Topic Discussion: Inheritance of Calligraphy and Painting and Digital Construction (3)

China Calligraphy Daily, No. 367, 3rd page

Inheritance of Calligraphy and Painting and Digital Construction (3)

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)

The goal and prospect of building a digital calligraphy and painting art library

□ Li Xiaohan

According to the needs of different groups of people at present, the digital development of calligraphy and painting image literature has been actively explored. With the emergence of more and more applications that support the query and viewing of calligraphy and painting on mobile phones, it has become more convenient for individuals to consult calligraphy and painting images. At the end of 2019, the 13-year national census of ancient books was completed, providing some work ideas and literature support for the establishment of the digital calligraphy and painting art library. On the basis of this excellent form, it is feasible to build a high-quality, multi-functional digital calligraphy art library, and the prospects are very bright. If the establishment is successful, there should be the following major advantages:

First, the digital calligraphy and painting art library can serve campus art education. The mainland has now formed calligraphy and painting education activities covering all stages of education. In this context, the establishment of the whole library of calligraphy and painting art can greatly contribute to the popularization of art education in primary and secondary schools and the teaching of calligraphy and painting majors in colleges and universities. In the calligraphy classes of many colleges and universities, only one poster as a teaching material can not even meet the needs of students for a semester of study, and multiple posters are not easy to carry. Moreover, the current paper calligraphy and painting publications occasionally have problems such as distortion and color difference, which may cause misunderstanding among students, and high-end publications will increase the financial burden of teachers and students. If the whole library of calligraphy and painting art is successfully established and popularized into the teaching of art disciplines in colleges and universities, teacher teaching and student learning will be more professional and convenient.

Second, the digital calligraphy and painting art library can provide documentary support for art history research and provide search engine services for art literature. If the digital classification of calligraphy and painting works can be comprehensively and a variety of labels can be added for retrieval, the research efficiency of calligraphy and painting researchers will be greatly improved, and the research ideas will be broadened, and some new phenomena in the history of calligraphy and painting may even be discovered, resulting in some new views. These labels shall include, but are not limited to, the author of the calligraphy and painting work, the time of creation, the age of the author at the time of creation, the place of creation, the place of collection, the former collector, the material, the form of mounting, the size, the subject matter, the style, the technical characteristics, as well as the inscription poems and calligraphy interpretations, the stamp information, the publication information, etc.

Third, the establishment of a full library of digital calligraphy and painting art will help enhance the people's artistic accomplishment and enrich the people's literary and artistic life. Due to the epidemic situation, the "Cloud Exhibition" on the website of art museums and museums has become the choice of many citizens. The establishment of the digital calligraphy art library will allow the public's online exhibition experience to be not limited to the exhibited collections, there are many unexplored collections, which is more convenient for the public to appreciate the exhibits in an all-round and multi-angle manner, breaking the time and space restrictions when appreciating the artworks, and comparing the collections of different exhibition halls. All this will enrich the literary and artistic life of the people and promote the cultural self-confidence of the general public.

(The author is a calligraphy teacher at Liaoning University of Communication)

The digital integration of calligraphy and the mutual learning of civilizations at present

□ Even super

With the change of social form, the development of science and technology, the pursuit of aesthetic spirit, the shift of value concepts and the extension of visual cognition, the intersection and integration of art and science and technology have become a trend. Calligraphy has also changed, no longer a "calligraphy paradigm" that is both practical and aesthetic, but a "exhibition hall culture" that advocates pure artistic expression of aesthetics.

In order to meet the practical needs of national rejuvenation, cultural prosperity and exchanges and mutual learning in the new era, relevant departments should make overall planning, scientific management, strengthen the guarantee system, implement the main body of responsibility, take the integration of humanities and science and technology as the construction concept, take the exchange and mutual learning of civilizations as the construction goal, take the writing of Chinese characters and reshape the image of China as the original mission, break the traditional art research paradigm, make full use of advanced technology, effectively learn from the existing achievements, vigorously improve the compilation mode, actively create an online retrieval system for the online version of calligraphy and art, and improve the construction of digital character libraries. At the same time, with innovative digital integration as a technical means, the chronicle deeds and works of successive generations of scholars are transformed into a visual and professional database - through collection, splicing, integration and storage, from the four dimensions of geography, time, books and works, interlacing and superimposing, reproducing the life trajectory of books, book activities and their classic masterpieces. The library has multiple academic significances such as presenting the author's travels of the times, changing the way of understanding literary geographical space, excavating and restoring cultural scenes, and truly realizing the digital transformation of calligraphy and global dissemination and sharing.

