Calligraphy and painting inheritance and
Digital Construction (2)
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)
Zhang Zhihao: Three necessary conditions for the digital construction of calligraphy and painting
During this year's two sessions, member Chen Hongwu put forward the proposal of "The Digital Library of Traditional Chinese Calligraphy and Paintings" (hereinafter referred to as the "Whole Library"), which, if implemented and improved in the future, will be of great benefit to the inheritance of calligraphy and painting. This article takes the construction of the "whole library" as the starting point and discusses the three necessary conditions for the digital construction of calligraphy and painting.
First of all, top-level planning and top-down determination are necessary conditions for determining whether the concept of digital calligraphy and painting can be implemented, how to develop, and to what extent, and are also prerequisites for other necessary conditions in the following.
At present, the country's emphasis on digital construction and the promotion of traditional Chinese culture is unprecedented, and as far as the trend is concerned, the combination of the two will also be an inevitable development. As early as the Implementation Opinions on "Making Cultural Relics Come Alive" and Expanding the International Influence of Chinese Culture, which was deliberated and adopted at the 22nd meeting of the Central Committee for Comprehensively Deepening Reform held in November 2021, it clearly put forward the requirements of "carrying out innovative services to make cultural relics better integrate into life and serve the people" for cultural and museum workers, and the digital construction of calligraphy and painting is obviously highly consistent with the original intention of "making cultural relics come alive" and "culture going to sea" in the top-level planning. In this regard, the first necessary condition for the digital construction of calligraphy and painting is relatively mature, and under the drive from top to bottom, the tilt of the policy will become increasingly significant.
Secondly, the improvement of the awareness and subjective initiative of participants at all levels of digital work is a necessary condition for whether the quality of the work can be improved from the surface and inside - in addition to the wide range of coverage, the quality of transformation should also be high. Taking the construction of the "whole library" as an example, our purpose is not to stand at the door of the house and tell everyone "how much", but to invite guests into the house and carefully show them what we "have".
On paper data, the digitization of the collection of mainland cultural and cultural institutions has been carried out step by step in the previous census of movable cultural relics: taking a museum under the Beijing Municipal Bureau of Cultural Relics as an example, the museum announced a total of more than 200,000 pieces (sets) of collections, and in the officially announced digital collection library, there are more than 55,000 pieces of graphic and text data to check, although the proportion has reached 20%, but the picture quality is poor, the explanatory text is extremely simple; take a museum under the Ministry of Culture and Tourism as an example. The museum announced the number of collections of nearly 1.8 million pieces (sets), more than 470,000 cultural relics and images, and at present, there are only more than 68,000 pictures and texts in the digital database, although the quality of the pictures and texts is better, but the quantity is relatively low, only 4% of the total.
Here is a frame of reference: 92% of the nearly 700,000 pieces (sets) of the collection of the "National Palace Museum in Taipei" have completed high-quality digital transformation work.
From this comparison, a third necessary condition can be derived: mature technology. Carrying out digital transformation work is not a logical problem of "doing or not doing", but a technical problem of "how good to do". It is important to be clear that some institutions have not been successful in their previous digital acquisitions. Part of the reason is that at that time, the policy tilt and subjective attention were not enough, resulting in a series of problems such as insufficient funding and lack of professional talents, which in turn made the transformation workflow in the form. But in terms of the final result, the immaturity of the technology is also obvious. Here it is more necessary to emphasize that if there is no mature and advanced technology as a support, even if the first two necessary conditions have been met, the "whole library" and even the digital construction of calligraphy and painting will be difficult in the practical operation link, and even in the near future, when looking back at the existing results, we may be embarrassed to find that due to the lag of technology, this is no longer a problem of "doing or not doing", but a problem of "better not doing".
