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    <dcterms:title><![CDATA[Terracotta Army, China]]></dcterms:title>
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    <dcterms:title><![CDATA[Terracotta Army, China]]></dcterms:title>
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    <dcterms:title><![CDATA[Terracotta Army, China]]></dcterms:title>
    <dcterms:description><![CDATA[The Terracotta Army is a collection of life-sized terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. Discovered in 1974 near Xi'an in Shaanxi Province, this archaeological marvel dates to 210-209 BCE and was created as funerary art to protect the emperor in his afterlife. The site contains thousands of individually crafted warriors, each with unique facial features, expressions, and attire, alongside chariots, horses, and weapons. The remarkable craftsmanship demonstrates the advanced artistic and military organization of the Qin Dynasty. The warriors are part of a larger imperial mausoleum complex that remains largely unexplored. Today, this UNESCO World Heritage Site provides invaluable insights into ancient Chinese history, culture, and artistry while continuing to attract researchers and visitors from around the world.]]></dcterms:description>
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    <dcterms:title><![CDATA[Terracotta Army, China]]></dcterms:title>
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    <dcterms:title><![CDATA[Terracotta Army, China]]></dcterms:title>
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    <dcterms:description><![CDATA[The Terracotta Army is a collection of life-sized terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. Discovered in 1974 near Xi'an in Shaanxi Province, this archaeological marvel dates to 210-209 BCE and was created as funerary art to protect the emperor in his afterlife. The site contains thousands of individually crafted warriors, each with unique facial features, expressions, and attire, alongside chariots, horses, and weapons. The remarkable craftsmanship demonstrates the advanced artistic and military organization of the Qin Dynasty. The warriors are part of a larger imperial mausoleum complex that remains largely unexplored. Today, this UNESCO World Heritage Site provides invaluable insights into ancient Chinese history, culture, and artistry while continuing to attract researchers and visitors from around the world.]]></dcterms:description>
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    <dcterms:description><![CDATA[The Terracotta Army is a collection of life-sized terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. Discovered in 1974 near Xi'an in Shaanxi Province, this archaeological marvel dates to 210-209 BCE and was created as funerary art to protect the emperor in his afterlife. The site contains thousands of individually crafted warriors, each with unique facial features, expressions, and attire, alongside chariots, horses, and weapons. The remarkable craftsmanship demonstrates the advanced artistic and military organization of the Qin Dynasty. The warriors are part of a larger imperial mausoleum complex that remains largely unexplored. Today, this UNESCO World Heritage Site provides invaluable insights into ancient Chinese history, culture, and artistry while continuing to attract researchers and visitors from around the world.]]></dcterms:description>
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    <dcterms:title><![CDATA[Terracotta Warriors]]></dcterms:title>
    <dcterms:description><![CDATA[The Terracotta Warriors, which were created in the Chinese Qin Dynasty (221–206 BCE), were discovered by chance in 1974, and have since become an icon of Chinese culture throughout the world. It is considered one of the greatest archaeological sites in the world. In December 1978, the Terracotta Warriors were inscribed on UNESCO's World Heritage List.

Terracotta Warriors were made for the tomb of Qin Shi Huang, China's first emperor. The aim of creating them is to guard the safety and peace of tomb. There are thousands of elaborate life-size models of the terracotta warriors representing qin Shi Huang's massive army. They were cast into parts, fired, then assembled and painted, and finally placed in the tomb.]]></dcterms:description>
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    <dcterms:title><![CDATA[Terracotta Warriors]]></dcterms:title>
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    <dcterms:description><![CDATA[The Terracotta Warriors, a stunning group of life-size sculptures located in Xi'an, China, is one of the most significant archaeological discoveries of the 20th century. Made more than 2,200 years ago to guard the tomb of China's Qin Shi Huang, these sculptures have stood the test of time, immortalized over millennia. However, they now face a modern threat: climate change. Increasingly extreme weather patterns, such as increased rainfall, fluctuating temperatures and rising humidity, pose significant risks to the preservation of these ancient artifacts. These climate changes have accelerated the aging of the Terracotta Warriors, leading to problems such as color fading, material erosion, and potential structural damage. Conservation efforts are being continuously adapted to mitigate these effects, highlighting the urgent need for sustainable measures to protect this valuable human heritage in order to meet the continuing challenges posed by climate change.]]></dcterms:description>
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    <dcterms:title><![CDATA[Terracotta Warriors]]></dcterms:title>
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    <dcterms:description><![CDATA[Terracotta Army in Xi'an, China]]></dcterms:description>
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    <dcterms:title><![CDATA[Terracotta Warriors]]></dcterms:title>
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    <dcterms:description><![CDATA[The Terracotta Warriors, a stunning group of life-size sculptures located in Xi'an, China, is one of the most significant archaeological discoveries of the 20th century. Made more than 2,200 years ago to guard the tomb of China's Qin Shi Huang, these sculptures have stood the test of time, immortalized over millennia. However, they now face a modern threat: climate change. Increasingly extreme weather patterns, such as increased rainfall, fluctuating temperatures and rising humidity, pose significant risks to the preservation of these ancient artifacts. These climate changes have accelerated the aging of the Terracotta Warriors, leading to problems such as color fading, material erosion, and potential structural damage. Conservation efforts are being continuously adapted to mitigate these effects, highlighting the urgent need for sustainable measures to protect this valuable human heritage in order to meet the continuing challenges posed by climate change.]]></dcterms:description>