In addition, the construction of the "panoramic museum of character symbols" in the new period should be strengthened, and the exhibits should include the actual objects of the mainland dynasties, inscription rubbings, and the fine works copied by famous artists of all generations; foreign hieroglyphic rubbings; domestic hieroglyphic objects and rubbings; and ink letters of calligraphers of past dynasties.

Through scientific and technological leadership, data-driven, academic support, directly facing the public, combined with the use of text, physical objects, images, naked-eye 3D, virtual simulation, holograms, artificial intelligence writing, somatosensory interactive technology, "knowledge graph" and other digital means and exhibition channels, to achieve interactive conversion from offline to online, from technology to concept, from pen and ink to aesthetics, and then comprehensively, multi-modal, immersive to reveal the development of calligraphy and elucidate the humanistic spirit of calligraphy.

(The author is the director of the Development Planning Office of the School of Arts, Sichuan University)

The challenge of teaching "digitalization" in general calligraphy courses in colleges and universities

□ Li Yuyang

Since the 21st century, multimedia tools based on sight and hearing have been widely used in the teaching of general education courses by colleges and universities. However, due to the particularity of "imitation and understanding", the art of calligraphy has not been able to break through the barriers of traditional "teacher teaching" for a long time. In recent years, with the development of "digital" information technology and the popularity of smart phones, a "cloud" system characterized by "Internet +" and networking, data and intelligence has rapidly formed, which has made many changes in the teaching process of calligraphy and general studies in colleges and universities.

The use of multimedia equipment in general calligraphy courses in colleges and universities is not uncommon. As far as the author's teaching experience is concerned, through the projector and recorder and other multimedia equipment to explain calligraphy, although it can intuitively display the pictures and videos of calligraphy works in previous generations, but because of the vast style of calligraphy art, different calligraphers, different book styles have different characteristics, classroom teachers need to spend a lot of energy and material resources to prepare lessons, and in classroom teaching, students are difficult to concentrate for a long time, and for a long time, they are tired of each other. The mobile phone software based on the integration of calligraphy resources based on digital technology and the data-based effectively solves the pain points in the teaching process. Relying on the technology of calligraphy digitization, a number of intelligent software that is extremely convenient to use and operate has been produced, which has digitized the existing calligraphy resources in the mainland, adopted the "cloud" management mode, classified in the form of dictionaries and posters, and opened up these two types in the process of use to achieve a comprehensive retrieval of ancient inscriptions, Legal Posters, Extensions and other materials. In addition, the software is also linked to hard pens and seal engravings, and in the actual teaching process, calligraphy resources can be quickly observed as a whole and systematically through mobile phones. "Daily Forbidden City" is a software launched by the Palace Museum after converting its own collections into electronic resources through scanning, photography, etc., and the categories it covers are richer than calligraphy software, and the data resources are more diversified. With the help of such digital tools, not only can the efficiency of the classroom be improved, but also the workload of the classroom teachers can be reduced, so that they have more energy to guide the practice of calligraphy techniques. Therefore, the traditional multimedia teaching method has been unprecedentedly impacted in today's era of "calligraphy digitization".

The digitization of calligraphy is the inevitable development of the times, and it is more two-sided in the teaching of calligraphy in colleges and universities. On the one hand, we must see the benefits of digitalization, in the teaching can break through the geographical restrictions, the maximum use of calligraphy resources, reduce the cost of lesson preparation, reduce the pressure of teachers; on the other hand, calligraphy digitization also continues to affect the traditional calligraphy general education, the existing teaching system is too old, which gives birth to the urgent requirements and challenges for the construction of a new system. Only by keeping up with the pace of the times, constantly adjusting and improving the existing calligraphy and general education teaching system with the vision of development, and upgrading it, can we fundamentally improve students' knowledge and understanding of traditional culture and art, and then cultivate high-level talents with excellent comprehensive quality for the society.

