Topic Discussion: Calligraphy and Painting Inheritance and Digital Construction (1)

Calligraphy and painting inheritance and

Digital Construction (1)

During the two sessions, the proposals of Chen Hongwu, Zhang Ji, Yan Fu and other members all involved the "digital transformation" and "digital construction" of calligraphy and painting art, reflecting the hot topics of general concern in the calligraphy community. To this end, China Calligraphy News specially conducted an open call for papers on the topic of "Inheritance and Digital Construction of Calligraphy and Painting" to further discuss issues related to the digital construction of calligraphy and painting art, in order to effectively promote the digital transformation of traditional arts such as calligraphy and painting. This journal publishes a number of articles for the benefit of readers. (Editor)

Liu Yang: The difficulty of digital construction of calligraphy and painting

Recently, Chen Hongwu, an adviser to the Chinese Calligraphers Association, proposed a motion at the two sessions, proposing to "establish a digital library of traditional Chinese calligraphy and paintings". Systematically scan the traditional calligraphy and paintings collected by the national museum system, including the expansion of the golden stone relics and the scanning collection of chinese calligraphy and painting masterpieces lost overseas. This bill has received the attention and support of most of the painting and calligraphy circles. Calligraphy and painting works have the characteristics of non-renewable because of their age, and the protection and inheritance of calligraphy and painting have become a more difficult problem we are facing now. Nowadays, the rapid development of digitalization has brought us opportunities, but there are still many problems to be solved in the digital transformation of calligraphy and painting art.

First, technical problems: the digital transformation of calligraphy and painting art must require accurate equipment and instruments, and because calligraphy and painting are visual arts, with images as the carrier, the accuracy of cameras and scanners is higher. Compared with the content-based digital transformation of ancient books, calligraphy and painting have a higher degree of restoration of the overall color vision of paper. People often appreciate and learn through digital pictures in the network, so the pictures that restore the color of the original work will not make people have a cognitive bias in the work. In addition, the brush strokes of the strokes in the paintings and calligraphy works, the thickness and dryness of the ink, all need to be more accurate and clearer.

Secondly, most of the paintings and calligraphy works of average size can be digitally transformed through existing technology, but there are still higher requirements for some works with large-area images, such as large-area murals. Although the market now also has instruments that specialize in scanning large-area images, the operation is difficult and the time is long, and it requires multiple scanning of multiple viewpoints to complete, and the manpower and material resources consumed are also difficult problems that need to be paid attention to in the process of digital transformation.

Second, the collection problem: In addition to the collection of calligraphy and paintings in major museums on the mainland, a considerable number of calligraphy and painting works have also been lost overseas, and some are in the hands of private collectors. These situations are also no small obstacle to the collection and collation of calligraphy and painting works. How to contact major foreign museums and how to contact private collectors is also a long-term and heavy problem. Summarizing, scanning, sorting out and finally completing the digital transformation of such a large number of works is a task that requires a lot of time and manpower. Of course, we can first transform the existing works in hand, and then slowly update the database, and gradually find a broader and smoother path in the initial exploration.

At present, there are also many high-definition pictures of calligraphy and painting works, and mobile phone applications have also launched a lot of picture collections of calligraphy and painting works that can be appreciated and studied, which are classified and sorted according to the authors of the dynasty. Of course, there are not many works, not complete, and there are many works that need to be digitally transformed, which is also what we urgently need to solve.

Third, the problem of authenticity: This seems to be the problem that appraisers need to solve, but in the face of massive works, not only shooting and scanning, classification and storage is also the most important link. The existence of a large number of replicas will add certain obstacles to the collation work, and how to identify and screen the "masterpieces" circulating in the market requires us to polish our eyes.

The inheritance of calligraphy and painting art to the digital era is an opportunity for protection. The inheritance and maintenance of ancient calligraphy and painting works is the task of each of us, so that it can be digitized, not only to preserve the original appearance of calligraphy and painting to a certain extent, but also to make calligraphy and painting "alive", and to better meet the spiritual and cultural needs of the people. It will show the traditional Chinese calligraphy and painting to the world and show the connotation of traditional Chinese culture.