Realistically speaking, the construction of the "whole library" and the digitization of calligraphy and painting that we are discussing today have lagged slightly behind those of our international counterparts, but if we can find a suitable "temporary transformation" path after learning and researching successful models, it is also a shortcut. The times have put the new technological problems of "meta-universe" and "digitization" in front of us, and all the "old revolutionaries" in Yanchi should also actively face them, try to understand and apply new technologies, and record and pass on traditional culture in new carriers, so as to create more possibilities for the "future to see the present" and "look at the past", between the "upper" and "broad" of the law.
(Author Affilications:Poly Art Research Institute)
Lu Qingzhe: Calligraphy and Painting Inheritance and Digital "Re-creation"
In the digital transformation of the inheritance of calligraphy and painting art, more static works of art should be transformed into dynamic cultural spirits. With the blessing of information technology means, modern design, animation art, digital media art and other forms of literary and artistic creation provide diversity for the "re-creation" of calligraphy and painting works. Digital "re-creation" with the theme of calligraphy and painting art is mainly divided into the following three categories:
The first is to highlight the characteristics of the calligraphy and painting art style and use digital art forms such as animation to "recreate". As early as 1960, the ink animation film "Little Tadpole Finds Mother" has made successful attempts in this regard, and domestic animation works such as "Nine Colored Deer" and "Landscape and Water" are deeply engraved in the childhood impressions of generations. In recent years, the new masterpiece "Big Fish and Begonias", with its classic mythological stories and traditional painting styles, has once again ignited the light of hope of domestic animation. Animation is an art form with enlightenment and educational significance, the audience of animation has long been not limited to children, so that calligraphy and painting carry the express train of animation, which can not only enrich the performance effect of animation art, but also enhance the audience's love for the art of calligraphy and painting.
The second is to use the artistic conception of calligraphy and painting as an expression, and use digital art forms such as virtual reality technology to "recreate". Xiang Shengmu's "Autumn Forest Reading Map" collected by the British Museum uses 3D technology to produce a video to spread the horizontal level of the vertical axis, which not only shows the far-reaching artistic conception of "peeking from the front of the mountain to the back of the mountain", but also achieves the ideal pursuit of "feasible, hopeful, swimworthy and habitable". This kind of digital "re-creation", which not only retains the traditional pen and ink language, but also has a modern way of viewing, is it more in line with the original intention of the landscape painting of Zong Bing's "Clear Mind View of the Tao, Lying down and swimming"? Professor Tang Guoan, a geographer known as "Contemporary Xu Xiake", "Aesthetic Examination of Geographic Information", tries to use digital technology to generate modern maps into landscape painting effects based on gigasmatic data. Such an attempt is to use digital means to give modern meaning to traditional art, and the effect of combining calligraphy and painting art with digital means should be more attractive. In the field of art design, the logo of the just-held Beijing Winter Olympics project is a logo design derived from the use of the seal engraving technique of Xiao Zhiyin, and the dynamic effect can enhance the unique charm of traditional culture, once again pushing the art of calligraphy and painting to the world stage.
The third is to use the aesthetic experience of calligraphy and painting art as the guide, and choreograph modern song and dance dramas and other digital art forms for "re-creation". In the past, Zhang Xuguan Gongsun Da niang danced the sword and realized the brushwork, and the dance could also look at the pen and ink and show its body rhyme, the so-called book dance with the same trend, in today's literary and artistic works there are many successful cases. The Cloud Gate Dance Collection created and choreographed the dance "Walking Grass", and the dancers' moves and styles are very similar to the pen walking dragon and snake on the stage, and even the rhythm of writing cursive calligraphy on the screen behind them is also very suitable. The dance "Dunhuang Flying Sky" performed by Haniji absorbed the flying image in the Dunhuang murals and showed the gorgeous charm of the Tiangong Trick Music. "Only This Green" on the Stage of the Spring Festival Gala is even more popular all over the Internet, and the dancers' delicate and feminine postures are in perfect harmony with the green landscape scrolls spread on the electronic screen, which perfectly explains the classical charm of the Chinese style.