(The author is a calligraphy teacher at Jilin Jianzhu University)

In the context of the era of big data

New opportunities and challenges in the field of calligraphy

□ Liu Chuan Li Binglin

The core of "digital transformation" lies in how to dig deep into big data resources and effectively convert. The core of "digital construction" lies in creating more effective big data resources. However, whether it is mining or creating effective big data resources, more talent reserves, technical reserves and knowledge reserves are needed, and multi-disciplinary and multi-field integration and reference are needed. The first is the relevant aspects of Internet development and maintenance; the second is the relevant aspects of database statistical application analysis; and the third is the creative development of calligraphy application scenarios. For the field of calligraphy, it is more urgent to create effective big data resources based on "digital construction".

According to the author's previous relevant research, many provincial book associations across the country still lack standardized official websites and WeChat public platforms. At the same time, the electronic graphics of the works of the authoritative exhibitions held by the China Book Association lack official authoritative release and summary. In addition, the authoritative platform for displaying data resources summarized by the achievements of calligraphy education in colleges and universities is also relatively lacking. Therefore, the basic digital construction of big data and cloud platforms in the field of calligraphy is still quite weak, and many aspects are still blank. Therefore, this requires the collective wisdom of the calligraphy community. We can think and try from the following aspects. First of all, give full play to the role of book associations at all levels, especially the provincial book associations and the China Book Association should set up special working groups to carry out corresponding work on the digital construction of calligraphy. In the early stage of these work, it can be carried out around the member information database, the exhibition creation work graphic database, the book research graphic database, etc., maintain the "two micro and one end" of the association, develop the display platform, and connect the relevant database resources with these platforms. If there is a lack of talent and technology, cooperation with relevant technical teams or companies can also be strengthened; secondly, calligraphy-related traditional paper media should strengthen the construction of digitalization, and relevant newspapers and academic journals should strengthen the database construction of published literature in various issues. It is also possible to develop a unique data set or literature database according to its own focus. At the same time, strengthen the search, display, access and sharing of these historical documents; third, calligraphy colleges and universities should strengthen the cultivation and guidance of professional talents, and can also strengthen school-enterprise cooperation in related fields, paying special attention to the talent and technical reserves in the direction of calligraphy digital construction; finally, calligraphy self-media or individual calligraphers should also change their concepts, brainstorm in the field of digital construction of calligraphy, practice new, and may have a broader space for development in the future.

(Liu Chuan is the vice chairman and director of the academic committee of Chongqing Liangjiang New District Calligraphers Association; Li Binglin is a calligraphy teacher of Chongqing College of Arts and Sciences)

Digital collections promote the digital transformation of calligraphy and painting art

□ Chen Qiuyu

There is no doubt that in the face of the rapid changes in the world, the renewal of cultural communication carriers cannot be delayed. Compared with the digital construction of museum calligraphy and painting art in the global environment, there is still a lot of homework to be done in the digital construction of calligraphy and painting art in mainland museums.

According to the "National Cultural And Expo Digital Collection (NFT) Monthly Report" released by the "Museum Headlines" in January 2022, it can be seen that many museums in the mainland have released NFT digital collections through blockchain technology, and once they are sold, they are sold out in a short period of time. Blockchain technology allows digital collections to contain basic information on cultural relics, but also in the form of pictures and texts for people to see, and the transaction relationship can also be officially confirmed. It has obvious advantages in cultural dissemination, art collection and authenticity, and art flow and preservation. This phenomenon illustrates that the relationship between museum artworks and audiences is gradually changing from object-oriented to information-oriented. The gradual establishment of this model has prompted major museums to accelerate the pace of digitizing the collection of calligraphy and paintings in the museum.

As an important part of the blockchain industry, domestic digital artworks conform to the wave of digital technology development and have become an emerging track where the application of blockchain technology has landed. Coupled with the concept of "creative city", cultural development has gradually shifted from the edge of urban development to the core area. As a window of a city and a carrier of cultural output, the cultural output mode of combining science and technology and cultural relics plays an important role in strengthening regional symbols.

