RECREATION OF TRADITIONAL CHINESE PAINTING USING VIRTUAL REALITY
A CASE STUDY FOR WU GUANZONG’S PAINTINGS
国画论文代写 1.ABSTRACT The main goal of this research: bring Chinese paintings into a virtual immersive environment, while keeping the creator’s intuitional
1.ABSTRACT 国画论文代写
- The main goal of this research: bring Chinese paintings into a virtual immersive environment, while keeping the creator’s intuitional creative inspiration and the essence of the art —- preserve Chinese tangible cultural heritage
- RQ: How can we translate the Chinese artists’ original ideas and signification of traditional artistic content in the domain of digital art?
- RQ: Does VR affect the process of making sense of a Chinese painting by orienting the experience of seeing towards directions which differ from traditional paintings?
2.RELATED WORK 国画论文代写
A.Virtual Reality
i.
Generic text about VR. Definition. 3D visualisation and interaction.Immersion, presence. How is it different from 2D mediums?
ii.
Through its immersive features, VR allows users to experience physical properties such as shape, size, distance, time duration, etc. of objects and events and enables them to discover “hidden” features. According to constructivist theory, learners can construct meaning through the interpretation of their personal experience [1].
iii. 国画论文代写
Compared to traditional 2D user interfaces, learners in virtual environments can freely explore and view 3D cultural objects from various perspectives, as well as touch or grasp virtual objects in a realistic-looking context. They can go around objects, jumping inside and outside environments and access unusual perspectives or even to break the law of physics.
iv.
The immersive space creates a strong sense of presence, which may facilitate learners to conceptualize and assist them to construct meaning and knowledge through direct personal experience in a realistic and sensory-rich digital environment
v.
All these have led VR to be used in a variety of application areas from training to arts – give examples here. The spatial nature of VR was used in visual-spatial training [2] [3]. In the context of cultural learning, the spatial characteristics of VR technology enable learners’ 3D realistic replicas [4][5] which may improve learners’ spatial perception of historical places and objects [6].
B.Virtual Heritage 国画论文代写
i.
Virtual Heritage = works that utilize information technology to preserve visualization, or simulation using computer graphic technology [7].
ii.
Many virtual heritage environments [8][9] have been designed, but most are focused on reconstructing historical sites and architectures or displaying artifacts. Only few research projects discuss the digitally recreation of ancient paintings, and even fewer use VR for this creative process. Previous projects: digital enhancement of paintings using animations — an animated version of the Bian River scroll [10] developed by Crystal Digital Technology company, was exhibited in the Chinese pavilion of the ShanghaiWorld Expo 2010. Ma et al. [11] chose the same piece and enhanced it with voice dubbings and environmental sounds. A viewer can take a close look at the high-quality digital painting on a touch display; the system synthesizes a realistic stereo audio according to the viewer’s orientation and position in the physical space.
Hü rst et al. [12] presented the design and evaluation of a virtual museum, users experienced through a head mounted display. 国画论文代写
In this virtual space, audiences can walk into each room of a museum to view stylized (e.g., Van Gogh’s style), animated (e.g., leaves falling) or style-animated paintings. The preliminary results of a study with 12 university students showed that the animated paintings triggered more emotional verbal statements than the other two states. Yuan and Yun [13] presented Tunable, an immersive HMD- VR reconstruction of a traditional Chinese painting Listening to a Guqin. The designers recreated the 3D space and viewers can enter the virtual world of the painting where they can view the 3D scene from various perspectives.
Antonietti and Cantoia [14] conducted an empirical study to explore how desktop VR environments may help undergraduate students with cognitive meaning making on western ancient paintings. 国画论文代写
Forty students were randomly assigned into one of the two conditions (Reflection and VR conditions) and were asked to complete a few written tasks related to the painting title, meaning questions, and comments. In the Reflection condition, students were presented with a high-quality 2D preproduction of the ancient western painting titled Saint Jerome; in the VR condition, students were shown a VR guided tour of the digital painting on a desktop computer screen. The results showed that VR experience prompted students to consider why and how something was in front them rather than what they faced; VR also helped the students to conceptualize the experience at an abstract level and stimulated a free and imaginative elaboration.
iii.
Maybe here write about how Chinese painting differs from Western painting
– Philosophy in Chinese painting: [15]
- “Yi hua” — strokes are the base of Chinese painting
- Chinese painting has a closed relation with Yi-jing, Taoism, Buddhism, as well as with the traditional Chinese philosophy in which Chinese people consider that the universe and all beings were born in a common entity.
- Chinese painters consider that they are friend and a part of the nature and that they can communicate with them in a spiritual way
- The objective of Chinese painting is not a simple imitation of real objects. Theorist Fang Shishu (Qing Dynasty) described the state of ancient Chinese painter during artistic creation as “Mountains, rivers and plants come from the nature and are always changeable. We imagine the world through our heart and realize it with our hands, which is a world of spirituality. The relationship between real and spiritual spaces is demonstrated with the practice of painting reflecting author’s considerations of each artistic strategy. Therefore, through the spiritual expression involved in the process of creation, mountains and rivers in the painting are not a simple imitation or representation of the nature.” The contemporary esthetician Zong Baihua said that “What is the deeper signification in Chinese painting? This is not a simple respective or successive imitation of the world, or a search of an eternal universe. This is a full and deep integration with the nature and with the eternal universe.”
- traditional Chinese painting is a spiritual art
iv. 国画论文代写
Wu Guanzong’s universe – what characterises his painting style, his philosophy, etc?
v.
Based on previous frameworks, in this thesis, we the focus on the creative visual representations of original paintings of Wu Guanzong. Our goal is to creatively reconstruct a 2D ancient Chinese painting within a 3D immersive space that can provide enhanced information, so that our VR application could potentially facilitate viewers’ appreciation of traditional arts, acquisition of historical-art knowledge, motivation of cultural learning and discussion on awareness of heritage conservation.
3.METHODOLOGY 国画论文代写
A. For this thesis, we chose 3 paintings of Wu Guanzong depicting 3 different types of work: a landscape where the spectator looks down from a high vantage point (Watertown); a highly detailed still that conveys the movement of animals, where the spectator’s vision seems to penetrate into the landscape (Taju Goose) and a less detailed still with animals where the surrounding details are minimal, leaving the viewer to guess what happens outside the frame of the painting (Animals).
B. We translated these works into the VR space reflecting on encountered challenges.
C. We ran a pilot study to understand the viewer’s perceptions of the environment.
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