(Author Affilications:Weifang Engineering Vocational College)
Yang Xiaoyu: Cultivating the art of calligraphy and painting
Compound talent for digital technologies
At present, although some achievements have been made in the digital construction of calligraphy and painting, many problems have inevitably emerged.
First, digital resources lack accuracy and comprehensiveness. The so-called accuracy means that in the process of digital transformation, calligraphy and painting works should pay attention to being authoritative and rigorous in terms of works, authors, authenticity, and editions, so as to avoid the emergence of problems such as Zhang Guan, Li Dai, and Fish and Dragon Mixing. Comprehensive means that the digital construction of calligraphy and painting involves a wide range of aspects, not only including classic works of the past and the calligraphy and painting works collected by major museums, lost overseas calligraphy and painting masterpieces, but also paying attention to ancient books and paintings. At present, the results of the digital construction of calligraphy and painting works are higher than the construction of ancient books in related aspects, and the difficulty of obtaining ancient book resources has brought many inconveniences to the theoretical research of calligraphy and painting researchers. In addition, the restoration and restoration of calligraphy and painting works is also an important link that cannot be ignored in digital construction, such as Wang Xizhi's work "Youmu Ti", which was destroyed during World War II, which was re-restored through digital technology in the early years, which is of great significance to calligraphy learners and researchers. Only on the basis of the accuracy and comprehensiveness of digital resources can the research of calligraphy and painting go further and open up new horizons.
Secondly, the digital resources of software independently developed by some related enterprises lack diversity and richness. For example, some calligraphy software font libraries are not rich enough, in the collection of character creation system according to the existing word library to screen, although more convenient and fast, but so that different learners in the use of software for the creation of characters present a cookie-cutter appearance. Calligraphy is the art of "people" to express the disposition, knowledge and cultivation of "people". The thousand-person side of calligraphy art and even mechanized reproduction and mass production not only weaken the artistry of calligraphy, but also lose the connotation of calligraphy art itself.
Finally, digital resources need to be deepened in terms of openness and sharing. Many museums not only lack digital resources, but also have the problem of untimely and insufficient online exhibitions. The library's resources of calligraphy and painting are even fewer, and even if they are, they are precious and are not open to the public at will. Therefore, major museums and libraries should accelerate the construction and sharing of digital resources and widely face the public, only in this way can researchers fully collect and utilize resources and give play to the value of traditional calligraphy and painting. At the same time, the digital resources of calligraphy and painting are widely open to the masses, which can also carry forward its aesthetic education function, enhance the aesthetic literacy of the public, and thus enhance the self-confidence of national culture.
The key to solving the above problems is to cultivate a group of compound talents who are proficient in the art of calligraphy and painting and digital technology, so as to complete the establishment of the "Digital Library of Traditional Chinese Calligraphy and Painting" as soon as possible. The digital construction of calligraphy and painting has broad prospects, but it also has a long way to go, which requires the joint efforts of every relevant professional.
(Author Affilications:Shanxi Normal University)
Liu Song: First of all, we need an overall construction goal
In the new era, with the development of digital scanning and the improvement of database capacity, we have a new means of preserving traditional calligraphy and painting - to build a full library of digital art. Compared with the previous generation of calligraphy and painting works through the collector's collection, the reliability of preservation and the efficiency of use will be significantly improved. How to build a digital art library and the goals and prospects of the library are worth discussing and looking forward to.
Building any undertaking requires an overall goal, and I believe that the construction of the digital art library needs to meet the following points:
First, comprehensive and systematic. The character "Quan", which is fully embodied in the entire library of digital art, should collect ancient calligraphy and painting works handed down at home and abroad (including the extension of the golden stone relics, the physical drawings of the Jian Mu Shu Book, and the works carved or painted on the walls and other carriers). These require the cooperation of museums, universities, collectors, as well as overseas groups and individuals across the country, using relatively unified standards to conduct a detailed investigation of target works, establish digital information archives, and continuously update them with the excavation of future monuments, and gradually increase the stock of works contained in the digital art library. The system is on a comprehensive basis, sorted according to a certain order and angle, so that users can search for the required works more easily and quickly.
