultural symbols into design frameworks. What remains underexplored is not whether cultural symbols carry value, but how such value is experientially constituted and structured from the user’s perspective in heritage-based creative products. Literature Review Grounded theory, as a qualitative research approach that emphasizes theory generation from empirical data, has been widely applied in cultural studies, design research, and consumer research. Previous studies have demonstrated its particular strengths in uncovering user need structures, patterns of cultural cognition, and mechanisms of value formation. In recent years, some scholars have introduced grounded theory into the study of cultural and creative products, using interviews and textual analysis to explore the relationships among user experience, cultural identity, and design elements. In the Chinese research context, grounded theory has been applied to museum cultural products, intangible cultural heritage (ICH) products, and region-based cultural goods to identify user needs and derive design strategies ( Ma, 2020 ) . However, most existing studies remain focused on classifying user needs or summarizing design elements ( Li, 2019 ) , with relatively few attempts to construct explanatory value structure models. In particular, within heritage-related contexts, the internal relationships among different dimensions of user value remain underexplored ( Waterton & Smith, 2010 ). Grounded theory has often been treated primarily as a tool for need identification or design element extraction, rather than as a methodological framework for theorizing user value structures ( Timothy & Boyd, 2003 ) . This methodological potential remains insufficiently realized in studies of heritage-based cultural and creative products (Xie & Huang, 2025) . The reconstruction of cultural symbols constitutes another central theme in cultural and creative product design research. From perspectives such as semiotics, cultural narrative, and visual translation, existing studies have examined how traditional cultural symbols are rearticulated in contemporary design contexts ( McCracken, 1986 ). These studies emphasize formal reconfiguration, contextual reconstruction, and narrative strategies ( Lowenthal, 1998 ) as means of adapting cultural symbols to contemporary aesthetic preferences and communication environments ( Holt, 1995 ) . However, this body of research tends to focus on how symbols are designed and represented, while paying relatively little attention to how these symbols are transformed into perceptible and comparable value structures through user experience in specific consumption contexts ( Zhou, 2016 ). The visibility of cultural symbols does not necessarily translate into perceptible value (Wang, 2015 ) , and this transformation process still lacks systematic empirical investigation. At the level of cultural experience, social identity, and value perception, prior research has examined the role of cultural and creative products in emotional activation, identity construction, and social interaction from perspectives of cultural experience and social identity (Su & Mat Salleh, 2024) . Studies suggest that through narrative design and contextualized experiences ( Holbrook & Hirschman, 1982 ; Belk, 1988 ) , cultural and creative products facilitate emotional attachment ( Arnould & Thompson, 2005 ) and reinforce cultural identity through social sharing practices ( Richins, 1994 ) . While these studies illuminate the emotional and social mechanisms of cultural product consumption, they often address these dimensions in isolation ( Pine & Gilmore, 1999 ) and rarely explain how different value dimensions operate together to shape users’ overall value judgments of heritage-based cultural products ( Schmitt, 1999 ). This limitation constrains the advancement of theoretical modeling in cultural and creative design research. Moreover, existing studies frequently interpret identity formation from macro-level cultural or branding perspectives, with limited attention to how users integrate emotional, social, and functional values during actual consumption experiences of specific heritage products. As a result, the relationship between cultural symbols and user value perception remains insufficiently theorized at the experiential level. Taken together, the literature reveals three key gaps. First, at the methodological level, although grounded theory has been applied in studies of cultural and creative products, systematic modeling of user value structures remains limited. Second, at the object level, research on heritage-based cultural products has largely prioritized symbolic representation and design expression, while paying comparatively less attention to user experience and value perception. Third, at the theoretical level, existing studies lack an integrative framework capable of explaining how emotional, social, and functional values interact to transform cultural symbols into perceptible value within consumption practices. Therefore, there is a clear need for a user-centered analytical model that explicates the internal logic linking cultural symbols, value perception, and design strategies, in order to address the structural gap between theoretical integration and practical guidance in current research. Methodology This study aims to explore the generative logic of user value structures embedded in cultural and creative products associated with the Huaiyang Taihao Mausoleum, rather than to test predefined relationships among existing variables. Given that the research object involves highly contextualized and subjective dimensions such as cultural cognition, emotional experience, and social meaning, conventional quantitative approaches are insufficient to fully reveal the underlying mechanisms. Therefore, this study adopts grounded theory as its primary methodological approach, generating a theoretical framework inductively from empirical data through systematic qualitative analysis ( Glaser & Strauss, 1967 ). In contrast to hypothesis-driven research paradigms, grounded theory emphasizes theory construction rooted in participants’ lived experiences, progressively developing concepts, categories, and their interrelationships. This approach is particularly well suited to research topics—such as user value structures—that remain insufficiently theorized ( Strauss & Corbin, 1998 ) . Furthermore, this study draws on a constructivist grounded theory perspective, acknowledging the researcher’s interpretive involvement in data analysis and meaning construction, thereby enhancing the contextual sensitivity and reflexivity of theoretical interpretation ( Charmaz, 2006 , 2014 ). In terms of research design, this study integrates multiple qualitative data sources, including in-depth interviews, non-participant field observation, and textual analysis, forming a triangulated research structure to enhance analytical robustness. The research participants encompass key stakeholders involved in cultural and creative product development, including tourists (consumers), cultural and creative designers, intangible cultural heritage inheritors, and cultural studies experts. This inclusive sampling strategy ensures that the value construction process reflects perspectives from user experience, design practice, and cultural context simultaneously. Rather than describing a single case in isolation, the study seeks to distill a value structure model that can be translated into design decision-making, thereby providing actionable theoretical support for the development of cultural heritage–based creative products. The data corpus of this study consists of three types of materials: (1) semi-structured interview transcripts, (2) field observation records, and (3) supplementary textual data, including online user reviews and cultural and design-related texts. To ensure epistemological consistency across different data types during the theory-building process, all materials were subjected to a functional stratification prior to formal coding. Interview data were designated as the primary data source for theory generation and were used for the extraction of initial concepts and the formation of core categories. In contrast, online reviews and cultural/design texts were treated as supplementary data sources, primarily employed during the axial and selective coding stages to verify, refine, or enrich emerging conceptual relationships, rather than to directly drive the generation of core categories ( Guest et al., 2006 ). This stratification strategy helps mitigate potential discursive inconsistencies across heterogeneous textual contexts, thereby enhancing the robustness of the resulting theoretical structure. With regard to supplementary textual data collection, consumer reviews related to cultural and creative products were first collected from online platforms through programmatic procedures to capture naturally occurring expressions of user value. Subsequently, influential cultural and design-related textual sources were selected, including professional design-oriented public accounts such as Design Integration and Innovation and Ai Taoqi Design, as well as journal articles and postgraduate theses retrieved from the CNKI database using the keywords “cultural and creative design” and “intangible cultural heritage.” The search covered a five-year period from January 2020 to May 2025. After preliminary screening and iterative filtering, a total of 60 textual documents were retained for the open coding stage. For core data collection, this study employed semi-structured interviews. Table 1 summarizes the basic characteristics of the interviewees and the focal themes of the interviews to clarify sample composition and data coverage. The interview participants included 89 visitors to the Taihao Mausoleum, 20 cultural and creative designers, and 11 individuals comprising intangible cultural heritage inheritors and scholars specializing in history and folklore. In addition, non-participant field observation was conducted during on-site fieldwork to systematically document cultural and creative product displays, consumption behaviors, and interaction scenarios within and around the Taihao Mausoleum. These observations were supplemented with contextual analysis to further examine key cultural situations emerging from user–product interactions. Table 1 basic information of interviewees and key interview points Information Class Group Number of people Key points Visitor (2–5 minutes) Gender Male 39 User experience, cultural cognition, and emotional feedback Female 60 Age 16–25 32 26–35 27 36–45 19 ≥ 45 11 Creative designer/practitioner Gender Male 6 Cultural translation mode,design logic and symbol selection Female 2 Age 26–35 7 36–45 1 Cultural expert/intangible cultural heritage scholar Gender Male 7 The cultural connotation,symbolic significance and narrative construction of fuxi Female 4 Age 40–49 5 50–59 6 Function-oriented expert data collection. In this study, expert interviews were not conducted in a uniform manner; rather, they were functionally designed according to the specific needs of different stages of theory construction, with the aim of obtaining targeted validation information. Following the completion of open coding, interviews were conducted with intangible cultural heritage inheritors and scholars of history and folklore to perform cultural depth validation. These interviews focused on assessing whether the emerging cultural-symbol categories accurately reflected the core meanings of Fuxi culture and on identifying potential semantic biases or omissions. During the axial coding stage, design practice validation interviews were carried out with senior cultural and creative designers and design theory scholars. These interviews examined whether the emerging main categories adequately captured key considerations in design practice and whether the derived design strategies demonstrated practical feasibility. After a preliminary theoretical model was formed through selective coding, the study further organized integrative model evaluation interviews with interdisciplinary experts. These sessions provided systematic feedback on the overall logical coherence of the value-structure model