(Author Affilications:Hebei University)

Dunway: Digitalization is a new era

An instrument available for the development of the art of calligraphy and painting

The digitization of art includes two basic aspects: one is the digital transformation of the original work of art, and the other is the use of digital technology to create art. Both of these aspects are connected to our daily lives and have far-reaching implications. The era in which we live is an era of rapid change, an era of technological progress and the accelerating process of globalization, and an era of the exchange and collision of various ideas and concepts and the mutual influence of each other. Calligraphy is also contemporary. Mr. Ouyang Zhongshi proposed: "Write words and lines, carry the tao, use the book to rejuvenate, cut the time if needed." "The advent of the digital era has consciously aroused the awakening of the whole nation to culture through artistic aesthetics, so as to promote the cultural creation of contemporary classics of calligraphy and painting art in the current cultural context, and promote the benign development and innovation of contemporary calligraphy and painting art."

China's five-thousand-year civilization has been passed down in an orderly manner, and the printing technology has contributed to it. This invention provides a more convenient way to inherit ancient Chinese culture. Today, the development of information technology and the digitization of art should become a usable instrument and an opportunity to promote the development of calligraphy and painting art in the new era. The digitization of art will not only shape the immersive experience and interactive viewing, but also promote the public's enthusiasm for participation, so that it can be continued and expanded in the public's acceptance, and the re-medialization of art through a series of actions such as shooting, production, uploading, and forwarding can be carried out to form a rich generative nature. The emergence of new technological achievements such as computers and the Internet under the support of digital technology has not only broadened people's horizons, but also enriched the way of communication, providing a huge space for the development and inheritance of calligraphy and painting art.

The Metropolitan Museum of Art, the first cultural institution to digitize, released high-definition images of more than 375,000 artifacts and artworks online for public viewing and free download in 2017. The Louvre museum in France digitizes all of its collections of more than 480,000 pieces, providing high-definition image details, collection numbers, dimensions, materials, dates, history, location and other information to achieve "comprehensive digitization". In 2019, the Digital Cultural Relics Library of the Palace Museum in Beijing was officially launched, meeting the cultural and spiritual needs of the general public for in-depth research on cultural relics and artworks in the collection. The earliest surviving Chinese painting works, such as Zi Qian's "You Chun Tu", Shenlong Ben Feng G's "Orchid Pavilion Collection", and Wang Ximeng's "Thousand Miles of Rivers and Mountains", can all be seen in their true appearance. The digital construction of dunhuang Mogao Grottoes in mainland China has also achieved fruitful results, and the mural materials obtained through digitization can not only effectively preserve and inherit Dunhuang culture, but also alleviate the tourism pressure and the damage caused by many factors to varying degrees of damage to cultural relics to a certain extent, and widely promote the dissemination and exchange of Dunhuang culture. The above successful cases have pointed out the direction for the digital construction of calligraphy and painting art in the new era. Under the background of many factors such as the cultural status of calligraphy, the demand for calligraphy education, and the inheritance and protection of calligraphy and painting works, the project of digital construction and popularization of calligraphy and painting art needs to be vigorously implemented.

The German thinker Benjamin pointed out in the 1930s that mechanical reproductions such as photography and film have turned art that was originally only admired by a few people and needs to be contemplated by a small number of people into art that everyone can reach. Challenges and opportunities coexist, and the application of digitalization is penetrating into the public education of calligraphy and painting, changing the mode of calligraphy dissemination. The emergence of photocopying technology has made the pattern of calligraphy learning a new look, and the development of digital technology has made calligraphy learning more convenient. With the development of science and technology and the implementation of digitalization, digital applications such as high-definition image resources for calligraphy and painting, font retrieval data, and painting retrieval data for various genres are gradually becoming the main tools for the majority of calligraphers and painters and calligraphy and painting enthusiasts to learn, research and disseminate. In today's digital technology to bring a continuous and in-depth impact on all walks of life, calligraphy and painting art only continue to do a good job in digital work, broaden the application and function of digital platform, in order to continuously break through the limited influence of physical space, so that art resources can be shared by a wider range of people, but also better for art research and art education work to facilitate.