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    <dcterms:description><![CDATA[The Terracotta Warriors, a stunning group of life-size sculptures located in Xi'an, China, is one of the most significant archaeological discoveries of the 20th century. Made more than 2,200 years ago to guard the tomb of China's Qin Shi Huang, these sculptures have stood the test of time, immortalized over millennia. However, they now face a modern threat: climate change. Increasingly extreme weather patterns, such as increased rainfall, fluctuating temperatures and rising humidity, pose significant risks to the preservation of these ancient artifacts. These climate changes have accelerated the aging of the Terracotta Warriors, leading to problems such as color fading, material erosion, and potential structural damage. Conservation efforts are being continuously adapted to mitigate these effects, highlighting the urgent need for sustainable measures to protect this valuable human heritage in order to meet the continuing challenges posed by climate change.]]></dcterms:description>
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</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/888">
    <dcterms:title><![CDATA[Textile with Aquatic Birds and Recumbent Animal]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The free arrangement of animals on a rhythmic background of geometric leafs is typical of Eastern Central Asian textiles of the eleventh to the thirteenth century. The design is also seen on Chinese tapestries of the period. A similar example was excavated from the burial pagoda of a Buddhist monk, Haiyun (1203–1257), in Beijing, attesting to the strong ties between Chinese and Central Asian textiles at the time.]]></dcterms:description>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:date><![CDATA[13th century]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[05/08/2022 09:06:46 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yuqi2022]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Zero]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/822">
    <dcterms:title><![CDATA[Thangka Depicting Vajrabhairava, ca. 1740, Sotheby's]]></dcterms:title>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/05/2022 01:33:27 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[zj32]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Thangka#/media/File:Thangka_Depicting_Vajrabhairava,_ca._1740,_Sotheby's.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/819">
    <dcterms:title><![CDATA[Thangka IS5110 2022]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Thang-ka, usually depicting a Buddhist deity, scene, or mandala. Most Thang-kas were intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition. Narrative scenes are less common but do appear.
Thang-ka perform several different functions. Images of deities can be used as teaching tools when depicting the life (or lives) of the Buddha, describing historical events concerning important Lamas, or retelling myths associated with other deities. Devotional images act as the centerpiece during a ritual or ceremony and are often used as mediums through which one can offer prayers or make requests. Overall, and perhaps most importantly, religious art is used as a meditation tool to help bring one further down the path to enlightenment. The Buddhist Vajrayana practitioner uses a Thang-ka image of their yidam, or meditation deity, as a guide, by visualising "themselves as being that deity, thereby internalising the Buddha qualities" Thang-ka hang on or beside altars, and may be hung in the bedrooms or offices of monks and other devotees.

]]></dcterms:description>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/05/2022]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[05/05/2022]]></dcterms:>
    <dcterms:contributor><![CDATA[zj32]]></dcterms:contributor>
    <dcterms:references><![CDATA[Kossak, Steven M., Singer, Jane Casey, (eds.), Sacred Visions: Early Paintings from Central Tibet (exhibition catalogue), Metropolitan Museum of Art, 1998 ]]></dcterms:references>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Thangka]]></dcterms:medium>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[493]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,29.64826,91.1313913;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/823">
    <dcterms:title><![CDATA[Thangka of Buddha with the One Hundred Jataka Tales, Tibet]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Thangka of Buddha with the One Hundred Jataka Tales, Tibet, 13th-14th century, 114.3 x 84.4 cm.]]></dcterms:description>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:date><![CDATA[13-14c]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[05/05/2022 01:38:55 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[zj32]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Thangka#/media/File:Thangka_of_Buddha_with_the_One_Hundred_Jataka_Tales,_Tibet,_13th-14th_century.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,29.64826,91.1313913;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/495">
    <dcterms:title><![CDATA[THE]]></dcterms:title>
    <dcterms:dateSubmitted><![CDATA[20/05/2021]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yl241@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[336]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3493">
    <dcterms:title><![CDATA[The  Palace Museum]]></dcterms:title>
    <dcterms:description><![CDATA[The Palace Museum, located in the center of Beijing, China, is the imperial palace of the Ming and Qing dynasties in China. It is now the largest and best preserved ancient wooden structure complex in the world. Built in 1406, it has more than 9,000 palaces and is the pinnacle of traditional Chinese architecture. Today, it is open to the public as a museum with a collection of more than 1.8 million artifacts and is a gathering place of world-class cultural heritage and artistic treasures. Digital displays and virtual Tours allow a global audience to learn about its profound historical and cultural values.