and the applicability of the proposed design strategy framework. All expert feedback was independently documented in the form of expert validation memos and archived as an essential basis for subsequent model refinement. NVivo software was employed to systematically code interview transcripts and observation records. Data analysis followed the classical three-stage coding procedure of grounded theory, consisting of open coding, axial coding, and selective coding ( Strauss & Corbin, 1998 ; Corbin & Strauss, 2015 ) . During the open coding stage, interview texts were analyzed line by line to identify initial concepts related to cultural and creative consumption experiences. A large number of initial coding nodes were generated and, through multiple rounds of integration, stabilized into a coherent category structure. In total, 35 conceptualized terms were extracted and further grouped into 15 initial categories. During the axial coding stage as shown in Table 2 , constant comparative analysis was applied to integrate concepts into higher-level categories and to clarify their internal relationships. In the selective coding stage Table 3 , the analysis further consolidated the main categories, identified the core categories, and constructed the overall theoretical framework. Specifically, psychological and aesthetic dimensions were integrated to form emotional value, cultural, social, and interactional dimensions were synthesized into social value, and practical considerations were consolidated as functional value. These three core categories interact and mutually reinforce one another, collectively constituting the value structure model of cultural heritage-based cultural and creative products. Table 2 Spindle-type Coding Fundamental category Corresponding to the initial category Brief concept Psychological level Ff1 delivers a sense of belonging, ff8 evokes nostalgia, and ff14 offers an immersive experience. The satisfaction of emotional attachment evokes audience memories and brings good emotional experience Social dimension Ff6 gift economy, ff12 group interaction, ff3 trend tags The exchange of gifts and the products of group interaction can be a trend label The aesthetic dimension Ff7s color aesthetics, ff13s product materials, ff4s creative designs, The aesthetic features of cultural and creative products are embodied in the aspects of shape, material, color and so on. Cultural dimension Ff15 cultural exchange, ff5 cultural identity The intangible cultural heritage creative industry itself has the attribute of cultural connotation, which can be used as an important medium for international or regional communication and exchange. Social aspect Ff2 policy support The rapid development and inheritance protection of wenchang design are promoted by social and national policies Practical dimension Ff11 offers great value for money, while ff9 is eco-friendly. The functional attributes, value attributes and the pursuit of high cost-performance experience of cultural and creative products from the perspective of economy Table 3 selective coding Core category Number of principal categories Corresponding to the initial category Emotional value Psychological dimension (4 items) Ff1s sense of belonging, ff8s nostalgic appeal, ff14s immersive experience, and ff3s trendy branding Aesthetic level (4 items) Ff7s color aesthetics, ff13s material craftsmanship, ff4s innovative designs, and ff10s refined elegance Social value Social aspects (2 items) The gift economy in ff6, and the group interaction in ff12, Cultural level (2 items) Ff15 cultural exchange, ff5 cultural identity Society level (1 item) Ff2 policy support Function value Practical level (2 items) Ff11 offers great value for money, while ff9 is eco-friendly. Table 4 structural relationship diagram of the three core categories Core category Key points of cultural and creative development The fundamental meaning Pyramid structure Relationship overview Emotional value Core driving force Determine if the user "Wants" Top Synergic relationship Social value The extension of emotion and function Product "Meaning" Intermediate structure Function value Basic safeguards User "Needs" Foundation base To ensure the systematicity and transparency of the analytical process, this study drew on the inductive analytical framework proposed by Gioia et al. ( 2013 ) during category development and model construction, thereby strengthening the theoretical rigor of the qualitative analysis. Detailed coding examples and the evolution of categories are provided in the Supplementary Materials. The study employed a retained data approach to assess theoretical saturation ( Tracy, 2010 ). After the initial coding was completed, the full dataset was randomly divided into a 7:3 ratio, with 30% of the textual data reserved as a validation set that did not participate in the initial model construction. This validation dataset was independently coded by a researcher who had not been involved in the earlier stages of analysis and who was familiar with grounded theory methodology. The results indicated that no new categories or relational structures emerged, suggesting that the theoretical model had reached working saturation. To enhance both the academic rigor and practical applicability of the theoretical model, a multi-layered expert validation mechanism was introduced at different stages of the research process. This mechanism included cultural-symbol validation by heritage experts, design-logic validation by experienced designers and design scholars, and overall model validation by interdisciplinary experts. Through multiple rounds of expert feedback and data backtracking, adjustments were made to certain concept labels, category boundaries, and structural relationships, thereby improving the model’s internal consistency and explanatory power. To further ensure the credibility of the findings and control for potential bias, the study employed a combination of data triangulation, researcher reflexive memos, and expert validation procedures. Expert feedback was systematically categorized and incorporated into the model revision process, ensuring that theory construction remained faithful to the original data while also maintaining cultural appropriateness and design feasibility. Through iterative discussions among researchers, expert validation, and retained data testing, the study minimized the influence of single-researcher interpretive bias on the theoretical development. Research Results Through constant comparative analysis of the interview data, six main categories were identified. Under the integration of axial relationships, these categories gradually converged into three core value dimensions: emotional value, social value, and functional value. This value structure was not predetermined but emerged inductively through data-driven analysis, reflecting users’ integrated perceptions of multiple value elements in their consumption experiences of cultural and creative products. On this basis, the study identified the value structure of cultural and creative products as the core category and constructed a qualitative analytical model that explains the mechanism through which user value perceptions are generated. This model provides an overarching framework for subsequent analysis. The resulting three-dimensional value structure model is presented in Fig. 1 . Emotional value was identified as the most immediately perceived value dimension during users’ consumption of cultural and creative products. It is primarily manifested through feelings of satisfaction, immersive experience, and aesthetic pleasure. The coding results indicate that concepts related to experiential engagement and sensory perception appeared with relatively high frequency in the interview data, suggesting that users tend to construct value perceptions of cultural products through interactive experiences and emotional projection. This finding resonates with classic perspectives in consumer experience research, which emphasize that consumption is not merely a process of functional acquisition but also an experiential process involving emotions and symbolic meanings ( Holbrook & Hirschman, 1982 ). By evoking nostalgia, cultural identification, and emotional resonance, cultural and creative products enable users to connect personal experiences with cultural symbols, thereby forming relatively stable value perceptions ( Belk, 1988 ). Social value mainly reflects the role of cultural and creative products in facilitating social interaction and the construction of cultural identity. The coding results show that gift-giving practices, social sharing, and group interaction constitute key manifestations of this value dimension. Cultural and creative products increasingly function as media through which individuals express cultural positions and participate in social interaction. Their value is not entirely intrinsic to the product itself but is continuously reinforced within social contexts of use. This characteristic aligns with theories of symbolic consumption, which conceptualize consumption practices as processes of social meaning production (Holt, 1995 ; Cova & Cova, 2002 ). However, compared with emotional value, social value appears to rely more heavily on users’ emotional identification and specific usage contexts, exhibiting a higher degree of situational dependency. Functional value, in this study, represents the foundational value dimension of cultural and creative products. Relevant coding results indicate that consumers continue to pay attention to practicality, durability, and material attributes when evaluating such products. Textual analysis suggests that contemporary consumers’ functional expectations have shifted from a singular focus on price toward a more integrated consideration of quality and sustainability (Richins, 1994 ) . Within the functional value dimension, reasonable pricing, craftsmanship quality, and practical usability were identified as important factors influencing user evaluation (Pine & Gilmore, 1999 ) . Overall, functional value appeared less frequently in the coding results compared with emotional and social values, yet it was repeatedly referenced when users reflected on actual product usage experiences. Taken together, the analysis indicates that the user value structure of cultural and creative products associated with the Huaiyang Taihao Mausoleum can be summarized into three core dimensions: emotional value, social value, and functional value. These dimensions exhibit different perceptual weights and modes of influence in users’ evaluations, collectively constituting the overall value structure of cultural and creative products. Discussion Dialogue with Existing Research and Theoretical Contributions Based on grounded theory, this study constructs a three-dimensional value structure model for cultural and creative products, consisting of emotional value, social value, and functional value. This finding resonates with existing research that emphasizes emotional experience and the symbolic meanings of cultural products, while extending prior work by offering a more systematic account of value structure and its generative process. Previous studies have often examined the value of cultural and creative products from perspectives such as semiotics, aesthetics, or consumer psychology (Smith, 2006 ), frequently relying on single-dimensional analyses or predefined analytical frameworks. As a result, they tend to lack process-oriented explanations of how value structures emerge from user experience ( Throsby, 2001) . By employing the three-stage coding procedure of grounded theory, this study avoids a priori assumptions about value dimensions and allows the value structure to emerge inductively from multi-actor empirical data. In doing so, it contributes methodologically by expanding the theoretical modeling approaches available in research on cultural and creative products. From a theoretical perspective, the three-dimensional value structure identified in this study further advances discussions in heritage consumption research concerning how value is perceived and constructed. While much existing literature conceptualizes heritage value as a product of expert discourse or institutional