(Author Affilications:Linyi University)

Zheng Yue: The goals and prospects of the digital art library

With the rapid development and wider application of 5G communication technology and VR virtual reality in mainland China, digital art libraries will have a broader application scenario.

The digital art library can be said to be a super resource base for online media, and the digital art library can be seen in a considerable number of online communications. For example, computer CG animation, online game scene modeling, film, visual arts, etc., digital art has a pivotal role. When the imagination and creativity of human thinking are more effectively displayed with the help of science and technology, digital art will surely affect the process of human civilization in a broader space in the future.

Digital art library building can be divided into two goals. First, the outstanding artistic heritage in history is divided into categories, and the digital preservation is carried out in a high-precision, three-dimensional three-dimensional modeling method. Second, encourage artists to use a large number of digital tools in the process of creating works of art, in addition to the traditional art creation tools, to open up new ideas for digital creation, at the same time, with an evolutionary vision of the current technology and knowledge can not reach the artistic inspiration, as an open expansion interface, leaving future artists as a source of ideas and inspiration base for creation.

Work has now begun on the preservation of traditional art masterpieces, such as the Digital Palace Museum library that the Palace Museum has been perfecting, the VR Palace Museum, etc. In the future, we can refer to the digitization of fine art products. At the same time, we should consider VR real-time interaction now, the next five years of mainland development planning outline has put digital interaction and the Internet as the top priority of development, digital art products can be "alive" up "moving", so as to increase interactivity and interest. Imagine wearing a VR device to enter the Palace Museum, to visit the real Terracotta Warriors of Qin Shi Huang, and even through the interactive form of virtual games, you can go to the water with Wang Xizhi and learn how to write the "Orchid Pavilion Preface". In this way, it can not only increase the further dissemination and learning of traditional culture, but also save children from the illusory game of fighting and killing. Wouldn't it be more rewarding to pen walk the dragon and snake and create a painting of one's own "Holy Order" and "Fuchun Mountain Residence Map" in the VR world?

In the process of creating calligraphy and painting works, artists can better inspire inspiration with the help of real-time editing of digital technology, reproduction technology, and the malleability of creative tools. The linear and irreversible characteristics of traditional works of art, as well as the regrets in the creative process, can be filled by digital technology. At the same time, all creative ideas and inspirations are recorded in real time by digital technology, which will have a very great guiding role in inspiring future artists to create.

With the progress of the times, traditional experts and scholars must keep up with the pace of the times, keep pace with the times to look at the development of calligraphy and painting art today and in the future, and have a forward-looking strategic awareness and vision. If you are confined to the form of creative tools and creative means, then returning to the engraving on the turtle shell is the purest artistic creation. Obviously, this is unrealistic, with the progress of science and technology and the times, one day IN THE FUTURE VR can even be replaced by brain-computer interfaces, artists through special brain-computer devices, just need to imagine can create excellent calligraphy and painting works of art through digital technology, is it not art? Bamboo jane replaces tortoiseshell is progress, paper replaces bamboo jane is progress, digital technology can also replace paper, the same progress.

The establishment of the digital art library, will be able to bring the majority of people and art lovers together, any excellent work of art is derived from people's ordinary life, art is to reflect ordinary life and sublimate, through the digital art library, ordinary people can also understand what the real art is, how to create excellent works of art. Through the super communication ability of the digital art library, the spirit of artistic creation is rooted in the broader people, and on this basis, more excellent works can be produced.

The vision of the construction of the digital art library is to provide the most comprehensive and high-quality services for art lovers in the world, and at the same time, to preserve, exchange and learn from the excellent artistic works of all mankind. The infinite sharing function of digital art is unmatched by other forms, digital art can allow all art lovers to get closer to art, experience artistic fun and artistic accomplishment, expand the boundaries of art dissemination, and digital art library has epoch-making significance.