SDG 4: Quality education
Enhance public literacy and history education through digital displays and global online access.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/25/2025 04:03:50 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[xl201@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,39.90899309652459,-243.60880994791845;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3458">
    <dcterms:title><![CDATA[The _Palace _Museum_]]></dcterms:title>
    <dcterms:description><![CDATA[The Palace Museum, located in the center of Beijing, China, is the imperial palace of the Ming and Qing dynasties in China. It is now the largest and best preserved ancient wooden structure complex in the world. Built in 1406, it has more than 9,000 palaces and is the pinnacle of traditional Chinese architecture. Today, it is open to the public as a museum with a collection of more than 1.8 million artifacts and is a gathering place of world-class cultural heritage and artistic treasures. Digital displays and virtual Tours allow a global audience to learn about its profound historical and cultural values.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[25/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[954194294@qq.com]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[Chinese/English]]></dcterms:language>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1340]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,39.90896758405825,116.39119219675196;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/4161">
    <dcterms:title><![CDATA[The Acropolis Basilica Church Sparta]]></dcterms:title>
    <dcterms:description><![CDATA[Paper]]></dcterms:description>
    <dcterms:source><![CDATA[reconstructions]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[08/14/2025 02:09:53 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[sarah]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[application/pdf]]></dcterms:format>
    <dcterms:type><![CDATA[Text]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,37.405073750176925,22.060546875;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2250">
    <dcterms:title><![CDATA[The Ancient City of Pingyao]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Immovable Culture Heritage,Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[Pingyao Ancient City is located in Pingyao County, Jinzhong City, Shanxi Province. It was first built in the period of King Xuan of Zhou Dynasty and expanded in the third year of Hongwu in Ming Dynasty (1370). It has a history of more than 2,800 years. It also relatively intactly retains the basic features of the county town during the Ming and Qing Dynasties, and is the most complete ancient city existing in the Han ethnic area of China. Moreover, in the development of Chinese history, it shows people an extraordinary complete picture of cultural, social, economic and religious development.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:date><![CDATA[2023]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[05/04/2024 02:37:04 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yz246@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,37.1977918965233,112.18139648437501;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2251">
    <dcterms:title><![CDATA[The Ancient City of Pingyao]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Immovable Culture Heritage,Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[The Ancient City of Pingyao, located in Shanxi Province, China, is an exceptionally well-preserved example of a traditional Han Chinese city from the Ming and Qing dynasties (14th-20th centuries). Its impressive city walls, temples, shops, and residential houses showcase the cultural, social, and economic development of Chinese civilization over five centuries. Pingyao's urban fabric and its many intact architectural features provide an outstanding picture of the evolution of Chinese city planning and historic conservation. Digital interpretation of this site can contribute to SDG 11.4, which aims to strengthen efforts to protect and safeguard the world's cultural and natural heritage.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:date><![CDATA[14 century]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[04/05/2024]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yz246@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://whc.unesco.org/zh/list/812]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1074]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,37.19478361329807,112.17247009277345;]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[China]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/188">
    <dcterms:title><![CDATA[The Augustinian Abbey of Scone &ndash; 1390]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Scone Abbey, a historic Augustinian abbey in Scotland, was founded in the 12th century and elevated to an abbey in 1169. The abbey was destroyed by a mob from Dundee during the Reformation in 1559.  The site of the Abbey now lies under the front lawn of Scone Palace, but one thing remains: Moot Hill, where Scottish Kings were crowned on the Stone of Destiny. 

The precise location of Scone Abbey had long remained a mystery, but in July 2007, archaeologists pinpointed the location using Ground Penetrating Radar (GPR) technology. Scone Abbey’s structure was revealed to be larger than had once been imagined, and the exact location was pinpointed.




]]></dcterms:description>
    <dcterms:source><![CDATA[reconstructions]]></dcterms:source>
    <dcterms:date><![CDATA[2014]]></dcterms:date>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Reconstruction]]></dcterms:type>
    <dcterms:identifier><![CDATA[203]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,56.4225,-3.438056;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2631">
    <dcterms:title><![CDATA[The Batik ]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Batik, an art of centuries-old textile design known to have come from Indonesia, is identified
with the complex designs and patterns developed on the cloth using wax and dye.