frameworks (Smith, 2006 ) , this study foregrounds user experience and reveals the mechanisms through which cultural value is generated in consumption practices. This finding also aligns with consumer culture theory, which conceptualizes consumption as a process of cultural meaning construction (Arnould & Thompson, 2005 ) , suggesting that cultural and creative products function not merely as material carriers of cultural symbols but as mediating structures that connect individual experience, social interaction, and cultural identity. Contextualized Interpretation: Mechanisms of Value Formation in the Fuxi Cultural Context The value structure revealed in this study exhibits pronounced cultural contextuality. As a symbolic space of Fuxi culture, the Huaiyang Taihao Mausoleum embodies not only general cultural symbols but also deep cultural meanings related to the origins of Chinese civilization, ancestral identity, and collective memory. Within this context, emotional value emerges as the most salient dimension, primarily driven by consumers’ emotional projection toward cultural origins. Through engagement with cultural and creative products, consumers establish affective connections with Fuxi culture, transforming consumption into a symbolic practice of cultural identification rather than a purely aesthetic choice (Waterton & Smith, 2010 ) . This affective mechanism centered on ancestral culture is not commonly observed in studies of tourism-oriented cultural and creative products. In contrast, social value appears as an indirect yet stable dimension in this study. Its influence is manifested more strongly in cultural communication and group identity formation than in directly motivating purchase decisions. This finding suggests that the social functions of Taihao Mausoleum cultural products tend to rely on the prior activation of emotional identification rather than operating independently. Functional value, meanwhile, represents the material condition that enables sustained cultural experience. In a context characterized by high symbolic density, functional value does not diminish cultural meaning; instead, it serves as an important medium through which cultural symbols are integrated into everyday life. Model Transferability and Research Boundaries Although this study focuses on Fuxi culture at the Taihao Mausoleum, the proposed three-dimensional value structure model demonstrates a degree of transferability. The emotional–social–functional value configuration may appear in other forms of intangible cultural heritage, historical sites, or regional cultural and creative products, albeit with different weight distributions ( Gioia & Hamilton, 2013 ). However, it should be noted that the prioritization and interaction mechanisms of value dimensions may vary significantly across cultural contexts (Timothy & Boyd, 2003 ). For instance, in entertainment-oriented cultural IP products, the composition and prominence of social or emotional value may differ substantially from those observed in ancestry-centered heritage contexts. Consequently, the application of this model across cultural settings requires contextual adaptation. From a broader international heritage research perspective, the user value structure identified in this study provides empirical insight into how cultural heritage can achieve renewed meaning within contemporary consumption contexts. In particular, the challenge of balancing cultural authenticity, user experience, and functional design is a shared concern across diverse global heritage activation practices. Moreover, as a theory-building study grounded in qualitative methodology, the objective of this research is to explain mechanisms rather than to achieve statistical generalization. Future studies may build upon this model by incorporating quantitative approaches to further examine the relationships among value dimensions. Research Limitations and Directions for Future Research This study is subject to several limitations. First, the empirical sample is primarily concentrated on the Taihao Mausoleum and its associated consumer groups. Although multiple data sources were employed, the findings remain closely tied to a specific regional and cultural context. Second, despite the incorporation of expert validation procedures to enhance research credibility, the coding process inevitably reflects the interpretive framework of the researchers. Future research may proceed in three directions. First, comparative studies across different types of intangible cultural heritage products could be conducted to examine variations in value structures. Second, quantitative methods could be introduced to test the causal relationships among value dimensions identified in this study. Third, in the context of digital cultural products and new media communication, further research may explore the evolving dynamics of emotional and social value. Conclusion This study focuses on the cultural and creative products (CCPs) of Fuxi culture at Taihao Mausoleum in Huaiyang. Using a grounded theory approach, it constructs a three-dimensional value structure model encompassing emotional, social, and functional values from the perspective of user experience. Unlike previous research that primarily relies on pre-established theoretical frameworks or design guidelines, this study adopts an inductive approach to reveal the generative logic of CCP value, offering a novel interpretive pathway for understanding how “cultural meaning is transformed into perceptible value” in intangible cultural heritage (ICH) creative products. Theoretically, the main contribution of this study lies in proposing a user value–centered analytical framework for CCPs, thereby extending the discussion of value dimensions in cultural and creative product research. By systematically integrating emotional, social, and functional value elements, this study moves beyond the simplistic view of CCPs as mere cultural symbols or aesthetic objects, emphasizing that the realization of cultural value depends on the synergistic interaction among multiple value dimensions. Within the broader context of cultural studies, the findings indicate that the value of heritage-oriented CCPs is not intrinsic, but dynamically generated through the interaction of specific cultural contexts, consumption practices, and user experiences. This insight has implications for understanding the interplay among heritage preservation, cultural dissemination, and the development of the creative industries, while also providing a transferable analytical perspective for the study of cultural products in cross-cultural contexts. Although the study is grounded in the highly symbolic case of Fuxi culture, the constructed value structure model has potential applicability across different contexts. It can serve as a theoretical reference for research on other historical sites, ICH projects, and regional cultural CCPs, laying the groundwork for comparative analyses across diverse cultural settings. Future research can build on this framework by incorporating quantitative methods or cross-cultural comparative perspectives to explore the dynamic evolution and mechanisms of CCP value structures. Furthermore, with the advancement of digital technologies and evolving forms of cultural consumption, the reconstruction of emotional and social values within digital CCP contexts warrants ongoing attention. Overall, this study demonstrates that the value of heritage-based CCPs does not stem solely from cultural symbols themselves but is continuously generated through the dynamic interaction of user experience, social engagement, and functional practice. This perspective offers a new theoretical entry point for understanding the relationship between the creative industries and heritage preservation. From a broader viewpoint, the study responds to a central issue in contemporary cultural research—how culture continues to exert meaning in everyday consumption—providing an empirical basis for understanding the mechanisms through which cultural heritage is reproduced in contemporary society. Declarations Data availability All data supporting the findings of this study are included in the article. Interview outlines and summarized content can be accessed in the supplementary materials. The foundational data for this research were derived from transcripts of qualitative interviews with participants. Due to the risk of participant identification and in accordance with our ethical approval and informed consent procedures, raw data—such as audio recordings and photographs—are not publicly available. Competing interests The authors declare no competing interests. Ethical approval This study involved human participants and their data. All research procedures strictly adhered to the ethical standards established by institutional and national research ethics committees in China, as well as the principles outlined in the Declaration of Helsinki (1964) and its subsequent amendments or equivalent ethical guidelines. The study received ethical approval from the Ethics Committee of the School of Design, Zhou kou Normal University (Approval No.: 20240510), which covers all aspects of the research, including participant recruitment, data collection, and data analysis. Throughout the study, the rights, safety, privacy, and well-being of participants were rigorously protected in accordance with the approved protocol and relevant Chinese regulations. Informed consent Prior to the commencement of the study, written informed consent was obtained from all participants. All participants were adults aged 18 or above with full civil capacity (no minors, patients, or other vulnerable groups were involved). Data were collected from September 30, 2024, to June 30, 2025. Participants were informed of the study’s purpose, assured of anonymity, notified that their responses would be used solely for academic purposes, and made aware of the potential risks and benefits of participation. All individuals volunteered to take part in the study after receiving this information. The submitted materials do not contain any images or information that could identify individual participants. References Shakya M, Vagnarelli G (2024) Creating value from intangible cultural heritage: The role of innovation for sustainable tourism and regional rural development. Eur J Cult Manage Policy 14:12057. https://doi.org/10.3389/ejcmp.2024.12057 Smith L (2006) Uses of heritage. Routledge Graham B, Ashworth GJ, Tunbridge JE (2016) A geography of heritage: Power, culture and economy. Arnold Zhang F (2017) Design culture studies. 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J Consum Res 21(3):504–521. https://doi.org/10.1086/209414 McCracken G (1986) Culture and consumption: A theoretical account of the structure and movement of the cultural meaning of consumer goods. J Consum Res 13(1):71–84. https://doi.org/10.1086/209048 Pine BJ, Gilmore JH (1999) The experience economy. Harvard Business School Press Schmitt B (1999) Experiential marketing.Journal of Marketing Management. 15(1–3):53–67. https://doi.org/10.1362/026725799784870496 Cova B, Cova V (2002) Tribal marketing: The tribalisation of society and its impact on the conduct of marketing. Eur J Mark 36(5–6):595–620. https://doi.org/10.1108/03090560210423023 Glaser BG, Strauss AL (1967) The discovery of grounded theory: Strategies for qualitative research. Aldine Strauss A, Corbin J (1998) Basics of qualitative research: Techniques and procedures for developing grounded theory, 2nd edn. Sage Charmaz K (2006) Constructing grounded theory: A practical guide through qualitative analysis. Sage Charmaz K (2014) Constructing grounded theory, 2nd edn. Sage Corbin J, Strauss A (2015) Basics of qualitative research, 4th edn. Sage Guest G, Bunce A, Johnson L (2006) How many interviews are enough?Field. Methods 18(1):59–82. https://doi.org/10.1177/1525822X05279903 Tracy SJ (2010) Qualitative quality.Qualitative Inquiry. 16(10):837–851. https://doi.org/10.1177/1077800410383121 Gioia DA, Corley KG, Hamilton AL (2013) Seeking qualitative rigor in inductive research. Organizational Res Methods 16(1):15–31. https://doi.org/10.1177/1094428112452151 Additional Declarations No competing interests reported. 