寒山寺数字化仿真系统的审美特征研究
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摘要
当今时代,文化已经作为一种软实力,越来越成为民族凝聚力和创造力的重要源泉,越来越成为综合国力竞争的重要因素。随着物质上的极大丰富,人们对丰富精神文化生活的需求也日益提高。寒山寺建筑不但蕴涵着极高的艺术价值和历史价值,而且承载着独特的寒山寺文化。弘扬寒山寺文化对于丰富人们的精神需求,提高文化素养,净化社会风气具有现实意义。随着技术手段的进步,寒山寺文化迎来了新的传播契机。数字化技术能够很好的整合在空间和时间上分布的文化资源,不但能够实现文物的保存与保护,对文化遗产的传播也能够带来很多有利的作用。应用虚拟现实技术能够实现人机交互的传播方式,使用户身临其境,沉浸其中。一方面,建立数字化寒山寺有其必要性和现实意义。另一方面,数字化寒山寺具有独特的审美价值和文化价值。
数字化寒山寺的审美活动不仅仅是对现实的模拟,而且是对内涵的挖掘和放大,强化感官体验,启发受众的认知,使受众能够在某些事物上产生自然的接受和深刻的印象。本文研究目标是:以寒山寺核心的物质文化及精神文化为背景,以技术美学为理论指导,研究数字化寒山寺的审美要素及审美重构。从寒山寺的文化,联系到数字虚拟艺术,在虚拟艺术的层面上对寒山寺这个特定的实体对象建立认识
本文分四个部分对数字化寒山寺的建立和审美特征进行分析和研究。通过运用文献研究法,比较法,分析考察法,归纳概括法等方法,分析了建立数字化寒山寺的可行性和必要性,提出了建立数字化寒山寺的设计方案和技术方法。在研究现实寒山寺文化价值和审美价值的基础上,对数字化寒山寺进行美学重构,分析数字化寒山寺作为虚拟艺术的特征,挖掘其审美本质。
In nowadays, the culture has been a kind of soft power, more and more been the important source of national cohesion and creativity, more and more been the important factor of comprehensive national competition. With the material of richness, people want to increase spiritual needs. The ancient buildings of Hanshan Temple not only imply great values of art and history, but also distinctive the culture of Hanshan Temple. Promoting the culture of Hanshan Temple has practical significance on enriching people's spiritual needs, improving cultural awareness, purifying social atmosphere.With advances in techniques, the culture of Hanshan Temple ushers in the new communication opportunities. Digital technology can integrate the cultural resource, not only enables the preservation and protection of heritage, but also helps the spread culture. Using virtual reality technology, we can achieve better mode of transmission of human-computer interaction, so that the users are immersive in it. On the one hand, establishing digital Hanshan Temple is necessary and meaningful. On the other hand, digital Hanshan Temple has unique aesthetical and cultural value.
The aesthetic of digital Hanshan Temple is not the imitation of reality. It enlarges the content, strengthens the experience, inspire the cognitive, deepens the impression. In the basic of the culture of Hanshan Temple and aesthetics, research the aesthetical factors and reconstruction of digital Hanshan Temple, From the culture of Hanshan Temple to virtual art, establish the understanding of digital Hanshan Temple, instruct the works of digital simulationg system design.
This thesis consists of four chapters: Using the methods of literature research, compare, analysis study, induction general method and other methods, Analysis the feasibility and necessity of the establishment of digital Hanshan Temple, proposes design and technical methods in establishing digital Hanshan Temple. in based on learning in the cultural value and aesthetical value of Hanshan Temple, study the reconstruction of aesthetics in digital Hanshan Temple, analysis the aesthetical features of digital Hanshan Temple as a virtual art, excavate its aesthetical essence.
数字化寒山寺的审美活动不仅仅是对现实的模拟,而且是对内涵的挖掘和放大,强化感官体验,启发受众的认知,使受众能够在某些事物上产生自然的接受和深刻的印象。本文研究目标是:以寒山寺核心的物质文化及精神文化为背景,以技术美学为理论指导,研究数字化寒山寺的审美要素及审美重构。从寒山寺的文化,联系到数字虚拟艺术,在虚拟艺术的层面上对寒山寺这个特定的实体对象建立认识
本文分四个部分对数字化寒山寺的建立和审美特征进行分析和研究。通过运用文献研究法,比较法,分析考察法,归纳概括法等方法,分析了建立数字化寒山寺的可行性和必要性,提出了建立数字化寒山寺的设计方案和技术方法。在研究现实寒山寺文化价值和审美价值的基础上,对数字化寒山寺进行美学重构,分析数字化寒山寺作为虚拟艺术的特征,挖掘其审美本质。
In nowadays, the culture has been a kind of soft power, more and more been the important source of national cohesion and creativity, more and more been the important factor of comprehensive national competition. With the material of richness, people want to increase spiritual needs. The ancient buildings of Hanshan Temple not only imply great values of art and history, but also distinctive the culture of Hanshan Temple. Promoting the culture of Hanshan Temple has practical significance on enriching people's spiritual needs, improving cultural awareness, purifying social atmosphere.With advances in techniques, the culture of Hanshan Temple ushers in the new communication opportunities. Digital technology can integrate the cultural resource, not only enables the preservation and protection of heritage, but also helps the spread culture. Using virtual reality technology, we can achieve better mode of transmission of human-computer interaction, so that the users are immersive in it. On the one hand, establishing digital Hanshan Temple is necessary and meaningful. On the other hand, digital Hanshan Temple has unique aesthetical and cultural value.