Besides its aesthetics, the art form has had great significance in Indonesian culture and
history. Designs such as Tumpal perfectly symbolize the collective heritage of the
Indonesians, with artistic expression, craftsmanship, and the cultural identity of the
Indonesian people.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:date><![CDATA[2014:04:15 19:59:15]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[05/07/2024 12:48:36 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[sa312@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Collection]]></dcterms:type>
    <dcterms:identifier><![CDATA[1141]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[origin,0.7893° S,113.9213° E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1920">
    <dcterms:title><![CDATA[The Bayeux Tapestry, France]]></dcterms:title>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/28/2024 02:43:03 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[hp69@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1921">
    <dcterms:title><![CDATA[The Bayeux Tapestry, France]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The Bayeux Tapestry is an iconic historical artifact that vividly narrates the events leading up to the Norman Conquest of England in 1066. Despite its name, the tapestry was likely created in England shortly after the conquest, possibly in Canterbury. It measures approximately 70 meters long and is embroidered on linen cloth in colored wool yarns.
The tapestry depicts scenes of battles, coronations, and daily life, providing valuable insights into the political and cultural dynamics of the time. Its intricate detail and skilled craftsmanship make it a masterpiece of medieval art.
Although the tapestry's precise origins and purpose remain subject to debate among scholars, it is widely believed to have been commissioned by Bishop Odo of Bayeux, half-brother to William the Conqueror, or by William's wife, Queen Matilda.
Today, the Bayeux Tapestry is housed in the Bayeux Museum in Normandy, France, where it attracts thousands of visitors annually. It serves as a crucial historical record, offering a unique glimpse into the medieval period and the Norman Conquest, and continues to inspire fascination and study among historians, artists, and enthusiasts worldwide.]]></dcterms:description>
    <dcterms:creator><![CDATA[Unknown]]></dcterms:creator>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:date><![CDATA[11th century AD (estimated)]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[28/03/2024]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[hp69@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:references><![CDATA["The Bayeux Tapestry: https://en.wikipedia.org/wiki/Bayeux_Tapestry"]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[Bayeux Museum, Bayeux, France  (https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/)]]></dcterms:medium>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[942]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,49.2708° N,0.7031° W;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/219">
    <dcterms:title><![CDATA[The Bridges Collection]]></dcterms:title>
    <dcterms:description><![CDATA[The Bridges Collection was donated to the University of St Andrews by Mrs Bridges of St Andrews. Several cultural periods of Cyprus are represented by the artifacts in the collection. The Bronze and Iron Ages (particularly the Late Bronze and Early Iron Age) are very well represented with a variety of terracotta polished ware bowls, jugs and a sizable collection of figurines including masks and plank figurines commonly associated with this period in Cyprus. These periods have a large number of artifacts and therefore separate pages are available to view them in more detail. This digital collection was created by Catherine Cruickshank and was made possible by a collaboration between several departments within the University of St Andrews: School of Classics, Open Virtual Worlds (School of Computer Science), Museum Collections and School of Art History.]]></dcterms:description>
    <dcterms:contributor><![CDATA[museums@eu-lac.org]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Collection]]></dcterms:type>
    <dcterms:identifier><![CDATA[219]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,56.34288109983074,-2.7940277984619115;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3934">
    <dcterms:title><![CDATA[The British Museum]]></dcterms:title>
    <dcterms:description><![CDATA[The British Museum is a public museum dedicated to human history, art and culture located in the Bloomsbury area of London. Its permanent collection of eight million works is the largest in the world.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[21/04/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1472]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,51.518757,-0.126168;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3935">
    <dcterms:title><![CDATA[the british museum]]></dcterms:title>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/21/2025 05:35:38 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,51.518757,-0.126168;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3936">
    <dcterms:title><![CDATA[the british museum]]></dcterms:title>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/21/2025 05:35:43 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,51.518757,-0.126168;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3937">
    <dcterms:title><![CDATA[the british museum]]></dcterms:title>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/21/2025 05:35:47 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,51.518757,-0.126168;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3938">
    <dcterms:title><![CDATA[the british museum]]></dcterms:title>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/21/2025 05:35:52 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
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    <dcterms:title><![CDATA[the british museum]]></dcterms:title>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/21/2025 05:45:58 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
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</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3940">
    <dcterms:title><![CDATA[the british museum]]></dcterms:title>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/21/2025 05:46:02 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