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Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-8448462","acceptedTermsAndConditions":true,"allowDirectSubmit":true,"archivedVersions":[],"articleType":"Article","associatedPublications":[],"authors":[{"id":581869117,"identity":"ec46f521-2cf7-4759-b21e-930c04ecdf36","order_by":0,"name":"勒勒 朱","email":"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAA00lEQVRIiWNgGAWjYBACNvbm4x8S/0nIARkHiNPCx3MsjeEDm40xP8+xBOK0yEnkmDHOYEtLnDkjx4BIh/EcMHvMw3OYccONnI833jDYyek2ENLC3pBuzCNxmNngzNvNlnMYko3NDhC25YA0j8FhNoPjudukeRgOJG4jqEUisUGaJ+Ewj8GBnGfEaklmk5xxIE1CsiOHjUgtPMeYDT422BgAA9nYco4BEX6Rb+//+CCxQaK+jb354Y03FXZyBLWgAAkeIqMGWQupOkbBKBgFo2BEAAAzu0LTuN0hkAAAAABJRU5ErkJggg==","orcid":"","institution":"Zhoukou Normal University","correspondingAuthor":true,"prefix":"","firstName":"勒勒","middleName":"","lastName":"朱","suffix":""},{"id":581869118,"identity":"164b71bc-f22f-4181-b079-105fc6312c26","order_by":1,"name":"赫威玲 锡克","email":"","orcid":"","institution":"UCSI University","correspondingAuthor":false,"prefix":"","firstName":"赫威玲","middleName":"","lastName":"锡克","suffix":""}],"badges":[],"createdAt":"2025-12-25 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16:26:58","extension":"docx","order_by":7,"title":"","display":"","copyAsset":false,"role":"supplement","size":22145,"visible":true,"origin":"","legend":"","description":"","filename":"SupplementaryMaterial4SummaryofCulturalandCreativeDesignerInterviewContents.docx","url":"https://assets-eu.researchsquare.com/files/rs-8448462/v1/1ce1aa0bc19ac87e6c783c57.docx"},{"id":101436964,"identity":"edbf9446-67b0-4583-a639-0a9339c03d7a","added_by":"auto","created_at":"2026-01-29 16:26:58","extension":"docx","order_by":8,"title":"","display":"","copyAsset":false,"role":"supplement","size":25902,"visible":true,"origin":"","legend":"","description":"","filename":"SupplementaryMaterial5SummaryofInterviewswithCulturalExpertsandIntangibleCulturalHeritageScholars.docx","url":"https://assets-eu.researchsquare.com/files/rs-8448462/v1/516d10f531431f217479ee56.docx"}],"financialInterests":"No competing interests reported.","formattedTitle":"From Cultural Symbols to User Value Construction:A Grounded Theory Study of Heritage-Based Creative Products","fulltext":[{"header":"Introduction","content":"\u003cp\u003eWith the deep integration of cultural heritage preservation and the cultural and creative industries, intangible cultural heritage is no longer treated merely as a static historical legacy but is increasingly regarded as a dynamic cultural resource with contemporary communicative value and market potential. Recent international scholarship has gradually shifted from a protection-oriented approach toward a value-creation-oriented perspective, emphasizing the sustainable transformation of heritage value through innovative design and experiential consumption \u003cb\u003e(\u003c/b\u003eShakya \u0026amp; Vagnarelli, \u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e2024\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e In this context, how traditional cultural symbols can be translated into cultural products with contemporary relevance has become a key concern shared by both cultural studies and design research. Cultural heritage-based creative products not only function as vehicles for cultural transmission \u003cb\u003e(\u003c/b\u003eSmith, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2006\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e but also actively reshape users\u0026rsquo; perceptions and interpretations of cultural value through consumption practices \u003cb\u003e(\u003c/b\u003eGraham et al., \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e2016\u003c/span\u003e).\u003c/p\u003e \u003cp\u003eAs an important ancestral cultural heritage of Chinese civilization, Fuxi culture has been continuously sustained through ritual spaces, ceremonial practices, and folk traditions, forming a highly symbolic cultural system \u003cb\u003e(Zhang, 2016).\u003c/b\u003e In recent years, driven by the development of cultural tourism and creative industries, Fuxi culture has been increasingly incorporated into the design of cultural and creative products, serving as a medium that connects traditional cultural narratives with contemporary everyday life. However, this process of transformation has encountered substantial challenges in practice.\u003c/p\u003e \u003cp\u003eExisting Fuxi culture-related creative products are often characterized by superficial appropriation of cultural symbols, design homogenization, and limited user experience. Many products rely heavily on visual replication or decorative use of symbols, lacking systematic cultural translation and thus failing to generate stable value perception at the levels of emotional engagement, social interaction, and practical use. Such supply-driven development models frequently result in a disconnect between cultural meaning and user-perceived value, thereby constraining the sustainable development of cultural heritage creative products.\u003c/p\u003e \u003cp\u003eFrom a research perspective, prior studies have primarily focused on symbolic representation, narrative strategies, or industrial development pathways, while paying comparatively little attention to users\u0026rsquo; lived experiences. In particular, there remains a lack of empirical research that systematically explains how cultural symbols are transformed into multidimensional value structures within specific consumption contexts. Within the realm of cultural heritage creative products, the relationships among emotional experience, social meaning, and functional expectations have yet to be sufficiently theorized based on empirical evidence.\u003c/p\u003e \u003cp\u003eAgainst this backdrop, this study adopts a grounded theory approach to investigate cultural and creative products derived from Fuxi culture at Taihao Mausoleum in Huaiyang. From a user-centered perspective, the study aims to explore how users perceive and construct value through their interactions with heritage-based creative products. Specifically, this research seeks to address the following questions:\u003c/p\u003e \u003cp\u003e(1) What core dimensions constitute the user value structure of Fuxi culture-based creative products?\u003c/p\u003e \u003cp\u003e(2) How do these value dimensions interact to influence the perception and transformation of cultural meaning?\u003c/p\u003e \u003cp\u003eBy constructing a user-oriented value structure model for cultural heritage creative products, this study seeks to provide an interpretable and transferable theoretical pathway for translating cultural symbols into design frameworks.\u003c/p\u003e \u003cp\u003eWhat remains underexplored is not whether cultural symbols carry value, but how such value is experientially constituted and structured from the user\u0026rsquo;s perspective in heritage-based creative products.\u003c/p\u003e"},{"header":"Literature Review","content":"\u003cp\u003eGrounded theory, as a qualitative research approach that emphasizes theory generation from empirical data, has been widely applied in cultural studies, design research, and consumer research. Previous studies have demonstrated its particular strengths in uncovering user need structures, patterns of cultural cognition, and mechanisms of value formation. In recent years, some scholars have introduced grounded theory into the study of cultural and creative products, using interviews and textual analysis to explore the relationships among user experience, cultural identity, and design elements.\u003c/p\u003e \u003cp\u003eIn the Chinese research context, grounded theory has been applied to museum cultural products, intangible cultural heritage (ICH) products, and region-based cultural goods to identify user needs and derive design strategies \u003cb\u003e(\u003c/b\u003eMa, \u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2020\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. However, most existing studies remain focused on classifying user needs or summarizing design elements \u003cb\u003e(\u003c/b\u003eLi, \u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e2019\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e, with relatively few attempts to construct explanatory value structure models. In particular, within heritage-related contexts, the internal relationships among different dimensions of user value remain underexplored \u003cb\u003e(\u003c/b\u003eWaterton \u0026amp; Smith, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e2010\u003c/span\u003e). Grounded theory has often been treated primarily as a tool for need identification or design element extraction, rather than as a methodological framework for theorizing user value structures \u003cb\u003e(\u003c/b\u003eTimothy \u0026amp; Boyd, \u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2003\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. This methodological potential remains insufficiently realized in studies of heritage-based cultural and creative products \u003cb\u003e(Xie \u0026amp; Huang, 2025)\u003c/b\u003e.\u003c/p\u003e \u003cp\u003eThe reconstruction of cultural symbols constitutes another central theme in cultural and creative product design research. From perspectives such as semiotics, cultural narrative, and visual translation, existing studies have examined how traditional cultural symbols are rearticulated in contemporary design contexts \u003cb\u003e(\u003c/b\u003eMcCracken, \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e1986\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e These studies emphasize formal reconfiguration, contextual reconstruction, and narrative strategies \u003cb\u003e(\u003c/b\u003eLowenthal, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e1998\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e as means of adapting cultural symbols to contemporary aesthetic preferences and communication environments \u003cb\u003e(\u003c/b\u003eHolt, \u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e1995\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. However, this body of research tends to focus on how symbols are designed and represented, while paying relatively little attention to how these symbols are transformed into perceptible and comparable value structures through user experience in specific consumption contexts \u003cb\u003e(\u003c/b\u003eZhou, \u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e2016\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e The visibility of cultural symbols does not necessarily translate into perceptible value (Wang, \u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e2015\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e, and this transformation process still lacks systematic empirical investigation.\u003c/p\u003e \u003cp\u003eAt the level of cultural experience, social identity, and value perception, prior research has examined the role of cultural and creative products in emotional activation, identity construction, and social interaction from perspectives of cultural experience and social identity \u003cb\u003e(Su \u0026amp; Mat Salleh, 2024)\u003c/b\u003e. Studies suggest that through narrative design and contextualized experiences \u003cb\u003e(\u003c/b\u003eHolbrook \u0026amp; Hirschman, \u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e1982\u003c/span\u003e; Belk, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e1988\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e, cultural and creative products facilitate emotional attachment \u003cb\u003e(\u003c/b\u003eArnould \u0026amp; Thompson, \u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2005\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e and reinforce cultural identity through social sharing practices \u003cb\u003e(\u003c/b\u003eRichins, \u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e1994\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. While these studies illuminate the emotional and social mechanisms of cultural product consumption, they often address these dimensions in isolation \u003cb\u003e(\u003c/b\u003ePine \u0026amp; Gilmore, \u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e1999\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e and rarely explain how different value dimensions operate together to shape users\u0026rsquo; overall value judgments of heritage-based cultural products \u003cb\u003e(\u003c/b\u003eSchmitt, \u003cspan citationid=\"CR21\" class=\"CitationRef\"\u003e1999\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e This limitation constrains the advancement of theoretical modeling in cultural and creative design research.