AN ELECTRONIC ART APPROACH IN THE ADAPTATION OF WHITE SPACE ART COMPOSITION ON CHINESE INK PAINTING
Abstract
White Space Art, otherwise known as Xu Shi, is not only used to create a powerful visual drawing space, but also a key composition principle and aesthetic feature in Chinese Ink Painting. This study focuses on the application of White Space Art in the implementation of the artwork. In other words, which initiatively to explore the method of combining the approach of technology with Chinese Ink Painting Art. Through the practical experience which executed by the author, intently to verify the feasibility if White Space Art to express the space philosophy of electronic art and discusses the possibility that the practical process can be used for further reference. The implementation of such a merger to achieve an artwork in the form of contemporary art which gives a new perception and meaning to the Chinese Ink Painting Art in a new context rather than in a conventional background.
References
2. Duan, S. (2020). Yixiang (意象) in Contemporary Chinese Ink Installation Art. Critical Arts, 34(2), 93–103.
3. Fan, Z., & Zhang, K. (2020). Visual order of Chinese ink paintings. Visual Computing for Industry, Biomedicine, and Art, 3(1).
4. Fan, Z., Zhang, K., & Zheng, X. S. (2019). Evaluation and Analysis of White Space in Wu Guanzhong’s Chinese Paintings. LEONARDO, 52(2), 111–116.
5. McNamara, A. (2012). “What is contemporary art? A review of two books by Terry Smith’’.” Australian and New Zealand Journal of Art, 12(2), 252–258
6. O’sullivan, S. (2010). From aesthetics to the abstract machine: Deleuze, guattari and contemporary art practice. Deleuze and Contemporary Art, 189–207.
7. Powers, M. J., & Tsiang, K. R. (2017). A Companion to Chinese Art. In John Wiley & Sons.
8. Wang, M. (2017). Zhongguo shuimohua liubaiyishu dui zhengti shijue yingxiang fenxi [Analysis of The Influence of Chinese Ink Painting’s Blank Art on The Overall Visual]. Meishu Jiaoyu Yanjiu, 19, 24–25.
9. Wu, K. (2019). Qianxi Zhongguohua bimo yijing zhong de liubaiyishu [An Analysis of the Blank Art in the Artistic Conception of Chinese Brush and Ink]. Zhongwai Jiaoliu, 68–69.
10. Zheng, X., & Fan, J. (2021). Shuimozhuangzhi de kongjian Zhaojin [The space “environment” of ink installation]. Art Science and Technology, 01, 5.
Copyright (c) 2023 UNIMAS Publisher
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Copyright Transfer Statement for Journal
1) In signing this statement, the author(s) grant UNIMAS Publisher an exclusive license to publish their original research papers. The author(s) also grant UNIMAS Publisher permission to reproduce, recreate, translate, extract or summarize, and to distribute and display in any forms, formats, and media. The author(s) can reuse their papers in their future printed work without first requiring permission from UNIMAS Publisher, provided that the author(s) acknowledge and reference publication in the Journal.
2) For open access articles, the author(s) agree that their articles published under UNIMAS Publisher are distributed under the terms of the CC-BY-NC-SA (Creative Commons Attribution-Non Commercial-Share Alike 4.0 International License) which permits unrestricted use, distribution, and reproduction in any medium, for non-commercial purposes, provided the original work of the author(s) is properly cited.
3) For subscription articles, the author(s) agree that UNIMAS Publisher holds copyright, or an exclusive license to publish. Readers or users may view, download, print, and copy the content, for academic purposes, subject to the following conditions of use: (a) any reuse of materials is subject to permission from UNIMAS Publisher; (b) archived materials may only be used for academic research; (c) archived materials may not be used for commercial purposes, which include but not limited to monetary compensation by means of sale, resale, license, transfer of copyright, loan, etc.; and (d) archived materials may not be re-published in any part, either in print or online.
4) The author(s) is/are responsible to ensure his or her or their submitted work is original and does not infringe any existing copyright, trademark, patent, statutory right, or propriety right of others. Corresponding author(s) has (have) obtained permission from all co-authors prior to submission to the journal. Upon submission of the manuscript, the author(s) agree that no similar work has been or will be submitted or published elsewhere in any language. If submitted manuscript includes materials from others, the authors have obtained the permission from the copyright owners.
5) In signing this statement, the author(s) declare(s) that the researches in which they have conducted are in compliance with the current laws of the respective country and UNIMAS Journal Publication Ethics Policy. Any experimentation or research involving human or the use of animal samples must obtain approval from Human or Animal Ethics Committee in their respective institutions. The author(s) agree and understand that UNIMAS Publisher is not responsible for any compensational claims or failure caused by the author(s) in fulfilling the above-mentioned requirements. The author(s) must accept the responsibility for releasing their materials upon request by Chief Editor or UNIMAS Publisher.
6) The author(s) should have participated sufficiently in the work and ensured the appropriateness of the content of the article. The author(s) should also agree that he or she has no commercial attachments (e.g. patent or license arrangement, equity interest, consultancies, etc.) that might pose any conflict of interest with the submitted manuscript. The author(s) also agree to make any relevant materials and data available upon request by the editor or UNIMAS Publisher.