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</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3941">
    <dcterms:title><![CDATA[the british museum]]></dcterms:title>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/21/2025 05:46:07 am]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
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</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3942">
    <dcterms:title><![CDATA[The British Museum]]></dcterms:title>
    <dcterms:description><![CDATA[The British Museum is a public museum dedicated to human history, art and culture located in the Bloomsbury area of London. Its permanent collection of eight million works is the largest in the world.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[21/04/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qqqq]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1473]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,51.518757,-0.126168;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/751">
    <dcterms:title><![CDATA[The Calanais Standing Stones During Sunset]]></dcterms:title>
    <dcterms:description><![CDATA[The image shows the central stone circle of the Calanais Standing Stones as the sun is setting.]]></dcterms:description>
    <dcterms:source><![CDATA[standingstones]]></dcterms:source>
    <dcterms:date><![CDATA[2014:04:01 21:09:56]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[04/26/2022 01:55:26 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[lj77]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://commons.wikimedia.org/wiki/File:More_Callanish_Stones_(13547009015).jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,58.19759,-6.74513;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/752">
    <dcterms:title><![CDATA[The Calanais Standing Stones During Sunset]]></dcterms:title>
    <dcterms:description><![CDATA[The image shows the central stone circle of the Calanais Standing Stones as the sun is setting.]]></dcterms:description>
    <dcterms:source><![CDATA[standingstones]]></dcterms:source>
    <dcterms:date><![CDATA[2014:04:01 21:09:56]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[04/26/2022 01:55:37 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[lj77]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://commons.wikimedia.org/wiki/File:More_Callanish_Stones_(13547009015).jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,58.19759,-6.74513;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/750">
    <dcterms:title><![CDATA[The Calanais Standing Stones in Winter 2016]]></dcterms:title>
    <dcterms:description><![CDATA[Snow can be seen on the ground surrounding the Calanais Standing Stones.]]></dcterms:description>
    <dcterms:source><![CDATA[standingstones]]></dcterms:source>
    <dcterms:date><![CDATA[2016:01:14 09:16:46]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[04/26/2022 01:37:03 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[lj77]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://commons.wikimedia.org/wiki/File:Cold_Circle.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,58.19759,-6.74513;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/490">
    <dcterms:title><![CDATA[The chime bells of Marquis Yi of Zeng]]></dcterms:title>
    <dcterms:contributor><![CDATA[ww52]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/491">
    <dcterms:title><![CDATA[The chime bells of Marquis Yi of Zeng]]></dcterms:title>
    <dcterms:description><![CDATA[Bianzhong (pronounced [pi̯ɛ́n t͡ʂʊ́ŋ]) is an ancient Chinese musical instrument consisting of a set of bronze bells, played melodically. China is the earliest country to manufacture and use musical chimes. They are also called Chime Bells.[1] These sets of chime bells were used as polyphonic musical instruments and some of these bells have been dated at between 2,000 to 3,600 years old. They were hung in a wooden frame and struck with a mallet. Using a wooden hammer and a rod to beat the bronze bell can make different pitch. Along with the stone chimes called bianqing, they were an important instrument in China's ritual and court music going back to ancient times.
The chime bells of Marquis Yi of Zeng are the most numerous, the largest, the best preserved, the most complete and the widest musical instruments in the ancient chime bells discovered so far. It proves that in the spring and Autumn period and the Warring States period (5th century BC), China already had the concept of seven sound scales and absolute pitch, indicating that the culture and technology of the Zhou Dynasty had reached a very high level.]]></dcterms:description>
    <dcterms:source><![CDATA[worldheritagelayer]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[20/05/2021]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[ww52]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[334]]></dcterms:identifier>
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</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/4155">
    <dcterms:title><![CDATA[The Church at Velika Castle, Larissa, Greece]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Velika castle occupies a hilltop overlooking the Aegean near the modern coastal settlement of the same name in the modern prefecture of Larissa. The castle is certainly founded in the Hellenistic period, but only small fragments of the ramparts of this era have been uncovered to date. Its main construction phase dates to the sixth century AD, confirmed by the results of the research of the 7th Ephorate of Byzantine Antiquities conducted there since 2010. A late antique church is situated in the northeast corner of the fortified settlement, just beside a secondary gate of the walls. It is a three-aisled basilica ending in a semicircular apse to the east and with a narthex in the west. Remnants of the altar and the sanctuary as well as the constructed base of the ambo (pulpit) in the south part of the nave have been revealed through excavation. The apse has a peculiar orthogonal projection which had been embraced by the city walls of the settlement at a later period; the east wall of the north aisle has a small window, while the same wall of the south aisle has a door leading to the corridor behind the ramparts. The church is presumably founded in the second part of the sixth century; the major part of the pottery and the findings are dating from the age of Justinian up to the end of the century. The church underwent a major transformation at a later date, possibly at the end of the seventh or the beginning of the eighth century: it then became a single-nave church, since the side aisles were transformed into living quarters and storerooms; many amphorae and large storage ceramics have been found in the filling layers along with every-day artefacts (fishing hooks and belt buckles) and a small hearth at the northwest corner of the north aisle. ]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[2014]]></dcterms:date>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Reconstruction]]></dcterms:type>