Second, multi-functional. Simply entering massive works into a database, this simple change in carrier will not bring qualitative changes to art research. This requires the builders of the art library to increase the historical origins and research results related to the works through text information, related indexes, voice imports, etc., so that careful researchers can find those historical associations that have been ignored, so as to promote the development of related professional research. In addition, it is also possible to establish a contrast function, put different works or whole or part together, observe one of the same details, parts, so that you can provide novel research ideas and research directions through comparison, multiple angles and multiple levels.
Third, high quality. Scan and input to the database of the work to have a high degree of clarity and recognition, so that the user in the view of the work, can find in the general calligraphy and painting inscription is difficult to detect details, such as the folds of the paper, the traces of the rubbing, the loss of ink on the fabric, etc., you can also introduce VR and other new technologies, so that the user is immersed, with "their own" eyes and hands to connect, for the production of the work and its changes over time have a clearer perception and understanding, Thus raising awareness of its true face and causes.
If the digital art library can achieve the above goals, the prospects are quite broad. The library allows the general public to appreciate the shape of ancient calligraphy and painting works and understand their related historical contexts in a simple and quick way on the Internet, showing the unique charm of traditional Chinese art, enriching the entertainment methods of the public, improving their aesthetic ability and artistic literacy, promoting the dissemination of related knowledge such as history and culture, creating an atmosphere of attaching importance to the cultural environment, and helping the whole people to cultivate beauty. For professional researchers in this industry, it is possible to discover new elements and details that have been overlooked in artistic creation and theoretical research according to high-definition pictures, which is conducive to the diversification of personal style and form of works, provides kinetic energy for the development of Chinese calligraphy and painting creation in the new era, and further excavates the wisdom and talent of ancient sages to meet the individual needs of society for calligraphy and painting art.
The construction of a digital art library requires the efforts of multiple industry groups and individuals, which is the goal of the new era to promote national development and meet the people's yearning for a better life.
(Author Affilications:Capital Normal University)
Huang Yanbin: Challenges and countermeasures for the construction of the "four modernizations"
During this year's two sessions, representatives of the calligraphy and painting circles actively submitted proposals and proposals to provide suggestions and suggestions for the future of the digital construction of calligraphy and painting art, and the digitization of calligraphy and painting art became a hot topic for a while. In view of the obstacles and difficulties in the digital construction of calligraphy and painting art, this paper proposes the "four modernizations" challenges and countermeasures facing the digital construction of calligraphy and painting art: standardization, specialization, intelligence and popularization.
The first is standardization. At present, the digital construction and transformation of traditional industries has become a trend. In the field of calligraphy and painting art, many enterprises and institutions have also carried out exploration and practice of digital construction. Taking museums across the country as an example, most of them have established online and offline digital display channels for the public, but the construction standards of most channels are uneven, and there are problems such as non-sharing of resources and poor user experience. The main reason is the lack of top-level design and industry standards, which leads to the duplication of system construction and information islands, which not only causes waste of resources, but also cannot effectively disseminate the art of calligraphy and painting.
Standard first has become the consensus of the digital construction of many traditional industries, and it is also a major challenge facing the digitization of calligraphy and painting art. In fact, many traditional industries have also experienced the process from chaos to standardization in digital construction, and have accumulated more mature experience in standardization construction, such as: finance, telecommunications, government affairs and other industries. Therefore, the digital construction of calligraphy and painting art can learn from the successful experience of these industries and avoid detours. At the same time, the competent authorities should take the lead in formulating unified industry digital standards, rather than decentralizing construction and acting independently.
