In recent years, cultural creative products as an important branch of cultural creative industries, have been widespread concern and promotion. It is not only a cultural heritage, but also the crystallization of the wisdom of designers, and it is one of the important means of cultural heritage and spread. The creative design is the interpretation of cultural heritage and the refinement of cultural spirit, and it needs to combine the characteristics of the present era and the series of cultural re-design activities carried out by the social aesthetic. The product design needs not only to embody the functionality of the product, but also to the inheritance of cultural spirit, and to pay more attention to people’s sense of identity and belonging to the culture. Based on the three-level theory of emotional design proposed by Professor Donald Arthur Norman, this paper analyzes its specific application in the design of cultural and creative products, in order to establish the emotional design criteria of cultural and creative products centered on user experience. It aims to help consumers establish a sense of design identity and cultural identity for cultural and creative products, and put cultural confidence into practice.

During the last several years, the building and development of digital museums has grown in importance as a study issue of increasing importance. On the other hand, systematic and extensive literature study on digital museums is rare in the academic community throughout the world. This paper employs data mining technology to conduct a comprehensive analysis of the total amount of academic literature, research hotspots, frontiers, and trends in the field of digital museums in China since the beginning of the twenty-first century, including both historical and contemporary data. In this research, the CNIK database and the CiteSpace program are utilized. The findings revealed that the quantity of published literature expanded significantly between 2000 and 2021, with some variations along the way, but that the general growth rate remained consistent. Colleges and universities are the driving force behind academic research in the field of digital museums; research institutes and big museums play a key part in the academic research that is being conducted by digital museums. Cooperation between research institutes, on the other hand, is severely lacking. Furthermore, the advancement of digital technology is an unavoidable byproduct of the efforts to transform the digital museum into a smart museum, as previously said. When it comes to digital museum development in the postepidemic period, the optimization and updating of a user-centered information service platform is the most important step toward long-term success. In order to maintain the richness of Chinese traditional culture while also meeting the expanding cultural requirements of the general public, China’s digital museum research has as its ultimate objective the construction of sustainable digital museums that are appropriate for the country’s national conditions. The findings also demonstrate that the construction of a Chinese Digital Museum is a study issue with distinct Chinese features that has the potential to contribute to the preservation of Chinese cultural heritage, both tangible and intangible. This research gives insights into the following aspects: researchers and practitioners from across the world will work together to promote a better knowledge of the building and growth of the digital museum in China, among other things.

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