\u003c/p\u003e \u003cp\u003eMoreover, existing studies frequently interpret identity formation from macro-level cultural or branding perspectives, with limited attention to how users integrate emotional, social, and functional values during actual consumption experiences of specific heritage products. As a result, the relationship between cultural symbols and user value perception remains insufficiently theorized at the experiential level.\u003c/p\u003e \u003cp\u003eTaken together, the literature reveals three key gaps.\u003c/p\u003e \u003cp\u003eFirst, at the methodological level, although grounded theory has been applied in studies of cultural and creative products, systematic modeling of user value structures remains limited.\u003c/p\u003e \u003cp\u003eSecond, at the object level, research on heritage-based cultural products has largely prioritized symbolic representation and design expression, while paying comparatively less attention to user experience and value perception.\u003c/p\u003e \u003cp\u003eThird, at the theoretical level, existing studies lack an integrative framework capable of explaining how emotional, social, and functional values interact to transform cultural symbols into perceptible value within consumption practices.\u003c/p\u003e \u003cp\u003eTherefore, there is a clear need for a user-centered analytical model that explicates the internal logic linking cultural symbols, value perception, and design strategies, in order to address the structural gap between theoretical integration and practical guidance in current research.\u003c/p\u003e \u003cdiv id=\"Sec3\" class=\"Section2\"\u003e \u003ch2\u003eMethodology\u003c/h2\u003e \u003cp\u003eThis study aims to explore the generative logic of user value structures embedded in cultural and creative products associated with the Huaiyang Taihao Mausoleum, rather than to test predefined relationships among existing variables. Given that the research object involves highly contextualized and subjective dimensions such as cultural cognition, emotional experience, and social meaning, conventional quantitative approaches are insufficient to fully reveal the underlying mechanisms. Therefore, this study adopts grounded theory as its primary methodological approach, generating a theoretical framework inductively from empirical data through systematic qualitative analysis \u003cb\u003e(\u003c/b\u003eGlaser \u0026amp; Strauss, \u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e1967\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e\u003c/p\u003e \u003cp\u003eIn contrast to hypothesis-driven research paradigms, grounded theory emphasizes theory construction rooted in participants\u0026rsquo; lived experiences, progressively developing concepts, categories, and their interrelationships. This approach is particularly well suited to research topics\u0026mdash;such as user value structures\u0026mdash;that remain insufficiently theorized \u003cb\u003e(\u003c/b\u003eStrauss \u0026amp; Corbin, \u003cspan citationid=\"CR24\" class=\"CitationRef\"\u003e1998\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. Furthermore, this study draws on a constructivist grounded theory perspective, acknowledging the researcher\u0026rsquo;s interpretive involvement in data analysis and meaning construction, thereby enhancing the contextual sensitivity and reflexivity of theoretical interpretation \u003cb\u003e(\u003c/b\u003eCharmaz, \u003cspan citationid=\"CR25\" class=\"CitationRef\"\u003e2006\u003c/span\u003e, \u003cspan citationid=\"CR26\" class=\"CitationRef\"\u003e2014\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e\u003c/p\u003e \u003cp\u003eIn terms of research design, this study integrates multiple qualitative data sources, including in-depth interviews, non-participant field observation, and textual analysis, forming a triangulated research structure to enhance analytical robustness. The research participants encompass key stakeholders involved in cultural and creative product development, including tourists (consumers), cultural and creative designers, intangible cultural heritage inheritors, and cultural studies experts. This inclusive sampling strategy ensures that the value construction process reflects perspectives from user experience, design practice, and cultural context simultaneously. Rather than describing a single case in isolation, the study seeks to distill a value structure model that can be translated into design decision-making, thereby providing actionable theoretical support for the development of cultural heritage\u0026ndash;based creative products.\u003c/p\u003e \u003cp\u003eThe data corpus of this study consists of three types of materials: (1) semi-structured interview transcripts, (2) field observation records, and (3) supplementary textual data, including online user reviews and cultural and design-related texts. To ensure epistemological consistency across different data types during the theory-building process, all materials were subjected to a functional stratification prior to formal coding.\u003c/p\u003e \u003cp\u003eInterview data were designated as the primary data source for theory generation and were used for the extraction of initial concepts and the formation of core categories. In contrast, online reviews and cultural/design texts were treated as supplementary data sources, primarily employed during the axial and selective coding stages to verify, refine, or enrich emerging conceptual relationships, rather than to directly drive the generation of core categories \u003cb\u003e(\u003c/b\u003eGuest et al., \u003cspan citationid=\"CR28\" class=\"CitationRef\"\u003e2006\u003c/span\u003e). This stratification strategy helps mitigate potential discursive inconsistencies across heterogeneous textual contexts, thereby enhancing the robustness of the resulting theoretical structure.\u003c/p\u003e \u003cp\u003eWith regard to supplementary textual data collection, consumer reviews related to cultural and creative products were first collected from online platforms through programmatic procedures to capture naturally occurring expressions of user value. Subsequently, influential cultural and design-related textual sources were selected, including professional design-oriented public accounts such as Design Integration and Innovation and Ai Taoqi Design, as well as journal articles and postgraduate theses retrieved from the CNKI database using the keywords \u0026ldquo;cultural and creative design\u0026rdquo; and \u0026ldquo;intangible cultural heritage.\u0026rdquo; The search covered a five-year period from January 2020 to May 2025. After preliminary screening and iterative filtering, a total of 60 textual documents were retained for the open coding stage.\u003c/p\u003e \u003cp\u003eFor core data collection, this study employed semi-structured interviews. Table\u0026nbsp;\u003cspan refid=\"Tab1\" class=\"InternalRef\"\u003e1\u003c/span\u003e \u003cb\u003esummarizes the basic characteristics of the interviewees and the focal themes of the interviews to clarify sample composition and data coverage.\u003c/b\u003e The interview participants included 89 visitors to the Taihao Mausoleum, 20 cultural and creative designers, and 11 individuals comprising intangible cultural heritage inheritors and scholars specializing in history and folklore. In addition, non-participant field observation was conducted during on-site fieldwork to systematically document cultural and creative product displays, consumption behaviors, and interaction scenarios within and around the Taihao Mausoleum. These observations were supplemented with contextual analysis to further examine key cultural situations emerging from user\u0026ndash;product interactions.\u003c/p\u003e \u003cp\u003e \u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab1\" border=\"1\"\u003e \u003ccaption language=\"En\"\u003e \u003cdiv class=\"CaptionNumber\"\u003eTable 1\u003c/div\u003e \u003cdiv class=\"CaptionContent\"\u003e \u003cp\u003ebasic information of interviewees and key interview points\u003c/p\u003e \u003c/div\u003e \u003c/caption\u003e \u003ccolgroup cols=\"5\"\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e \u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e \u003cthead\u003e \u003ctr\u003e \u003cth align=\"left\" colname=\"c1\"\u003e \u003cp\u003eInformation\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c2\"\u003e \u003cp\u003eClass\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c3\"\u003e \u003cp\u003eGroup\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c4\"\u003e \u003cp\u003eNumber of people\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c5\"\u003e \u003cp\u003eKey points\u003c/p\u003e \u003c/th\u003e \u003c/tr\u003e \u003c/thead\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\" morerows=\"5\" rowspan=\"6\"\u003e \u003cp\u003eVisitor\u003c/p\u003e \u003cp\u003e(2\u0026ndash;5 minutes)\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\" morerows=\"1\" rowspan=\"2\"\u003e \u003cp\u003eGender\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eMale\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e39\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c5\" morerows=\"5\" rowspan=\"6\"\u003e \u003cp\u003eUser experience, cultural cognition, and emotional feedback\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFemale\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e60\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c2\" morerows=\"3\" rowspan=\"4\"\u003e \u003cp\u003eAge\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e16\u0026ndash;25\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e32\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e26\u0026ndash;35\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e27\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e36\u0026ndash;45\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e19\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e\u0026ge;\u0026thinsp;45\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e11\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\" morerows=\"3\" rowspan=\"4\"\u003e \u003cp\u003eCreative designer/practitioner\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\" morerows=\"1\" rowspan=\"2\"\u003e \u003cp\u003eGender\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eMale\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e6\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c5\" morerows=\"3\" rowspan=\"4\"\u003e \u003cp\u003eCultural translation mode,design logic and symbol selection\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFemale\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e2\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c2\" morerows=\"1\" rowspan=\"2\"\u003e \u003cp\u003eAge\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e26\u0026ndash;35\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e7\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e36\u0026ndash;45\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e1\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\" morerows=\"3\" rowspan=\"4\"\u003e \u003cp\u003eCultural expert/intangible cultural heritage scholar\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\" morerows=\"1\" rowspan=\"2\"\u003e \u003cp\u003eGender\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eMale\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e7\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c5\" morerows=\"3\" rowspan=\"4\"\u003e \u003cp\u003eThe cultural connotation,symbolic significance and narrative construction of fuxi\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFemale\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e4\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c2\" morerows=\"1\" rowspan=\"2\"\u003e \u003cp\u003eAge\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e40\u0026ndash;49\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e5\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e50\u0026ndash;59\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e \u003cp\u003e6\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003c/tbody\u003e \u003c/colgroup\u003e \u003c/table\u003e\u003c/div\u003e \u003c/p\u003e \u003cp\u003eFunction-oriented expert data collection.