The second is specialization. In the context of the Internet era, many enterprises, institutions, and even individuals have launched digital platforms for calligraphy and painting art, which has brought a lot of convenience to the people to learn and appreciate the traditional art of calligraphy and painting. However, in the current digital construction of calligraphy and painting, there are often some phenomena of quick success and short-term profit, and the pursuit of large and complete, but ignore the professionalism and rigor of calligraphy and painting itself. Taking calligraphy as an example, common text annotation errors, works appreciation are rigid, the collection of pictures is blurred, and a large number of low-quality content is full of content, which not only damages the beauty of Chinese characters, but also may mislead the aesthetic orientation of the people.
Combing, interpreting and appreciating traditional calligraphy and painting requires a certain amount of professional background knowledge. The above problems reflect that the current degree of specialization in the digital construction of calligraphy and painting art is still not high. In the long run, the digitization of calligraphy and painting art needs to cultivate "compound talents who understand both calligraphy and painting and are proficient in modern digital technology", but discipline construction and talent training require a certain cycle, and it is not achieved overnight. At present, the more realistic way is to promote digital technical talents and calligraphy and painting professionals to work together to jointly build a professional digital platform for calligraphy and painting art.
The third is intelligence. Entering the era of intelligence, the digital construction of calligraphy and painting art should have a certain forward-looking. However, the current digital calligraphy and painting platform generally has problems such as backward technical platforms, inability to be compatible across platforms, and monotonous user experience, which is also an important factor hindering the effective dissemination of current calligraphy and painting art.
The digital construction of calligraphy and painting art should give full play to the role of advanced science and technology, especially intelligent technology, widely absorb advanced technological achievements such as artificial intelligence, big data, and cloud computing, and realize the effective and in-depth integration of science and technology and art. For example, the use of artificial intelligence to automatically collect, screen, evaluate calligraphy and painting works, the use of big data for intelligent classification and rapid access of calligraphy and painting digital warehouse, the use of VR, AR, holographic technology to provide the people with immersive calligraphy and painting art learning and appreciation experience. Through intelligent technology, scattered, static, flat and silent calligraphy and painting artworks can be converted into a centralized, dynamic, three-dimensional, and sound state, and truly make the calligraphy and painting artworks move and live.
The fourth is popularization. The biggest difficulty in the digitization of calligraphy and painting art is not to build a centralized archival database, the greater challenge is how to effectively transform these resources into a public infrastructure, apply and popularize among the people, and truly become the daily spiritual food of the people.
As far as the current situation of the industry is concerned, the digital application scenarios of calligraphy and painting art are still missing, and it is necessary to further explore diversified application scenarios. For example: the educational scene that enters the classroom, the entertainment scene that integrates into the daily life, and the life scene that integrates the revitalization of the countryside. This year's Spring Festival Gala relies on digital technology to put the ancient classic painting "Fuchun Mountain Jutu" on the stage, which is worth learning from and thinking about: in the process of integrating science and technology and art, how to increase more interest and interaction, and show the charm of traditional culture through the forms that the people like to hear, will become the key to the success of the digital construction of calligraphy and painting art.
(Author Affilications:Guangzhou Academy of Fine Arts)
Luo Baidong: The construction contains a comprehensive
High-quality digital system
At present, digital technology is mostly used in calligraphy and painting-related exhibitions, cultural protection, education and other fields, such as digital museums. For contemporary calligraphy and painting, in today's popularity of intelligent terminals, digital apps, website platforms, and digital libraries have become important tools to meet people's needs for high-quality information dissemination, such as the digital museum website platforms and apps built by museums at all levels that we are familiar with, as well as the digital calligraphy and painting library app developed by intelligent terminal suppliers, which are constantly optimizing and improving the experience and feelings of customers. However, the current construction of the digital system of calligraphy and painting is actually not ideal, there are many problems, take the digital app of calligraphy and painting, such as the China Treasure Museum, Yiguan Calligraphy, Ink Pool, Not Tired of Calligraphy and other digital apps for calligraphy and painting, the common problem is that the listed calligraphy and painting data is not comprehensive, the quality of calligraphy and painting pictures is uneven with its own value, or the commercial atmosphere is too heavy. Then it has become extremely urgent and important to build a high-end and comprehensive calligraphy and painting data word sharing system. So how is such a system built?
