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Creative Application
Another Moving Moment – Water Buffaloes的焦點圖
Another Moving Moment – Water Buffaloes
National Taiwan Museum of Fine Arts has been devoting to integrating digital technology into artworks and creating more diverse and profound perceptual experiences for its audiences in recent years. With its effort, not only does it turn digital media into great platforms and incubators for displaying and cultivating original art, it also helps to reimagine traditional forms of art and the ideas involved in classic art pieces by creating interactive experiences with digital technology based on them. This time, the museum team reproduced Huang Tu-shui’s Water Buffaloes, a wall-sizedlow-relief depicting traditional Taiwanese farms. Engaging with mixed reality (MR) technology, the team crafted a profound experience through the interplay of compression and decompression of artistic perceptions. Blending together material textures and moving elements with professional sculpting skills, Huang masterfully produced a polymer speaking of the characteristics of both the inner and outer layers, themateriality, and the spiritual space time. Different distances are clearly perceived, and even an extremely narrow space conveys a sense of depth in his work. In the foreground, the intimate interaction between herd boys and Taiwan water buffaloes are definitely captured, and all kinds of textures are meticulously rendered, while other herd boys, water buffaloes, and Musa basjoo (also know as Japanese Banana) leaves fade into background, making the fields appear to be broad, vast, and misty. With the use of MR technology, the team presented water buffaloes’ roaming in the field and created a brand-new immersive experience while restructuring the moving parts compressed by traditionalartmaking methods. The details were derived from various elements available for the time the original work was created, including the spatiality, volume, textures, experiences, motions, and the overall vibe formed by all the components involved, all of which were translated into objects attached to the fundamental framework of art and played a critical part for conveying the emotion in the digital version. As the digital mimicry reinterprets the space time crystallised in the original work, it is a decompressed space with the same quality as that of Water Buffaloes. In this sense, the digital version kept the original texture of buffaloes and herding boys to express the s piritual spacetime extending from the original work. In the meantime, the team speculated that traditional artists valued skills which helped to represent perceptual experiences, so the team reversely decompressed and interpolated more elements in the key objects, creating a new work with good accordance which does not collide with the perceptual experiences conveyed by the original work. The medium chosen to present the virtual content is Microsoft HoloLens2, a device that comes with depth sensor and hand-gesture tracker. It is used to present the virtual space time and integrate it with the physical world. To perfectly demonstrate the interaction of the virtual and physical worlds, bridging the gap between spatial experiences and human bodies would be the first and primary issue. The depth sensor and hand-gesture tracker are the two key technologies that open up the possibility of blending the virtual and physical worlds. The following paragraphs would firstly examine howvirtual spaces and physical experiences were connected through the mentioned technologies, which were used as the framework. After that, the three creative aspects brought together by MR technology – recognition, description, and integration – as well as their derivations would also be discussed. 1. Bridging the Gap between Spatial Experiences and Body Movements On the headset are two signal transmitters and receivers with depth-sensing capabilities, which are also able to track subtle changes of hand gestures and recognise shapes, structures and relative positions of the space users stay in. Images display on the optical combiner of the AR headset through light engines are combining with the ambient light. The virtual elements showing on the combiner are able to overlap with the view of the real-world in real time as users walk around the room, making it possible for water buffaloes to wander in the lobby of the Museum. 2. Recognition: Exploring the Space and Tracking Body Movement Microsoft HoloLens 2 has depth-sensing capabilities and can recognise the spatial structure and relative positions of a space and other spaces with its build-in accelerometer, gyroscope, and magnetometer. After confirming relative positions of users and other objects around them, handtracking is also activated to deliver perfect MR experience. Users can instinctively interact with or create more virtual objects with their hands, and they can also browse the interface and navigate around the virtual tour. 3. Description and Integration: Structuring the Space and Interpolating More Elements in the Virtual Content This part of the creation is about to re-present the content of the real-world. Traditionally, the nature of art creation lies in the compression of living experiences. The reproduced virtual content, on the other hand, is inspired by the spirit and the artistic quality of the original work, and further interpolated content to deliver a more immersive experience. It was a decompression of the key moving elements. Narratives of the Virtual Content: The Representation of the Art Making Processes and the Agent of Physical Experience As MR technology offers abundant real-time feedback for immersive experience, with the advantage of the medium, the team re-presented the creative process of Water Buffaloes and embodied moving moments of the artist. Impersonating the agent of experience and transforming the received sensorystimuli and impressions, the team granted audiences the opportunity to be “in the artist’s shoes” and take a look at the moving scene the artist experienced. Artistic Content: Reading and Decompressing the Key Moving Moment Taiwan water buffaloes, Japanese banana leaves, bamboo hats, and herding boys… All the elements were delicately arranged in Huang’s work. Not only is it an idyll