Qiufeng Yi

Haorui Yu, Ramon Ruiz-Dolz, Qiufeng Yi

This study aims to test and evaluate the capabilities and characteristics of current mainstream Visual Language Models (VLMs) in generating critiques for traditional Chinese painting. To achieve this, we first developed a quantitative framework for Chinese painting critique. This framework was constructed by extracting multi-dimensional evaluative features covering evaluative stance, feature focus, and commentary quality from human expert critiques using a zero-shot classification model. Based on these features, several representative critic personas were defined and quantified. This framework was then employed to evaluate selected VLMs such as Llama, Qwen, or Gemini. The experimental design involved persona-guided prompting to assess the VLM's ability to generate critiques from diverse perspectives. Our findings reveal the current performance levels, strengths, and areas for improvement of VLMs in the domain of art critique, offering insights into their potential and limitations in complex semantic understanding and content generation tasks. The code used for our experiments can be publicly accessed at: https://github.com/yha9806/VULCA-EMNLP2025.

Haorui Yu, Ramon Ruiz-Dolz, Diji Yang et al.

We introduce VULCA-Bench, a multicultural art-critique benchmark for evaluating Vision-Language Models' (VLMs) cultural understanding beyond surface-level visual perception. Existing VLM benchmarks predominantly measure L1-L2 capabilities (object recognition, scene description, and factual question answering) while under-evaluate higher-order cultural interpretation. VULCA-Bench contains 7,410 matched image-critique pairs spanning eight cultural traditions, with Chinese-English bilingual coverage. We operationalise cultural understanding using a five-layer framework (L1-L5, from Visual Perception to Philosophical Aesthetics), instantiated as 225 culture-specific dimensions and supported by expert-written bilingual critiques. Our pilot results indicate that higher-layer reasoning (L3-L5) is consistently more challenging than visual and technical analysis (L1-L2). The dataset, evaluation scripts, and annotation tools are available under CC BY 4.0 in the supplementary materials.

Haorui Yu, Ramon Ruiz-Dolz, Xuehang Wen et al.

Vision-Language Models (VLMs) excel at visual perception, yet their ability to interpret cultural meaning in art remains under-validated. We present a tri-tier evaluation framework for cross-cultural art-critique assessment: Tier I computes automated coverage and risk indicators offline; Tier II applies rubric-based scoring using a single primary judge across five dimensions; and Tier III calibrates the Tier II aggregate score to human ratings via isotonic regression, yielding a 5.2% reduction in MAE on a 152-sample held-out set. The framework outputs a calibrated cultural-understanding score for model selection and cultural-gap diagnosis, together with dimension-level diagnostics and risk indicators. We evaluate 15 VLMs on 294 expert anchors spanning six cultural traditions. Key findings are that (i) automated metrics are unreliable proxies for cultural depth, (ii) Western samples score higher than non-Western samples under our sampling and rubric, and (iii) cross-judge scale mismatch makes naive score averaging unreliable, motivating a single primary judge with explicit calibration. Dataset and code are available in the supplementary materials.

Haorui Yu, Yang Zhao, Yijia Chu et al.

Vision-Language Models (VLMs) often appear culturally competent but rely on superficial pattern matching rather than genuine cultural understanding. We introduce a diagnostic framework to probe VLM reasoning on fire-themed cultural imagery through both classification and explanation analysis. Testing multiple models on Western festivals, non-Western traditions, and emergency scenes reveals systematic biases: models correctly identify prominent Western festivals but struggle with underrepresented cultural events, frequently offering vague labels or dangerously misclassifying emergencies as celebrations. These failures expose the risks of symbolic shortcuts and highlight the need for cultural evaluation beyond accuracy metrics to ensure interpretable and fair multimodal systems.