\u003c/p\u003e \u003cp\u003eIn this study, expert interviews were not conducted in a uniform manner; rather, they were functionally designed according to the specific needs of different stages of theory construction, with the aim of obtaining targeted validation information. Following the completion of open coding, interviews were conducted with intangible cultural heritage inheritors and scholars of history and folklore to perform cultural depth validation. These interviews focused on assessing whether the emerging cultural-symbol categories accurately reflected the core meanings of Fuxi culture and on identifying potential semantic biases or omissions.\u003c/p\u003e \u003cp\u003eDuring the axial coding stage, design practice validation interviews were carried out with senior cultural and creative designers and design theory scholars. These interviews examined whether the emerging main categories adequately captured key considerations in design practice and whether the derived design strategies demonstrated practical feasibility. After a preliminary theoretical model was formed through selective coding, the study further organized integrative model evaluation interviews with interdisciplinary experts. These sessions provided systematic feedback on the overall logical coherence of the value-structure model and the applicability of the proposed design strategy framework. All expert feedback was independently documented in the form of expert validation memos and archived as an essential basis for subsequent model refinement.\u003c/p\u003e \u003cp\u003eNVivo software was employed to systematically code interview transcripts and observation records. Data analysis followed the classical three-stage coding procedure of grounded theory, consisting of open coding, axial coding, and selective coding \u003cb\u003e(\u003c/b\u003eStrauss \u0026amp; Corbin, \u003cspan citationid=\"CR24\" class=\"CitationRef\"\u003e1998\u003c/span\u003e; Corbin \u0026amp; Strauss, \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2015\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. During the open coding stage, interview texts were analyzed line by line to identify initial concepts related to cultural and creative consumption experiences. A large number of initial coding nodes were generated and, through multiple rounds of integration, stabilized into a coherent category structure. In total, 35 conceptualized terms were extracted and further grouped into 15 initial categories.\u003c/p\u003e \u003cp\u003eDuring the axial coding stage \u003cb\u003eas shown in\u003c/b\u003e Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e, constant comparative analysis was applied to integrate concepts into higher-level categories and to clarify their internal relationships. In the selective coding stage Table\u0026nbsp;\u003cspan refid=\"Tab3\" class=\"InternalRef\"\u003e3\u003c/span\u003e, the analysis further consolidated the main categories, identified the core categories, and constructed the overall theoretical framework. Specifically, psychological and aesthetic dimensions were integrated to form emotional value, cultural, social, and interactional dimensions were synthesized into social value, and practical considerations were consolidated as functional value. These three core categories interact and mutually reinforce one another, collectively constituting the value structure model of cultural heritage-based cultural and creative products.\u003c/p\u003e \u003cp\u003e \u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab2\" border=\"1\"\u003e \u003ccaption language=\"En\"\u003e \u003cdiv class=\"CaptionNumber\"\u003eTable 2\u003c/div\u003e \u003cdiv class=\"CaptionContent\"\u003e \u003cp\u003eSpindle-type Coding\u003c/p\u003e \u003c/div\u003e \u003c/caption\u003e \u003ccolgroup cols=\"3\"\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e \u003cthead\u003e \u003ctr\u003e \u003cth align=\"left\" colname=\"c1\"\u003e \u003cp\u003eFundamental category\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c2\"\u003e \u003cp\u003eCorresponding to the initial category\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c3\"\u003e \u003cp\u003eBrief concept\u003c/p\u003e \u003c/th\u003e \u003c/tr\u003e \u003c/thead\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003ePsychological level\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eFf1 delivers a sense of belonging, ff8 evokes nostalgia, and ff14 offers an immersive experience.\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe satisfaction of emotional attachment evokes audience memories and brings good emotional experience\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eSocial dimension\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eFf6 gift economy, ff12 group interaction, ff3 trend tags\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe exchange of gifts and the products of group interaction can be a trend label\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eThe aesthetic dimension\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eFf7s color aesthetics, ff13s product materials, ff4s creative designs,\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe aesthetic features of cultural and creative products are embodied in the aspects of shape, material, color and so on.\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eCultural dimension\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eFf15 cultural exchange, ff5 cultural identity\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe intangible cultural heritage creative industry itself has the attribute of cultural connotation, which can be used as an important medium for international or regional communication and exchange.\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eSocial aspect\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eFf2 policy support\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe rapid development and inheritance protection of wenchang design are promoted by social and national policies\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003ePractical dimension\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eFf11 offers great value for money, while ff9 is eco-friendly.\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe functional attributes, value attributes and the pursuit of high cost-performance experience of cultural and creative products from the perspective of economy\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003c/tbody\u003e \u003c/colgroup\u003e \u003c/table\u003e\u003c/div\u003e \u003c/p\u003e \u003cp\u003e \u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab3\" border=\"1\"\u003e \u003ccaption language=\"En\"\u003e \u003cdiv class=\"CaptionNumber\"\u003eTable 3\u003c/div\u003e \u003cdiv class=\"CaptionContent\"\u003e \u003cp\u003eselective coding\u003c/p\u003e \u003c/div\u003e \u003c/caption\u003e \u003ccolgroup cols=\"3\"\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e \u003cthead\u003e \u003ctr\u003e \u003cth align=\"left\" colname=\"c1\"\u003e \u003cp\u003eCore category\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c2\"\u003e \u003cp\u003eNumber of principal categories\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c3\"\u003e \u003cp\u003eCorresponding to the initial category\u003c/p\u003e \u003c/th\u003e \u003c/tr\u003e \u003c/thead\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\" morerows=\"1\" rowspan=\"2\"\u003e \u003cp\u003eEmotional value\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003ePsychological dimension (4 items)\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFf1s sense of belonging, ff8s nostalgic appeal, ff14s immersive experience, and ff3s trendy branding\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eAesthetic level (4 items)\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFf7s color aesthetics, ff13s material craftsmanship, ff4s innovative designs, and ff10s refined elegance\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\" morerows=\"2\" rowspan=\"3\"\u003e \u003cp\u003eSocial value\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eSocial aspects (2 items)\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe gift economy in ff6, and the group interaction in ff12,\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eCultural level (2 items)\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFf15 cultural exchange, ff5 cultural identity\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eSociety level (1 item)\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFf2 policy support\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eFunction value\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003ePractical level (2 items)\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eFf11 offers great value for money, while ff9 is eco-friendly.\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003c/tbody\u003e \u003c/colgroup\u003e \u003c/table\u003e\u003c/div\u003e \u003c/p\u003e \u003cp\u003e \u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab4\" border=\"1\"\u003e \u003ccaption language=\"En\"\u003e \u003cdiv class=\"CaptionNumber\"\u003eTable 4\u003c/div\u003e \u003cdiv class=\"CaptionContent\"\u003e \u003cp\u003estructural relationship diagram of the three core categories\u003c/p\u003e \u003c/div\u003e \u003c/caption\u003e \u003ccolgroup cols=\"5\"\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e \u003cthead\u003e \u003ctr\u003e \u003cth align=\"left\" colname=\"c1\"\u003e \u003cp\u003eCore category\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c2\"\u003e \u003cp\u003eKey points of cultural and creative development\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c3\"\u003e \u003cp\u003eThe fundamental meaning\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c4\"\u003e \u003cp\u003ePyramid structure\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c5\"\u003e \u003cp\u003eRelationship overview\u003c/p\u003e \u003c/th\u003e \u003c/tr\u003e \u003c/thead\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eEmotional value\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eCore driving force\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eDetermine if the user \"Wants\"\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c4\"\u003e \u003cp\u003eTop\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c5\" morerows=\"2\" rowspan=\"3\"\u003e \u003cp\u003eSynergic relationship\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eSocial value\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eThe extension of emotion and function\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eProduct \"Meaning\"\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c4\"\u003e \u003cp\u003eIntermediate structure\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eFunction value\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003eBasic safeguards\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003eUser \"Needs\"\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c4\"\u003e \u003cp\u003eFoundation base\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003c/tbody\u003e \u003c/colgroup\u003e \u003c/table\u003e\u003c/div\u003e \u003c/p\u003e \u003cp\u003eTo ensure the systematicity and transparency of the analytical process, this study drew on the inductive analytical framework proposed by Gioia et al. (\u003cspan citationid=\"CR30\" class=\"CitationRef\"\u003e2013\u003c/span\u003e) during category development and model construction, thereby strengthening the theoretical rigor of the qualitative analysis. Detailed coding examples and the evolution of categories are provided in the Supplementary Materials. The study employed a retained data approach to assess theoretical saturation \u003cb\u003e(\u003c/b\u003eTracy, \u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e2010\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e After the initial coding was completed, the full dataset was randomly divided into a 7:3 ratio, with 30% of the textual data reserved as a validation set that did not participate in the initial model construction. This validation dataset was independently coded by a researcher who had not been involved in the earlier stages of analysis and who was familiar with grounded theory methodology. The results indicated that no new categories or relational structures emerged, suggesting that the theoretical model had reached working saturation.