depicting country of the south, but it also showcases the hardworking spirit of Taiwanese people – just like that of Taiwan water buffaloes. The artist managed to showcase the country vibe with the combination of Taiwan water buffaloes and local scenes. (Hsueh Yen-Ling, The Heritage of Taiwanese Art: The Regional Characteristics of Taiwanese Art in the Period of Japanese Rule. Taichung: National Taiwan Museum of Fine Arts,2004.) The combination of different elements seems to bring to life the temperature, humidity, breeze, and even the sound of rainfall of the time the sculpture was created. Strong connection between body movement and spatial characteristics is vital for creating art experience as it would stimulate a series of sensory experiences and physical movement, while the composition and happenings promptpeople to further explore such experience and its artistic value. Along with the background story delivered by the narrator, the interactive experience made audiences feel like they were in a Japanese banana garden where they could wander around, bend down to walk under trees as the leaves skimming over their heads, and take a closer look at the broad-leaved trees dancing in the wind as if they could have felt the warmth and humidity the artist felt in the air. There are five different scenes unfolded in Huang’s work with different levels of depth: The closest one is a herding boy riding water buffaloes, and there’s another boy touching the chin of a littlewater buffalo behind the first boy, followed by the herd and more boys at the back, composing four of the five layers in the work; finally, Japanese banana trees scatter in the field in the background. Some of these trees are more clearly pictured, overlapping with boys and water buffaloes around them, while other trees fade into the background and convey a vast and misty feel. Each of the five layers provided a coordinate to help the team locate the virtual scenes, and these coordinates formed a continuous area in the mixed reality – overlapping with the lobby of the museum – where Taiwan water buffaloes and herding boys roamed around. The artist positioned and stacked up different elements to create spatial distance, using low and sunken relief sculpturing skills to demonstrate the different textures and volumes – hard, round, thin, or thick – of the characters and Taiwan water buffaloes, as if they were alive breathing, with their blood running in their vessels. (Huang Tsai-lang, former museum director of the National Taiwan Museum of Fine Arts, 17 June 2013.) All the mentioned elements were reproduced and linked together to represent the delightful movement and steps made by herd boys, the bulky body of water buffaloes and their heavy steps, as well as postures of herd boys on the back of water buffaloes. The portrait of these subjects showcase both their weight and the leisure time they enjoyed. The intimate interaction between herd boys and water buffaloes were reproduced in three-dimensional virtual scenes, allowing audience to move around and look at the scenes from different perspectives, thusenjoying an art experience unique to themselves. 4. Derivations – The Corresponding Relationships between Actual Space and Virtual Content The virtual content produced by MR technology responds to the original work, the space, and the way it interacts with audiences. The space in front of the original work, Water Buffaloes, which is exhibited in the museum lobby, was turned into an immersive stage. The virtual Japanese banana garden extending from the work and the creative process of manipulative experience are connected with the real world. All the virtual content derived from the original work is like fruit and blossom, reminding people of the original state of a work as that of a plant while they are appreciating their changes. When experiencing creating process, audience could clearly and succinctly understand the important steps adopted to create a sculpture – from sculpting to moulding – as they could go through every critical process with their own pace and produce a mini relief while immersing in the space. In the experience, all the sculpting procedures were fast forwarded, and subtle changes produced by different techniques were revealed. The simulated objects were instinctively grabbed by audience. The final miniatures were enlarged and blended with the large-sized original work at the back of the stage, reminding audience of the great limit and challenge imposed by the materiality in traditional artmaking processes, as well as the time and effort artists put in when they were young to overcome all kinds of physical challenges to present, preserve, and pass down the moving moment of their lives. The virtual effect delivered by MR technology has no physical boundary and can transform into a variety of things, but at the end of the day it has to either return to the original, physical state linking with objects, or occasionally showcase some characteristics inheriting from the original work while it is displayed. MR technology integrated with tangible artwork have crystallized the art experience of spiritual space. The imagery and spirit of Taiwan Buffaloes could once again manifest itself instead of freezing the aura, thus motivating and inspiring people to produce artwork with additional dimensions. Conclusion New immersive art experiences tap into the space recognition technology and excellent computational skills, like the art of navigation used in the Age of Discovery, inspiring people to further explore the story through revelation and understandings, and hence sailing toward a new continent where other forms of art may be found. With a more comprehensive sensory medium, we emolished, reconstructed, and flipped the way different kinds of artistic perceptions were conveyed. When the heavy chain of materiality can no longer stop us from developing more feelings, the elevation of spiritual space will become the new direction artists of the next generation pursue and exchange with experiences that move them. New perspectives are in need to reflect what the core values are inside the fixed, hard shell of objects. The imagery and ideology freely flowing along and bridging with other elements will be unchained, while a more diversified artistic value will finally be awakened.