The aesthetic of digital Hanshan Temple is not the imitation of reality. It enlarges the content, strengthens the experience, inspire the cognitive, deepens the impression. In the basic of the culture of Hanshan Temple and aesthetics, research the aesthetical factors and reconstruction of digital Hanshan Temple, From the culture of Hanshan Temple to virtual art, establish the understanding of digital Hanshan Temple, instruct the works of digital simulationg system design.
This thesis consists of four chapters: Using the methods of literature research, compare, analysis study, induction general method and other methods, Analysis the feasibility and necessity of the establishment of digital Hanshan Temple, proposes design and technical methods in establishing digital Hanshan Temple. in based on learning in the cultural value and aesthetical value of Hanshan Temple, study the reconstruction of aesthetics in digital Hanshan Temple, analysis the aesthetical features of digital Hanshan Temple as a virtual art, excavate its aesthetical essence.
引文
[1]戈春源.寒山寺始建与名源考[C].寒山寺文化论坛文集, 2008: 151-157.
[2] Feilden B. M. Conservation of historic buildings, London[J]. Butterworth Scientific, 1994: 94-104.
[3] Liu Jiazhen, Yang Daoling. Status of the preservation of digital resources in China: results of a survey [J]. Program-Electronic Library and Information Systems, 2007, 41(1): 36-38.
[4] Yu ZY, Li B, Sun TS. Distribution characteristics of China's heritage tourist resources and Its development and protection[J]. International Symposium on Statistics and Management Science, 2010 (10): 197-201.
[5]柳红波.数字虚拟艺术的当代审美维度[J].艺术探索, 2008: 129-130.
[6] Qin Jingyan, Guan Yan, Lu Xiaobo. Research on the Interaction Design Methods of Digital Cultural Heritage[C]. International Conference on Computer Aided Industrial Design and Conceptual Design-CAID & CD, 2009: 1453-1466.
[7] Adams A, Blandford A. Digital libraries' support for the user's 'information journey[C]. 5th ACM/IEEE Joint Conference on Digital Libraries, 2005: 160-169.
[8] Jason Kise . Memory of the World Pacific Neighborhood Consortium[C]. Hong Kong, 2001PNC, 2001: 323-325.
[9] MICHAEL T. Heath and William A. Dick. Virtual Prototyping of Solid Propellant Rockets[J]. Computing in Science & Engineering, 2000 (2): 21-32.
[10] LEVOY M., PULLI K., CURLESS B. The Digital Michelangelo Project: 3D Scanning of Large Statues[C]. SIGGRAPH’2000 ACM Press, 2000: 254-256.
[11] HIRAYU H, OJIKA T, KIJIMA R. Construction the Historic Villages of Shirakawago in Virtual Reality[J]. IEEE Multimedia, 2000 (4): 61-63.
[12] Kristen Day. New Urbanism and the Challenges of Designing for Diversity[J]. Journal of Planning Education and Research, 2003, 23: 83-95.
[13] William Jepson, Robin Ligget, Scott Friedman. Virtual Modeling of Urban Environments[M]. CPC Presence, 1995: 72-86.
[14] Lucet Genevieve. Virtual Reality: A Knowledge Tool for Cultural Heritage[J]. Visapp, 2009: 3-10.
[15] Sampaio, Alcinia Zita. Simulation of construction processes within virtual environments[J]. Grapp, 2008: 326-331.
[16] Bruder, Gerd. Arch-Explore: A Natural User Interface for Immersive Architectural Walkthroughs[C]. //IEEE Symposium on 3U User Interfaces, 2009: 75-82.
[17] Hu SX. Real 3D digital method for large-scale cultural heritage sites[C]. //Ninth International Conference on Information Visualization, 2005: 504.
[18]张同乐.传统建筑的新兴表现形式-计算机虚拟现实技术的应用[J].科技情报开发与经济, 2005 (24): 121.
[19] Khan, Fahad Shahbaz. Using VRML to build a virtual reality campus environment[J]. World Congress on Engineering, 2008: 484-488.
[20]樊锦诗.敦煌石窟保护与展示工作中的数字技术应用[J].敦煌研究, 2009, 6: 1-3.
[21]吴玉涵,周明全.三维扫描技术在文物保护中的应用[J].计算机技术与发展, 2009, 9: 173-176.
[22]冯乃恩.数字故宫[G].故宫博物院年鉴, 2007: 155-160.