\u003c/p\u003e \u003cp\u003eTo enhance both the academic rigor and practical applicability of the theoretical model, a multi-layered expert validation mechanism was introduced at different stages of the research process. This mechanism included cultural-symbol validation by heritage experts, design-logic validation by experienced designers and design scholars, and overall model validation by interdisciplinary experts. Through multiple rounds of expert feedback and data backtracking, adjustments were made to certain concept labels, category boundaries, and structural relationships, thereby improving the model\u0026rsquo;s internal consistency and explanatory power.\u003c/p\u003e \u003cp\u003eTo further ensure the credibility of the findings and control for potential bias, the study employed a combination of data triangulation, researcher reflexive memos, and expert validation procedures. Expert feedback was systematically categorized and incorporated into the model revision process, ensuring that theory construction remained faithful to the original data while also maintaining cultural appropriateness and design feasibility. Through iterative discussions among researchers, expert validation, and retained data testing, the study minimized the influence of single-researcher interpretive bias on the theoretical development.\u003c/p\u003e \u003c/div\u003e"},{"header":"Research Results","content":"\u003cp\u003eThrough constant comparative analysis of the interview data, six main categories were identified. Under the integration of axial relationships, these categories gradually converged into three core value dimensions: emotional value, social value, and functional value. This value structure was not predetermined but emerged inductively through data-driven analysis, reflecting users\u0026rsquo; integrated perceptions of multiple value elements in their consumption experiences of cultural and creative products.\u003c/p\u003e \u003cp\u003eOn this basis, the study identified the value structure of cultural and creative products as the core category and constructed a qualitative analytical model that explains the mechanism through which user value perceptions are generated. This model provides an overarching framework for subsequent analysis. The resulting three-dimensional value structure model is presented in Fig.\u0026nbsp;\u003cspan refid=\"Fig1\" class=\"InternalRef\"\u003e1\u003c/span\u003e.\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eEmotional value was identified as the most immediately perceived value dimension during users\u0026rsquo; consumption of cultural and creative products. It is primarily manifested through feelings of satisfaction, immersive experience, and aesthetic pleasure. The coding results indicate that concepts related to experiential engagement and sensory perception appeared with relatively high frequency in the interview data, suggesting that users tend to construct value perceptions of cultural products through interactive experiences and emotional projection.\u003c/p\u003e \u003cp\u003eThis finding resonates with classic perspectives in consumer experience research, which emphasize that consumption is not merely a process of functional acquisition but also an experiential process involving emotions and symbolic meanings \u003cb\u003e(\u003c/b\u003eHolbrook \u0026amp; Hirschman, \u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e1982\u003c/span\u003e). By evoking nostalgia, cultural identification, and emotional resonance, cultural and creative products enable users to connect personal experiences with cultural symbols, thereby forming relatively stable value perceptions \u003cb\u003e(\u003c/b\u003eBelk, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e1988\u003c/span\u003e\u003cb\u003e).\u003c/b\u003e\u003c/p\u003e \u003cp\u003eSocial value mainly reflects the role of cultural and creative products in facilitating social interaction and the construction of cultural identity. The coding results show that gift-giving practices, social sharing, and group interaction constitute key manifestations of this value dimension. Cultural and creative products increasingly function as media through which individuals express cultural positions and participate in social interaction. Their value is not entirely intrinsic to the product itself but is continuously reinforced within social contexts of use.\u003c/p\u003e \u003cp\u003eThis characteristic aligns with theories of symbolic consumption, which conceptualize consumption practices as processes of social meaning production (Holt, \u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e1995\u003c/span\u003e; Cova \u0026amp; Cova, \u003cspan citationid=\"CR22\" class=\"CitationRef\"\u003e2002\u003c/span\u003e). However, compared with emotional value, social value appears to rely more heavily on users\u0026rsquo; emotional identification and specific usage contexts, exhibiting a higher degree of situational dependency.\u003c/p\u003e \u003cp\u003eFunctional value, in this study, represents the foundational value dimension of cultural and creative products. Relevant coding results indicate that consumers continue to pay attention to practicality, durability, and material attributes when evaluating such products. Textual analysis suggests that contemporary consumers\u0026rsquo; functional expectations have shifted from a singular focus on price toward a more integrated consideration of quality and sustainability (Richins, \u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e1994\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. Within the functional value dimension, reasonable pricing, craftsmanship quality, and practical usability were identified as important factors influencing user evaluation (Pine \u0026amp; Gilmore, \u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e1999\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. Overall, functional value appeared less frequently in the coding results compared with emotional and social values, yet it was repeatedly referenced when users reflected on actual product usage experiences.\u003c/p\u003e \u003cp\u003eTaken together, the analysis indicates that the user value structure of cultural and creative products associated with the Huaiyang Taihao Mausoleum can be summarized into three core dimensions: emotional value, social value, and functional value. These dimensions exhibit different perceptual weights and modes of influence in users\u0026rsquo; evaluations, collectively constituting the overall value structure of cultural and creative products.\u003c/p\u003e"},{"header":"Discussion","content":"\u003cdiv id=\"Sec6\" class=\"Section2\"\u003e \u003ch2\u003eDialogue with Existing Research and Theoretical Contributions\u003c/h2\u003e \u003cp\u003eBased on grounded theory, this study constructs a three-dimensional value structure model for cultural and creative products, consisting of emotional value, social value, and functional value. This finding resonates with existing research that emphasizes emotional experience and the symbolic meanings of cultural products, while extending prior work by offering a more systematic account of value structure and its generative process. Previous studies have often examined the value of cultural and creative products from perspectives such as semiotics, aesthetics, or consumer psychology (Smith, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2006\u003c/span\u003e), frequently relying on single-dimensional analyses or predefined analytical frameworks. As a result, they tend to lack process-oriented explanations of how value structures emerge from user experience (\u003cb\u003eThrosby, 2001)\u003c/b\u003e.\u003c/p\u003e \u003cp\u003eBy employing the three-stage coding procedure of grounded theory, this study avoids a priori assumptions about value dimensions and allows the value structure to emerge inductively from multi-actor empirical data. In doing so, it contributes methodologically by expanding the theoretical modeling approaches available in research on cultural and creative products.\u003c/p\u003e \u003cp\u003eFrom a theoretical perspective, the three-dimensional value structure identified in this study further advances discussions in heritage consumption research concerning how value is perceived and constructed. While much existing literature conceptualizes heritage value as a product of expert discourse or institutional frameworks (Smith, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2006\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e, this study foregrounds user experience and reveals the mechanisms through which cultural value is generated in consumption practices. This finding also aligns with consumer culture theory, which conceptualizes consumption as a process of cultural meaning construction (Arnould \u0026amp; Thompson, \u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2005\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e, suggesting that cultural and creative products function not merely as material carriers of cultural symbols but as mediating structures that connect individual experience, social interaction, and cultural identity.\u003c/p\u003e \u003cp\u003eContextualized Interpretation: Mechanisms of Value Formation in the Fuxi Cultural Context\u003c/p\u003e \u003cp\u003eThe value structure revealed in this study exhibits pronounced cultural contextuality. As a symbolic space of Fuxi culture, the Huaiyang Taihao Mausoleum embodies not only general cultural symbols but also deep cultural meanings related to the origins of Chinese civilization, ancestral identity, and collective memory. Within this context, emotional value emerges as the most salient dimension, primarily driven by consumers\u0026rsquo; emotional projection toward cultural origins. Through engagement with cultural and creative products, consumers establish affective connections with Fuxi culture, transforming consumption into a symbolic practice of cultural identification rather than a purely aesthetic choice (Waterton \u0026amp; Smith, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e2010\u003c/span\u003e\u003cb\u003e)\u003c/b\u003e. This affective mechanism centered on ancestral culture is not commonly observed in studies of tourism-oriented cultural and creative products.\u003c/p\u003e \u003cp\u003eIn contrast, social value appears as an indirect yet stable dimension in this study. Its influence is manifested more strongly in cultural communication and group identity formation than in directly motivating purchase decisions. This finding suggests that the social functions of Taihao Mausoleum cultural products tend to rely on the prior activation of emotional identification rather than operating independently.\u003c/p\u003e \u003cp\u003eFunctional value, meanwhile, represents the material condition that enables sustained cultural experience. In a context characterized by high symbolic density, functional value does not diminish cultural meaning; instead, it serves as an important medium through which cultural symbols are integrated into everyday life.