    <dcterms:identifier><![CDATA[1539]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,39.791333326763876,22.85435736179352;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3839">
    <dcterms:title><![CDATA[The Colosseum]]></dcterms:title>
    <dcterms:description><![CDATA[The Colosseum is one of Rome's most recognizable structures and a testament to the Roman Empire's engineering brilliance. The Colosseum, which was finished in 80 AD under Emperor Titus, could accommodate up to 50,000 people who came to see a variety of public performances, such as fake naval battles, gladiatorial fights, and animal hunts. The amphitheater was one of the most cutting-edge entertainment venues of its era because of its elliptical shape, which provides outstanding visibility from every seat. The Colosseum has experienced earthquakes and other natural disasters over the ages. It continues to stand as a tribute to Roman architecture and culture despite the effects of time. The Colosseum, a well-liked tourist destination, offers a direct link to ancient history and a window into the intricate social and cultural customs of the Roman Empire. Beyond just its outward appearance, it also symbolizes themes of amusement, dominance, and power in ancient communities. The Colosseum continues to inspire both tourists and academics as a symbol of tenacity and preservation today.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[28/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[concretedetails]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Colosseum#/media/File:Colosseo_2020.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1437]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,41.8902° N,12.4922° E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3877">
    <dcterms:title><![CDATA[The Colosseum]]></dcterms:title>
    <dcterms:description><![CDATA[The Colosseum is one of Rome's most recognizable structures and a testament to the Roman Empire's engineering brilliance. The Colosseum, which was finished in 80 AD under Emperor Titus, could accommodate up to 50,000 people who came to see a variety of public performances, such as fake naval battles, gladiatorial fights, and animal hunts. The amphitheater was one of the most cutting-edge entertainment venues of its era because of its elliptical shape, which provides outstanding visibility from every seat. The Colosseum has experienced earthquakes and other natural disasters over the ages. It continues to stand as a tribute to Roman architecture and culture despite the effects of time. The Colosseum, a well-liked tourist destination, offers a direct link to ancient history and a window into the intricate social and cultural customs of the Roman Empire. Beyond just its outward appearance, it also symbolizes themes of amusement, dominance, and power in ancient communities. The Colosseum continues to inspire both tourists and academics as a symbol of tenacity and preservation today.
Goal 11: Sustainable Cities and Communities (Target 11.4): Preservation of digital heritage enhances worldwide education about past civilizations and lessens the physical strain of mass tourism.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[29/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[concretedetails]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Colosseum#/media/File:Colosseo_2020.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1453]]></dcterms:identifier>
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</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/25">
    <dcterms:title><![CDATA[The Cultural Heritage Agency of Iceland]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[25]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,64.1429364,-21.9473225;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1456">
    <dcterms:title><![CDATA[The Dai Water Splashing Festival]]></dcterms:title>
    <dcterms:description><![CDATA[The Dai Water Splashing Festival, also known as the Dai New Year, is a traditional festival celebrated by the Dai ethnic group in China, mainly in Yunnan province. It usually takes place in mid-April and lasts for three days. During the festival, people wear traditional clothes, carry flowers, and pour water on each other to wash away bad luck and bring good fortune for the coming year. Water is also poured on Buddha statues and senior members of the community as a sign of respect. The festival also includes traditional dance performances, dragon boat racing, and other cultural activities. The Dai Water Splashing Festival is not only a celebration of the New Year, but also a symbol of unity, friendship, and respect for nature.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[30/04/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yz221@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[698]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,22.0087,100.7969;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1457">
    <dcterms:title><![CDATA[The Dai Water Splashing Festival]]></dcterms:title>
    <dcterms:description><![CDATA[The Dai Water Splashing Festival, also known as the Dai New Year, is a traditional festival celebrated by the Dai ethnic group in China, mainly in Yunnan province. It usually takes place in mid-April and lasts for three days. During the festival, people wear traditional clothes, carry flowers, and pour water on each other to wash away bad luck and bring good fortune for the coming year. Water is also poured on Buddha statues and senior members of the community as a sign of respect. The festival also includes traditional dance performances, dragon boat racing, and other cultural activities. The Dai Water Splashing Festival is not only a celebration of the New Year, but also a symbol of unity, friendship, and respect for nature.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[30/04/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yz221@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[699]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,22.0087,100.7969;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1460">
