Paper Status Tracking

Journals by Title

Journals by Subject

Contact us

	[email protected]
	3275638434

	Paper Publishing WeChat

Useful Links

Creative Commons Attribution-NonCommercial 4.0 International License

Article

Open Access

The Reproduction of Chinese Painting in the Digital Age

Author(s)

Yuefan WANG

Full-Text PDF Download XML 1082 Views

DOI:10.17265/2159-5836/2021.03.006

Affiliation(s)

University of Illinois at Urbana-Champaign, Urbana and Champaign, Illinois, United States

ABSTRACT

This paper investigates the reproduction of Chinese painting in the digital age. In particular, how does a website as an interface influence viewers’ response to a Chinese handscroll? The paper begins with a critical description of a web interface of Freer Gallery of Art and Arthur M. Sackler Gallery, followed by an analysis of the original painting. Fishermen on an Autumn River, that the interface digitizes and displays. The last section points out the influence of digitization on the relationship between viewers and digital heritage.

KEYWORDS

Chinese painting, Fishermen on an Autumn River, web interface, digital age, digital heritage

Cite this paper

References

Burkus-Chasson, A. (2019). Chen Hongshou’s Laments. Journal of Chinese Literature and Culture, 6, (1).
Cahill, J. F. (1978). Parting at the shore: Chinese painting of the early and middle Ming Dynasty, 1368-1580. New York and Tokyo: Weatherhill.
Gibbs, A. (2010). Sympathy, synchrony, and mimetic communication. In M. Gregg and G. J. Seigworth (Eds.), The affect theory reader (pp. 186-205). Durham, NC: Duke University Press.
Ruby, L. W. (2008). Layers of seeing and seeing through Layers: The work of art in the age of digital imagery. The Journal of Aesthetic Education, 42(2), 51-56.
Thwaites, H. (2013). Digital Heritage: What Happens When We Digitize Everything? In E. Ch’ng, V. Gaffney, and H. Chapman (Eds.), Visual heritage in the digital age (pp. 327-348). London: Springer.