Building a digital system that includes comprehensive and high-quality calligraphy and painting requires the integration of resources from all parties and the joint construction. The construction of a comprehensive high-end calligraphy and painting digital system first requires the national professional information technology department to build a digital system; secondly, it also requires government departments to coordinate and organize various museums at all levels across the country to collect and sort out comprehensive calligraphy and painting resources; again, professional photography and calligraphy personnel need to sort out the collected calligraphy and painting resources; and finally, these comprehensive and high-quality calligraphy and painting works are digitized and integrated, from video, audio to text and pictures, and so on. The processed calligraphy and painting database needs to be integrated with advanced new media information technology. So how do you achieve convergence?
In the author's view, the comprehensive high-end digital system of calligraphy and painting is not a single calligraphy and painting browsing system, but should be an immersive and diversified digital experience feeling system, from the digital simulation of the work, to the digital scene presentation settings of sight, hearing and touch, to the multi-dimensional audience experience analysis and feedback system construction, which all need to be carefully designed. Therefore, to build a comprehensive and high-end digital system of calligraphy and painting, from the construction of the system to the photography screening of the work, and then to the design of the form of the work experience, it is also necessary to integrate the humanized, "people-oriented" sensory design and interactive design, and at the same time integrate the contemporary high-end information technology into the presentation of calligraphy and painting data, such as digital simulation, digital restoration, digital reproduction, digital synthesis of calligraphy and painting works through digital technology, and finally present the real scene of AR and VR intelligent technology. Comprehensively and high-quality improvement of the integration of calligraphy and painting digital system and new media technology.
In today's era of information digitization, the digitization of calligraphy and painting has made the dissemination of traditional calligraphy and painting have a new possibility of development.
(Author Affilications:Yunnan Normal University)
Zhang Zhiyuan: The possibility of scientific and technological art of calligraphy and painting
The digitization of calligraphy and painting art can also be called "the science and technology of calligraphy and painting art", and the application of science and technology is the fundamental to achieve digital transformation. At present, the digital integration technology we know, digital touch screen technology, 4D, 5D technology, AR technology, digital color photocopying technology, etc., can be used in traditional art. Among them, the use of digital integration technology can establish an art think tank; through 4D, 5D, AR technology to establish an art experience museum, create virtual scenes, to achieve direct "dialogue" between modern and ancient calligraphers and painters. Of course, these are just the technologies that I know at present, but there are still some technologies that we have not used or paid attention to, and it is still worth exploring and practicing with my peers in the field of painting and calligraphy.
Public cultural services need a carrier to achieve, and there are many such carriers. For example: libraries, museums, art galleries, televisions, smart phones, etc., especially televisions and mobile phones have the advantage of breaking the limitations of time and space and a wide range of audiences. Therefore, the public cultural system represented by the Central Radio and Television Station can set up a project of "calligraphy and painting art into tens of millions". Through cross-border cooperation, the use of diverse program forms, to tell the "story of calligraphy and painting" well, spread the "sound of calligraphy and painting". The large-scale cultural program "China in the Classics", jointly launched by the Comprehensive Channel of the Central Radio and Television Corporation and CCTV Creative Media, is a very good example, this program focuses on excellent Chinese cultural classics, through the innovative form of time and space dialogue, with the expression method of "drama and film and television" to tell the story of the long river of 5,000 years of history, truly making the excellent Chinese culture into thousands of households, so that the cultural atmosphere of the whole country has been essentially improved.
In addition, public cultural services are not limited to this, the basic digital construction is the top priority, vigorously promote the construction of digital art museums, digital calligraphy museums, digital art archives, and provide richer and more convenient online cultural services for the people.
(Author Affilications:China Academy of Art)
Producer: Yang Chao, Zhu Zhongyuan
Editor: Yu Jiamin