Art x Fashion - Turn Classic Aesthetics Into a Unique Trend的焦點圖
Art x Fashion - Turn Classic Aesthetics Into a Unique Trend
In addition to watching, art can also be worn! In 2016, NTMoFA and Taiwan's new clothing brand “iohll” collaborated across brands, based on the works of collectors Li Xiqi, Ni Youan, Xi Dejin, Liao Xiuping and Lai Jiuyi, and transformed artworks into costumes from the perspective of design. The crossover dialogue re-emerge the creative history and background of the works of art, and introduce a new look into our daily life, expelling the public's imagination of art and fashion, and giving new meaning to the collection. Starting from "Creation" These new cloth series are based on creation. After further understanding of the background of the artists and the use of media and techniques of the artwork, the designers present three paths of connecting art and life through different interpretations, focusing on The "Qi Yun" series of humanistic care, the "Experimental" series that encourages exploration and subversion, and the "Sensory" series of abstract thinking, three different aspects, all hope to invite people to experience and feel through the clothing that is closest to modern daily life and introduce the beauty of artistic creation. Two-way combination of art and design "Daily Collection -NTMoFA's Clothing Exhibition", with a large-scale image file installation, presents the theme of the three series of clothing derivatives, and links thoughts and dialogues on the collection and derivative output, and uses technology media to extend the static display of goods which shows a refreshing visual experience. About iohll This Taiwanese clothing brand was established in 2011. Iohll! A sound that comes from expressing a hilarious feeling, when you are amazed or interesting or resonating. Iohll! is a brand assembled by designers in different fields such as media communication, industrial design, fashion design, etc. It is a multi-thinking environment. The design is generated from multiple perspectives, emotional brewing, and rational execution. This is a dynamic process that experiences and changes personal experiences in the subtle changes in vision and perception.
Promoting Aesthetic, Creative Product的焦點圖
Promoting Aesthetic, Creative Product
In order to promote NTMoFA creative product, the museum has also actively participated in various cultural and commercial exhibitions since 2015, and promoted the authorization of the collection of images to be used in the development of cultural and creative products, such as the "Taiwan International Cultural and Creative Expo" (referred to as the Cultural Fair) by Ministry of Culture, the "Taiwan Food Show" organized by the Taiwan Tourism Association and the "Taiwan Cultural and Creative Art Fair" of the Taichung Software Park by Ministry of Economic Affairs, etc., hope to enhance the museum creative product and the public to open up the possibility of multi-disciplinary cooperation, in addition to expanding sales channels and providing opportunities to communicate with overseas customers and the media to increase international exposure.
Conservation and Renovate
Art in the Eyes of Science的焦點圖
Art in the Eyes of Science
coming soon
Asian Painting Restoration: ZHOU Lien Hsi的焦點圖
Asian Painting Restoration: ZHOU Lien Hsi
The museum’s collected Asian paintings consist of ink painting and gouache artworks, which are mostly created on traditional handmade xuan paper, hemp paper, or on silk. The final artworks are either mounted and made into scrolls or framed, which are the distinctive ways that Asian paintings are conserved and displayed. Taiwanese veteran gouache painter LIN Yu-Shan’s ZHOU Lien Hsi, an ink painting on paper scroll created in 1929, was a selected artwork for the 3rd Taiwan Art Exhibition. It was discovered during the restoration by comparing with old photographs of the original painting that the painting has been cropped smaller. It was hypothesized that the upper portion of the painting may have been severely damaged and was discarded during the last restoration, with the painting restored as a scroll. With no record of how the artwork was originally framed, it was decided to once again restore the painting based on the scroll format opted in the last restoration. ZHOU Lien Hsi before and after restoration
The Conservation of Eastern Scroll Collection的焦點圖
The Conservation of Eastern Scroll Collection
The preservation and conservation of the collection are one of the important functions of the museum, and it is responsible for the mission of continuing the material life to the future generation. After the art collection was reviewed and approved by the Collection Review Conference, it was confirmed that it was the collection of the NTMoFA and the precious movable property.The collection register will give a permanent registration number and establish the basic information of the collection registration, and then the conservator will temporarily store the collections in the temporary storage of the warehouse, and further adapted cleaning, condition inspection, and positioning and storage for the collection. The preservation method is based on the collection of Eastern scroll collections, which are stored in the box of the phoenix tree and stored in the wooden frame of the phoenix tree. Sycamore wood is light and soft, does not warp and dry, has low water absorption and less shrinkage; it can be fireproof and wet, and is quite suitable for making a storage box.The hanging shaft is wound up by the diameter of the ground rod. If the diameter of the ground rod is small and thin, it is easy to produce lateral creases and cracks during the winding. Therefore, the diameter of the ground rod is increased by adopting the method of thickening the shaft of the ground rod to protect the main part of the painting.
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Last update at: 2024/6/19 Copyright 2021