    <dcterms:title><![CDATA[The Dai Water Splashing Festival]]></dcterms:title>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/30/2023 10:05:25 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yz221@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,22.0087,100.7969;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1458">
    <dcterms:title><![CDATA[The Dai Water Splashing Festival by]]></dcterms:title>
    <dcterms:dateSubmitted><![CDATA[04/30/2023 10:00:10 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yz221@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1459">
    <dcterms:title><![CDATA[The Dai Water Splashing Festival by Xinhua Net]]></dcterms:title>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/30/2023 10:02:11 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[yz221@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,22.0087,100.7969;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1540">
    <dcterms:title><![CDATA[The Dali Sanyue Festival (March Festival)]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The Dali Sanyue Festival is a traditional festival of the Bai people, mainly held in Dali Old Town, Dali City, Dali Bai Autonomous Prefecture, Yunnan Province, China. The Dali Sanyue Festival started during the Yong Hui period of the Tang Dynasty (650 to 655 AD) and evolved from a traditional temple fair. The origin of March Street is closely related to the introduction of Buddhism into Dali. At that time, Nan Zhao was the political, economic and cultural centre of Yunnan Province, and it had frequent contacts with Southeast Asian countries. The monks from ancient India, Zantra Horodo, preached and taught at the foot of Cang Mountain and collected followers, forming Guanyin Street, which was a temple fair for Buddhist activities, and gradually evolved into a trade fair with strong national characteristics and an event for national cultural exchange.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/05/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[xz80]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[729]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25.677836946753523,100.30151365441272;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1541">
    <dcterms:title><![CDATA[The Dali Sanyue Festival (March Festival)]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The Dali Sanyue Festival is a traditional festival of the Bai people, mainly held in Dali Old Town, Dali City, Dali Bai Autonomous Prefecture, Yunnan Province, China. The Dali Sanyue Festival started during the Yong Hui period of the Tang Dynasty (650 to 655 AD) and evolved from a traditional temple fair. The origin of March Street is closely related to the introduction of Buddhism into Dali. At that time, Nan Zhao was the political, economic and cultural centre of Yunnan Province, and it had frequent contacts with Southeast Asian countries. The monks from ancient India, Zantra Horodo, preached and taught at the foot of Cang Mountain and collected followers, forming Guanyin Street, which was a temple fair for Buddhist activities, and gradually evolved into a trade fair with strong national characteristics and an event for national cultural exchange.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/05/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[xz80]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[730]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25.677836946753523,100.30151365441272;]]></dcterms:spatial>
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    <dcterms:title><![CDATA[The Dali Sanyue Festival (March Festival)]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The Dali Sanyue Festival is a traditional festival of the Bai people, mainly held in Dali Old Town, Dali City, Dali Bai Autonomous Prefecture, Yunnan Province, China. The Dali Sanyue Festival started during the Yong Hui period of the Tang Dynasty (650 to 655 AD) and evolved from a traditional temple fair. The origin of The Dali Sanyue Festival is closely related to the introduction of Buddhism into Dali. At that time, Nan Zhao was the political, economic and cultural centre of Yunnan Province, and it had frequent contacts with Southeast Asian countries. The monks from ancient India, Zantra Horodo, preached and taught at the foot of Cang Mountain and collected followers, forming Guanyin Street, which was a temple fair for Buddhist activities, and gradually evolved into a trade fair with strong national characteristics and an event for national cultural exchange.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/05/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[xz80]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[731]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25.677836946753523,100.30151365441272;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1543">
    <dcterms:title><![CDATA[The Dali Sanyue Festival (March Festival)]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The Dali Sanyue Festival is a traditional festival of the Bai people, mainly held in Dali Old Town, Dali City, Dali Bai Autonomous Prefecture, Yunnan Province, China. The Dali Sanyue Festival started during the Yong Hui period of the Tang Dynasty (650 to 655 AD) and evolved from a traditional temple fair. The origin of The Dali Sanyue Festival is closely related to the introduction of Buddhism into Dali. At that time, Nan Zhao was the political, economic and cultural centre of Yunnan Province, and it had frequent contacts with Southeast Asian countries. The monks from ancient India, Zantra Horodo, preached and taught at the foot of Cang Mountain and collected followers, forming Guanyin Street, which was a temple fair for Buddhist activities, and gradually evolved into a trade fair with strong national characteristics and an event for national cultural exchange.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/05/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[xz80]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[732]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25.677836946753523,100.30151365441272;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1545">
    <dcterms:title><![CDATA[The Dali Sanyue Festival (March Festival)]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/05/2023 06:15:26 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[xz80]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,25.679899692285908,100.30054092931097;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1544">
