From Ink to Pixels: A study on the fusion of traditional Chinese landscape painting and digital media art

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From Ink to Pixels: A study on the fusion of traditional Chinese landscape painting and digital media art

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Author(s): Mingyong Cheng

Publication date (Print): July 2024

Conference name: Proceedings of EVA London 2024 (EVA 2024)

Conference theme: Since 1990, the EVA London Conference has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences in the field of digital visualisation. The papers and abstracts in this volume cover areas such as the arts, culture, heritage, museums, music, performance, visual art, and visualisation, as well as related interdisciplinary areas, in combination with technology. The latest research and work by early career researchers, established scholars, practitioners, research students, and visual artists, can be found in this volume, published in full colour.

Conference date: 8–12 July 2024

Keywords: Digital media art, Shan shui, Traditional Chinese landscape painting, Art and technology intersection, Computational art

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Mingyong Cheng

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Publication date: July 2024

Publication date (Print): July 2024

Pages: 111-118

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[0001]University of California San Diego

Visual Arts Department

California, USA

[0002]

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DOI: 10.14236/ewic/EVA2024.19

SO-VID: 938e91a1-37cc-4ed6-897e-b2d025c14300

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2024

Conference acronym: EVA 2024

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Conference location: London

Conference date: 8–12 July 2024

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2024.19

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

Anmella-de Montalembert, L. (2022) In conversation with Yao Lu. Art of Change 21. https://artofchange21.com/en/in-conversation-with-yao-lu/.
Cao, Y. (2017) Cao Yuxi Studio. https://james-cao-dysw.squarespace.com/the-vast-land.
Cheng, M. (2022) The Faded Landscape. Vimeo. https://vimeo.com/762525579.
Cheng, M., Dang, X., & Yu, Z. (2023) Fusion: Landscape and Beyond 2.0: An interactive AI generated art installation. In SIGGRAPH Asia 2023 Art Gallery (SA ‘23). ACM, New York, NY, USA, Article 10, pp. 1–2. https://doi.org/10.1145/3610537.3622954.
Chu, K. (2021) Ruptured Shanshui: Landscape composite photography from Lang Jingshan to Yang Yongliang. Photographies, 14(1), 3-14. https://doi.org/10.1080/17540763.2020.1859405.
Huang, G. (ca. 1350). Dwelling in the Fu Chun Mountains [Painting]. National Palace Museum, Taipei.
Hung, Y. (2021) 故宮館藏《富春山居圖》之VR作品：神遊富春江VR製作說明短片 The National Palace Museum’s VR Work of "Dwelling in the Fu Chun Mountains. [VR Production Short Film]. www.youtube.com/watch?v=b9SR5UyeX9o.
Liu, M. (2017) Experiments in the Anthropocene: Toward a Transformative Eco-Aesthetic in the Work of Four Contemporary Chinese Visual Artists. https//: doi.org/10.15299/LOCAL.2017.11.7.75.
Rahimi, K., Banigan, C., & Ragan, E. (2020) Scene Transitions and Teleportation in Virtual Reality and the Implications for Spatial Awareness and Sickness. IEEE Transactions on Visualization and Computer Graphics, 26, pp. 2273-2287. https://doi.org/10.1109/TVCG.2018.2884468.
Schachtner, C. (2015) Transculturality in the Internet : Culture flows and virtual publics. Current Sociology, 63(2), pp. 228-243. https://doi.org/10.1177/0011392114556585.
Shi, W. (2016) Shan shui in the world: A generative approach to traditional Chinese landscape painting. In Proceedings of IEEE VISAP’16: Metamorphoses, pp. 41–47.
Spicer, E. (2019) Victor Wong – Interview: “The Human Is Inspired by the Machine and the Machine Is Modified by the Human.” Studio International. https://www.studiointernational.com/index.php/victor-wong-interview-ai-gemini-far-sideof-the-moon.
Wang, X. (1113) A Thousand Li of Rivers and Mountains [Painting]. The Palace Museum, Beijing.
Wang, Y., & Zhang, J. (2022) 2021少城之声·独立原生音乐季入围作品错位山水（延展实境类）[2021 Sound of the Old City: Independent Original Music Season Nominee - Displaced Landscape (Extended Reality Category)]. Bilibili. https://www.bilibili.com/video/BV1BS4y1L7BG/.
Wen, F. (1992) Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. Metropolitan Museum of Art. p. 71.
Yan, Z. (2019) Research on the Scattered Perspective Viewing in the Era of Image. https://api.semanticscholar.org/CorpusID:201924366.
Yang, Y. (2010) Yang Yongliang Studio. https://www.yangyongliang.com/.
Yang, Y. (2017) PrevailingWinds 络绎不绝 [Video]. Vimeo. https://vimeo.com/261079646.
Yao, L. (2008) Photography of China. https://photographyofchina.com/author/yao-lu.
Zhou, L., Wang, Q.-F., Huang, K., & Lo, C.-H. (2019) An interactive and generative approach for Chinese. Shanshui painting document. 2019 International Conference on Document Analysis and Recognition (ICDAR) (pp. 819-824). Sydney, NSW, Australia. https://doi.org/10.1109/ICDAR.2019.00136 .
Zi, R. (2018) Flying View Painting: A Thousand Miles of Rivers and Mountains in 3D. ArtLink.com. https://www.artlnk.com/21883.html.
Zou, L., & Li, H. (2021) User Experience based Perspective Guidance Method for Immersive Interactive Video. 2021 IEEE Sixth International Conference on Data Science in Cyberspace (DSC), pp. 450-453. https://doi.org/10.1109/dsc53577.2021.0007

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[1] Anmella-de Montalembert, L. (2022) In conversation with Yao Lu. Art of Change 21. https://artofchange21.com/en/in-conversation-with-yao-lu/.