\u003c/p\u003e \u003c/div\u003e\n\u003ch3\u003eModel Transferability and Research Boundaries\u003c/h3\u003e\n\u003cp\u003eAlthough this study focuses on Fuxi culture at the Taihao Mausoleum, the proposed three-dimensional value structure model demonstrates a degree of transferability. The emotional\u0026ndash;social\u0026ndash;functional value configuration may appear in other forms of intangible cultural heritage, historical sites, or regional cultural and creative products, albeit with different weight distributions (\u003cb\u003eGioia \u0026amp; Hamilton, 2013\u003c/b\u003e). However, it should be noted that the prioritization and interaction mechanisms of value dimensions may vary significantly across cultural contexts (Timothy \u0026amp; Boyd, \u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2003\u003c/span\u003e). For instance, in entertainment-oriented cultural IP products, the composition and prominence of social or emotional value may differ substantially from those observed in ancestry-centered heritage contexts. Consequently, the application of this model across cultural settings requires contextual adaptation.\u003c/p\u003e \u003cp\u003eFrom a broader international heritage research perspective, the user value structure identified in this study provides empirical insight into how cultural heritage can achieve renewed meaning within contemporary consumption contexts. In particular, the challenge of balancing cultural authenticity, user experience, and functional design is a shared concern across diverse global heritage activation practices.\u003c/p\u003e \u003cp\u003eMoreover, as a theory-building study grounded in qualitative methodology, the objective of this research is to explain mechanisms rather than to achieve statistical generalization. Future studies may build upon this model by incorporating quantitative approaches to further examine the relationships among value dimensions.\u003c/p\u003e \u003cdiv id=\"Sec8\" class=\"Section2\"\u003e \u003ch2\u003eResearch Limitations and Directions for Future Research\u003c/h2\u003e \u003cp\u003eThis study is subject to several limitations. First, the empirical sample is primarily concentrated on the Taihao Mausoleum and its associated consumer groups. Although multiple data sources were employed, the findings remain closely tied to a specific regional and cultural context. Second, despite the incorporation of expert validation procedures to enhance research credibility, the coding process inevitably reflects the interpretive framework of the researchers.\u003c/p\u003e \u003cp\u003eFuture research may proceed in three directions. First, comparative studies across different types of intangible cultural heritage products could be conducted to examine variations in value structures. Second, quantitative methods could be introduced to test the causal relationships among value dimensions identified in this study. Third, in the context of digital cultural products and new media communication, further research may explore the evolving dynamics of emotional and social value.\u003c/p\u003e \u003c/div\u003e"},{"header":"Conclusion","content":"\u003cp\u003eThis study focuses on the cultural and creative products (CCPs) of Fuxi culture at Taihao Mausoleum in Huaiyang. Using a grounded theory approach, it constructs a three-dimensional value structure model encompassing emotional, social, and functional values from the perspective of user experience. Unlike previous research that primarily relies on pre-established theoretical frameworks or design guidelines, this study adopts an inductive approach to reveal the generative logic of CCP value, offering a novel interpretive pathway for understanding how \u0026ldquo;cultural meaning is transformed into perceptible value\u0026rdquo; in intangible cultural heritage (ICH) creative products.\u003c/p\u003e \u003cp\u003eTheoretically, the main contribution of this study lies in proposing a user value\u0026ndash;centered analytical framework for CCPs, thereby extending the discussion of value dimensions in cultural and creative product research. By systematically integrating emotional, social, and functional value elements, this study moves beyond the simplistic view of CCPs as mere cultural symbols or aesthetic objects, emphasizing that the realization of cultural value depends on the synergistic interaction among multiple value dimensions.\u003c/p\u003e \u003cp\u003eWithin the broader context of cultural studies, the findings indicate that the value of heritage-oriented CCPs is not intrinsic, but dynamically generated through the interaction of specific cultural contexts, consumption practices, and user experiences. This insight has implications for understanding the interplay among heritage preservation, cultural dissemination, and the development of the creative industries, while also providing a transferable analytical perspective for the study of cultural products in cross-cultural contexts.\u003c/p\u003e \u003cp\u003eAlthough the study is grounded in the highly symbolic case of Fuxi culture, the constructed value structure model has potential applicability across different contexts. It can serve as a theoretical reference for research on other historical sites, ICH projects, and regional cultural CCPs, laying the groundwork for comparative analyses across diverse cultural settings.\u003c/p\u003e \u003cp\u003eFuture research can build on this framework by incorporating quantitative methods or cross-cultural comparative perspectives to explore the dynamic evolution and mechanisms of CCP value structures. Furthermore, with the advancement of digital technologies and evolving forms of cultural consumption, the reconstruction of emotional and social values within digital CCP contexts warrants ongoing attention.\u003c/p\u003e \u003cp\u003eOverall, this study demonstrates that the value of heritage-based CCPs does not stem solely from cultural symbols themselves but is continuously generated through the dynamic interaction of user experience, social engagement, and functional practice. This perspective offers a new theoretical entry point for understanding the relationship between the creative industries and heritage preservation. From a broader viewpoint, the study responds to a central issue in contemporary cultural research\u0026mdash;how culture continues to exert meaning in everyday consumption\u0026mdash;providing an empirical basis for understanding the mechanisms through which cultural heritage is reproduced in contemporary society.\u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eData availability\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eAll data supporting the findings of this study are included in the article. Interview outlines and summarized content can be accessed in the supplementary materials. The foundational data for this research were derived from transcripts of qualitative interviews with participants. Due to the risk of participant identification and in accordance with our ethical approval and informed consent procedures, raw data\u0026mdash;such as audio recordings and photographs\u0026mdash;are not publicly available.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompeting interests\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe authors declare no competing interests.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eEthical approval\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThis study involved human participants and their data. All research procedures strictly adhered to the ethical standards established by institutional and national research ethics committees in China, as well as the principles outlined in the Declaration of Helsinki (1964) and its subsequent amendments or equivalent ethical guidelines. The study received ethical approval from the Ethics Committee of the School of Design, Zhou kou Normal University (Approval No.: 20240510), which covers all aspects of the research, including participant recruitment, data collection, and data analysis. Throughout the study, the rights, safety, privacy, and well-being of participants were rigorously protected in accordance with the approved protocol and relevant Chinese regulations.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eInformed consent\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003ePrior to the commencement of the study, written informed consent was obtained from all participants. All participants were adults aged 18 or above with full civil capacity (no minors, patients, or other vulnerable groups were involved). Data were collected from September 30, 2024, to June 30, 2025. Participants were informed of the study\u0026rsquo;s purpose, assured of anonymity, notified that their responses would be used solely for academic purposes, and made aware of the potential risks and benefits of participation. All individuals volunteered to take part in the study after receiving this information. The submitted materials do not contain any images or information that could identify individual participants.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\u003cli\u003e\u003cspan\u003eShakya M, Vagnarelli G (2024) Creating value from intangible cultural heritage: The role of innovation for sustainable tourism and regional rural development. 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Organizational Res Methods 16(1):15\u0026ndash;31. \u003cspan class=\"ExternalRef\"\u003e\u003cspan class=\"RefSource\"\u003ehttps://doi.org/10.1177/1094428112452151\u003c/span\u003e\u003cspan address=\"10.1177/1094428112452151\" targettype=\"DOI\" class=\"RefTarget\"\u003e\u003c/span\u003e\u003c/span\u003e\u003c/span\u003e\u003c/li\u003e\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"grounded theory, user value, cultural heritage, creative products, cultural symbols","lastPublishedDoi":"10.21203/rs.3.rs-8448462/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-8448462/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eIn the context of cultural heritage revitalization and the rapid development of the cultural and creative industries, how traditional cultural symbols can be effectively transformed into creative products with contemporary value perception has become a critical issue in design and cultural studies. Existing research has largely focused on symbolic representation or design strategies, while relatively little attention has been paid to users\u0026rsquo; experiential perspectives and the underlying mechanisms through which cultural symbols are translated into perceived product value.\u003c/p\u003e \u003cp\u003eAgainst this background, this study takes cultural and creative products derived from Fuxi culture at Taihao Mausoleum in Huaiyang as its empirical case and adopts a grounded theory approach. Through open coding, axial coding, and selective coding of interview data and supplementary textual materials, the study constructs a user-oriented value structure model for cultural heritage creative products. The findings reveal that emotional value, social value, and functional value constitute the core dimensions of users\u0026rsquo; value perception. Among them, emotional value plays a dominant role and exerts influence on users\u0026rsquo; cultural identification and consumption decisions through its interaction with social and functional values.\u003c/p\u003e \u003cp\u003eBased on these findings, the study further proposes an analytical pathway centered on user value structures to explain the mechanism through which cultural symbols generate value in specific consumption contexts. This research provides empirical evidence for understanding the value construction of cultural heritage creative products and offers a comparative analytical framework applicable to other cultural heritage contexts.\u003c/p\u003e","manuscriptTitle":"From Cultural Symbols to User Value Construction:A Grounded Theory Study of Heritage-Based Creative Products","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2026-01-29 16:26:51","doi":"10.21203/rs.3.rs-8448462/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"3acc7ca3-0c62-4c5b-ad92-069516b4c83c","owner":[],"postedDate":"January 29th, 2026","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[{"id":61905541,"name":"Humanities/Cultural and media studies"},{"id":61905542,"name":"Social science/Cultural and media studies"},{"id":61905543,"name":"Social science/Science technology and society"}],"tags":[],"updatedAt":"2026-02-06T17:10:39+00:00","versionOfRecord":[],"versionCreatedAt":"2026-01-29 16:26:51","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-8448462","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-8448462","identity":"rs-8448462","version":["v1"]},"buildId":"XKTyCvWXoU3ODBz1xrDgd","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}