The long-term vision of the Digital Art Library is to be able to develop art forms with more future characteristics on the basis of inheriting traditional culture. Drawing on and absorbing the essence of existing excellent works of art in the West, and creating the mainland's own art category on the basis of tradition, can better inherit and develop, which is the ultimate goal of the digital art library.

(Author Affilications:Beijing Haina Times Information Consulting Center)

Yang Weilie: A necessary condition for the digital construction of calligraphy and painting

The benefits of the digital construction of calligraphy and painting art are self-evident. For example, it is conducive to the dissemination and inheritance of traditional calligraphy and painting art, and is convenient for calligraphy and painting enthusiasts and researchers to learn and research, and so on. However, the digital construction of calligraphy and painting art itself is a complicated and huge project, which cannot be achieved overnight. Some of the necessary construction conditions must be in place to be able to carry out effectively. Otherwise, good things may not be good. This article takes Chen Hongwu, a member of the National Committee of the Chinese People's Political Consultative Conference and an adviser to the Chinese Calligraphers Association, as an example: "Establish a 'Digital Library of Traditional Chinese Calligraphy and Paintings'" as an example.

First, there must be support from the national level. This support is first and foremost policy support. With the support of national policies, the establishment of a "digital library of traditional Chinese paintings and calligraphy" is well-founded, and it is easier to get the understanding and cooperation of the relevant departments involved. The second is financial support. As we all know, the establishment of a "digital library of traditional Chinese calligraphy and paintings" is a huge and complex project. To establish such a large project, without a large amount of capital investment, it is bound to be difficult to move forward. And where does the money come from? Relying only on the organizers and builders to raise their own funds is undoubtedly a drop in the bucket, and it must be supported by exclusive funds from the national level. Only in this way can this project be carried out steadily and far-reaching, and will not be abandoned halfway due to financial problems.

Second, it must be understood and supported by cultural and museum departments at home and abroad and private collectors. Undoubtedly, the main collectors of traditional calligraphy and painting art are domestic and overseas cultural and museum departments, such as the Palace Museum, Shangbo, Liaobo, and the Boston Museum of Fine Arts. In addition to this, there are some private valuable collections. In order to establish a "digital library of traditional Chinese paintings and calligraphy", it is necessary to shoot or scan the collections of these departments and the traditional calligraphy and painting works of private collections in high definition. To photograph or scan these traditional calligraphy and painting works in high definition, it is inevitable that these collections will be temporarily separated from their environment, which will inevitably have a more or less adverse impact on these collections. Therefore, this process must be understood and supported by collectors, without their understanding and support, this project is also difficult to carry out.

Third, it is necessary to cultivate a group of compound talents who understand both calligraphy, painting, literature and literature and are proficient in modern digital technology. The establishment of the "Chinese Traditional Calligraphy and Painting Digital Library" must go through many processes such as collection, collation, entry, storage, use, maintenance, etc., and whether each process is professional or not, and how the quality is, is directly related to whether the "Chinese Traditional Calligraphy and Painting Digital Library" can become a high-quality project. So, how do you ensure that every process in this project is professional and of high quality? Without him, it is the top priority to cultivate a group of compound talents who understand both calligraphy, painting and literature and are proficient in modern digital technology. Because only by being proficient in calligraphy and painting can we better distinguish between the good and bad of calligraphy and painting, and collect more and better traditional calligraphy and painting works; we can minimize the adverse impact on the collection due to collection as much as possible, so as to better protect the collection in the collection. Only by being proficient in modern digital technology can we ensure the high-quality operation of the collection, collation, entry, storage, use, maintenance and other processes, and ensure that every frame of the collected picture is delicately displayed and perfectly presents the spirit of the original work. Only by understanding both calligraphy, painting and calligraphy and being proficient in modern digital technology can we navigate the process of collection, collation, entry, storage, use and maintenance, and avoid the embarrassing situation of "interlacing like a mountain", thus affecting the overall progress and quality of this huge project.

(Author Affilications:Anhui Jieshou Middle School)

Producer: Yang Chao, Zhu Zhongyuan

Editor: Yu Jiamin