[2] Cao, Y. (2017) Cao Yuxi Studio. https://james-cao-dysw.squarespace.com/the-vast-land.

[3] Cheng, M. (2022) The Faded Landscape. Vimeo. https://vimeo.com/762525579.

[4] Cheng, M., Dang, X., & Yu, Z. (2023) Fusion: Landscape and Beyond 2.0: An interactive AI generated art installation. In SIGGRAPH Asia 2023 Art Gallery (SA ‘23). ACM, New York, NY, USA, Article 10, pp. 1–2. https://doi.org/10.1145/3610537.3622954.

[5] Chu, K. (2021) Ruptured Shanshui: Landscape composite photography from Lang Jingshan to Yang Yongliang. Photographies, 14(1), 3-14. https://doi.org/10.1080/17540763.2020.1859405.

[6] Huang, G. (ca. 1350). Dwelling in the Fu Chun Mountains [Painting]. National Palace Museum, Taipei.

[7] Hung, Y. (2021) 故宮館藏《富春山居圖》之VR作品：神遊富春江VR製作說明短片 The National Palace Museum’s VR Work of "Dwelling in the Fu Chun Mountains. [VR Production Short Film]. www.youtube.com/watch?v=b9SR5UyeX9o.

[8] Liu, M. (2017) Experiments in the Anthropocene: Toward a Transformative Eco-Aesthetic in the Work of Four Contemporary Chinese Visual Artists. https//: doi.org/10.15299/LOCAL.2017.11.7.75.

[9] Rahimi, K., Banigan, C., & Ragan, E. (2020) Scene Transitions and Teleportation in Virtual Reality and the Implications for Spatial Awareness and Sickness. IEEE Transactions on Visualization and Computer Graphics, 26, pp. 2273-2287. https://doi.org/10.1109/TVCG.2018.2884468.

[10] Schachtner, C. (2015) Transculturality in the Internet : Culture flows and virtual publics. Current Sociology, 63(2), pp. 228-243. https://doi.org/10.1177/0011392114556585.

[11] Shi, W. (2016) Shan shui in the world: A generative approach to traditional Chinese landscape painting. In Proceedings of IEEE VISAP’16: Metamorphoses, pp. 41–47.

[12] Spicer, E. (2019) Victor Wong – Interview: “The Human Is Inspired by the Machine and the Machine Is Modified by the Human.” Studio International. https://www.studiointernational.com/index.php/victor-wong-interview-ai-gemini-far-sideof-the-moon.

[13] Wang, X. (1113) A Thousand Li of Rivers and Mountains [Painting]. The Palace Museum, Beijing.

[14] Wang, Y., & Zhang, J. (2022) 2021少城之声·独立原生音乐季入围作品错位山水（延展实境类）[2021 Sound of the Old City: Independent Original Music Season Nominee - Displaced Landscape (Extended Reality Category)]. Bilibili. https://www.bilibili.com/video/BV1BS4y1L7BG/.

[15] Wen, F. (1992) Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. Metropolitan Museum of Art. p. 71.

[16] Yan, Z. (2019) Research on the Scattered Perspective Viewing in the Era of Image. https://api.semanticscholar.org/CorpusID:201924366.

[17] Yang, Y. (2010) Yang Yongliang Studio. https://www.yangyongliang.com/.

[18] Yang, Y. (2017) PrevailingWinds 络绎不绝 [Video]. Vimeo. https://vimeo.com/261079646.

[19] Yao, L. (2008) Photography of China. https://photographyofchina.com/author/yao-lu.

[20] Zhou, L., Wang, Q.-F., Huang, K., & Lo, C.-H. (2019) An interactive and generative approach for Chinese. Shanshui painting document. 2019 International Conference on Document Analysis and Recognition (ICDAR) (pp. 819-824). Sydney, NSW, Australia. https://doi.org/10.1109/ICDAR.2019.00136 .

[21] Zi, R. (2018) Flying View Painting: A Thousand Miles of Rivers and Mountains in 3D. ArtLink.com. https://www.artlnk.com/21883.html.

[22] Zou, L., & Li, H. (2021) User Experience based Perspective Guidance Method for Immersive Interactive Video. 2021 IEEE Sixth International Conference on Data Science in Cyberspace (DSC), pp. 450-453. https://doi.org/10.1109/dsc53577.2021.0007

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From Ink to Pixels: A study on the fusion of traditional Chinese landscape painting and digital media art

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