    <dcterms:title><![CDATA[The Dali Sanyue Festival(March Festival)]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:contributor><![CDATA[xz80]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,25.679744985957104,100.29985428380316;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3582">
    <dcterms:title><![CDATA[The English Lake District]]></dcterms:title>
    <dcterms:description><![CDATA[The Lake District is a cultural landscape in northwest England shaped by glaciers and a long history of agricultural and pastoral practices. Its narrow valleys, long lakes, steep slopes, and stone-walled fields reflect a unique blend of natural beauty and human influence. The area has inspired generations of writers and artists, and contributed to the development of ideas around landscape conservation. The Lake District National Park Authority works with the National Trust and other organisations to protect both the environment and historic features. Through digital tools such as live video streams, people can experience the changing seasons and landscapes from anywhere in the world. These efforts help raise awareness while reducing the environmental impact of tourism. The Lake District plays an important role in preserving cultural and natural heritage. It also supports the protection of ecosystems and promotes sustainable interaction between people and the land, demonstrating how digital interpretation can support long-term environmental and heritage goals.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[26/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[qg20@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1400]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,54.45424,-3.21160;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2219">
    <dcterms:title><![CDATA[The Everglades National Park]]></dcterms:title>
    <dcterms:subject><![CDATA[Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[The Everglades National Park in Florida is a UNESCO World Heritage site known for its vast wetlands and rich biodiversity, including species like the American crocodile and Florida panther.  This park is essential for water filtration and supply, and its ecosystems play a crucial role in carbon sequestration and flood control, aligning with Sustainable Development Goals (SDGs) 13 (Climate Action), 14 (Life Below Water), and 15 (Life on Land).

However, climate change poses significant threats through rising sea levels and increased hurricane activity, which disrupt the park’s natural balance.  Efforts like the Comprehensive Everglades Restoration Plan are underway to restore water flows and counteract environmental impacts, ensuring the park's resilience and sustainability.
]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/05/2024]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[05/03/2024 10:59:08 am]]></dcterms:>
    <dcterms:contributor><![CDATA[sg361]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Everglades_National_Park]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1061]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25.3125,-80.6875;]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[USA]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1628">
    <dcterms:title><![CDATA[The Eye of Sahara]]></dcterms:title>
    <dcterms:subject><![CDATA[Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[The Eye of the Sahara, also referred to as the Richat Structure, is a geological phenomenon of significant cultural, historical, and scientific value in Mauritania. The structure emerged over millions of years due to the gradual erosion of rock layers and is visible from space. It holds immense importance for archaeology, given its composition of bimodal tholeiitic and alkaline volcanism dating back to the Cretaceous era. Because of its striking circular shape, the structure remains a subject of considerable scientific inquiry. Its study has contributed significantly to our understanding of plate tectonics and the evolution of the Earth's surface.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:date><![CDATA[06/05/2023]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[05/06/2023 07:25:41 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[DiMei]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[ https://photojournal.jpl.nasa.gov/catalog/PIA04963]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,20.54,11.24;origin,20.54,11.24;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2033">
    <dcterms:title><![CDATA[The Fiordland National Park, Te Wāhipounamu - South West New Zealand World Heritage Area]]></dcterms:title>
    <dcterms:subject><![CDATA[Tourism]]></dcterms:subject>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:date><![CDATA[2016:01:16 13:54:58]]></dcterms:date>
    <dcterms:contributor><![CDATA[yx66@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://upload.wikimedia.org/wikipedia/commons/b/b3/The_Fiordland_National_Park._%288366209611%29.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,-45.4085,167.3591;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3217">
    <dcterms:title><![CDATA[The Flow Country]]></dcterms:title>
    <dcterms:description><![CDATA[The Flow Country, located in Caithness and Sutherland in northern Scotland, is the largest blanket bog in Europe, covering around 4,000 km². This expansive peatland, rich in deep peat and dotted with bog pools, is crucial in wildlife habitat and climate change mitigation. Peat, composed of plant remains stores significant amounts of carbon that would otherwise contribute to global warming if released into the atmosphere.  

However, the area has faced historical damage due to large-scale drainage and afforestation during the 1970s and 1980s, which degraded the peatland, releasing stored carbon and disrupting ecosystems. In 2019, a wildfire further impacted the area, affecting the most degraded zones and threatening the peatland’s delicate balance.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[2018:01:06 19:37:57]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[24/03/2025]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[03/24/2025 08:37:41 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[Haiyin XU]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1295]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.148242236491306,-4.745692322264267;]]></dcterms:spatial>
</rdf:Description></rdf:RDF>