The forms of digital artworks are roughly divided into three types: the first is to encrypt the digital artworks that have been formed through blockchain technology; the second is to digitally transform traditional artworks first, such as photos, videos and other forms of digital encryption; and the third is to integrate digital artworks, by separating the physical artwork from the digital ownership certificate. Collectors can entrust the art to a professional institution for safekeeping, and obtain proof of ownership through the digital art ownership certificate they hold. The sale of digital artworks of calligraphy and painting in domestic museums has chosen the second form. Taking the "Weijin Social Comic Strip", a digital collection of the Gansu Provincial Museum on the Shelves of Tencent Magic Core on February 28, 2022, as an example, the six digital collections issued this time: "Farming Map", "Herding Animal Map", "Grilled Meat And Boiled Meat Map", "Double Camel Map", "Yanju Map" and "Cai Sang Tu" are all sold in the form of first converting the collection into digital collections and then chaining them. The Gansu Museum has carried out cultural dissemination in the form of selling digital collections in the museum, which has deepened the public's impression of the visual symbols in Gansu and has a deeper understanding of the historical development context and social and cultural connotations of the region.

As a public welfare institution, the museum has a relatively single source of income, mainly relying on tickets and government appropriations, and the sale of digital collections of calligraphy and paintings in the collection can solve this problem very well. In the process of museum culture output, the degree of audience participation determines the revenue effect of museum culture transmission. Digital collections make the value of museum artworks no longer just unique ritual worship, but gradually transform from the initial worship value to the display value to the experiential value. As an online commodity in the process of museum culture transmission, the museum's digital collections rely on blockchain technology to be on the chain, and take advantage of their low price and low participation threshold to activate the collections and "fly into the homes of ordinary people", narrowing the distance between the audience and the museum and achieving economic benefits. Thus it plays a role in gradually clearing the obstacles on the way to the digital transformation of traditional painting and calligraphy.

(The author is studying at Yunnan University)

Calligraphy and painting inheritance under the numbers The beauty of the artistic conception in the virtual

□ Zhan Ruoyu

With the social changes and scientific and technological progress, the advent of the digital information age has formed a strong impact on the development of traditional art, and the current communication methods of Chinese calligraphy and painting have gradually become "lagging behind" and "lagging behind", and how to carry out the digital transformation of traditional calligraphy and painting has become a problem that we need to solve. In the eyes of most people, modern technology is a rational understanding, while traditional calligraphy and painting is a kind of emotional experience. Modern technology and traditional art seem to be two unrelated things, but the two will also produce different chemical reactions in the fusion, and the use of digital interaction will actively promote the digital transformation of Chinese painting and calligraphy.

What is digital interaction? Specifically, it is a virtual technology that uses digital means to break the time and space limitations of the original resources, integrate and connect the existing resources, and output information to the outside world, and carry out new exchanges and interactions with the help of new technical means, providing a major opportunity for traditional calligraphy and painting. In short, digital interaction is the use of digitalization to communicate between virtual and real.

We should adopt a living digital interaction. This approach aims to use digital means to "bring to life" traditional calligraphy and painting. Under the background of modern science and technology, we can transform two-dimensional physical media into three-dimensional or even multi-dimensional new media, such as the Xuwei Art Museum in Shaoxing City, which has exhibited digital films about Xu Wei's works. This form of video playback not only allows the audience to understand the history, but also allows people to feel the unique charm of traditional calligraphy and painting; for example, a digital interactive device that can design a digital interactive device that makes calligraphy and painting "move", static objects will make people feel serious, and dynamic things will be closer, if coupled with vivid and interesting animation effects, it will be more attractive to viewers. In addition, small programs and mini games related to calligraphy and painting can also be designed, so that people can learn traditional cultural knowledge and feel the charm of traditional culture in leisure and entertainment.

We should also adopt digital interactions that break through time and space. Nowadays, many online digital museums have collected high-definition works of many calligraphers and painters, so that people are no longer limited to offline museums, but can also read high-definition pictures while sitting at home. It is worth mentioning that this move also reduces the use rate and damage rate of paper works. In the Book of Rites and Learning, it is said: "When the country is founded, the people, and teaching comes first." "Therefore, we can integrate education into digital interaction, carry out online calligraphy and painting research, so that more people can know and understand calligraphy and painting, and pass on the ancient and excellent culture." The use of digital interaction that breaks through time and space makes traditional calligraphy and painting works no longer a niche art studied and appreciated by experts and scholars, but a popular art that people like to hear.

The development of science and technology is changing with each passing day, and we must make good use of the unique opportunities brought to us by this era to inherit and develop culture, so that traditional Chinese painting and calligraphy can be renewed.

(The author studied at the Research Center for Intangible Cultural Heritage of Shaoxing University of Arts and Sciences)

Producer: Yang Chao, Zhu Zhongyuan

Editor: Wang Peiran