[23]闫波,杨宝容.哈尔滨数字文庙的审美特征与文化价值[J].哈尔滨工业大学学报, 2009, 1: 93-98.
[24]王建一,郝冰,欧剑.基于虚拟现实技术的虚拟博物馆设计[J].新闻界, 2007, 6: 172-175.
[25] [加]马歇尔·麦克卢汉.理解媒介[M].何道宽,译.北京:商务印书馆, 2000: 33-25.
[26] [美]尼葛洛庞帝.数字化生存[M].胡泳,译.海口:海南出版社, 1997: 68.
[27] Wu M, Jiang H. The Application of Digital Technology in the Design Domain[C]. Pacific/ Asia Workshop on Computational Intelligence and Industrial Application, 2008 (12): 19-20.
[28]孙志奇.寒山寺历史沿革略考[C].寒山寺文化论坛文集, 2008: 917-922.
[29]姚炎祥.寒山寺文化研究再思考[C].寒山寺文化论坛文集, 2008:36-47
[30]何善蒙.寒山传说及其文化意义[C].寒山寺文化论坛文集, 2008: 477-487.
[31]汪祖民.寒山寺除夕听钟活动及其展望[C].寒山寺文化论坛文集, 2008: 245-263.
[32]沈志军.寒山寺文物保护[C].寒山寺文化论坛文集,2008:368-374.
[33] Sherman, William R. and Alan B. Craig. Understanding Virtual Reality: Interface, Application, and Design[J]. Morgan Kaufmann Press, 2002 (9): 4-38.
[34]毛贺.寒山寺空间格局和景观组织特色[C].寒山寺文化论坛文集, 2008: 416-421.
[35]祁嘉华.中国古建筑美学精神的三重维度[J].建筑, 2006: 19.
[36]童庆炳.现代心理美学[M].北京:中国社会科学出版社, 1993: 58-75.
[37] Pavel Zehonlk & Rick L Jenison. Presence Teleoperators and Virtual Enviramments [J]. Presence as Beijing in World, 1998 (2): 78-89.
[38] Badni K. The collaboration of two different working practices enabling autonomous virtual reality artwork[J]. Digital Creativity, 2011 (1): 49-64.
[39]陈恒醇.科技美学[M].陕西:陕西人民教育出版社, 1997: 143.
[40]陈嘉映.海德格尔哲学概论[M].北京:生活.读书.新知三联书店, 2005: 23-25.
[41] [德]奥利弗·格劳.虚拟艺术[M].陈玲,译.清华大学出版社, 2006: 149-152.
[42] JosueJr GRamo. On the cultural history and epistemology of telepresence[J]. see Grau, 2000: 233-235.
[43] [德]马丁·海德格尔.时间与存在[M].周晓琪,译.北京:生活.读书.新知三联书店, 2006: 57-65.
[44] Mark Poster. The Second Media Age[M]. Polity Press in association with Blackwell, 1995: 89-92.
[45] Edmonds E. The art of interaction[J]. Digital Creativity, 2010 (4): 257-264.
[46] [德]恩斯特·卡西尔.人论[M].李化梅,译.北京:北京西苑出版社,2003:76-85.
[47] Jean Bandrillard. Mark Poster. & Selected Writings[M]. Stanford University Press, 1998: 120-125.
[48]贾秀清.重构美学:数字媒体艺术本性[M].中国广播电视出版社, 2006: 69-78.
[2] Feilden B. M. Conservation of historic buildings, London[J]. Butterworth Scientific, 1994: 94-104.
[3] Liu Jiazhen, Yang Daoling. Status of the preservation of digital resources in China: results of a survey [J]. Program-Electronic Library and Information Systems, 2007, 41(1): 36-38.
[4] Yu ZY, Li B, Sun TS. Distribution characteristics of China's heritage tourist resources and Its development and protection[J]. International Symposium on Statistics and Management Science, 2010 (10): 197-201.
[5]柳红波.数字虚拟艺术的当代审美维度[J].艺术探索, 2008: 129-130.
[6] Qin Jingyan, Guan Yan, Lu Xiaobo. Research on the Interaction Design Methods of Digital Cultural Heritage[C]. International Conference on Computer Aided Industrial Design and Conceptual Design-CAID & CD, 2009: 1453-1466.
[7] Adams A, Blandford A. Digital libraries' support for the user's 'information journey[C]. 5th ACM/IEEE Joint Conference on Digital Libraries, 2005: 160-169.
[8] Jason Kise . Memory of the World Pacific Neighborhood Consortium[C]. Hong Kong, 2001PNC, 2001: 323-325.
[9] MICHAEL T. Heath and William A. Dick. Virtual Prototyping of Solid Propellant Rockets[J]. Computing in Science & Engineering, 2000 (2): 21-32.
[10] LEVOY M., PULLI K., CURLESS B. The Digital Michelangelo Project: 3D Scanning of Large Statues[C]. SIGGRAPH’2000 ACM Press, 2000: 254-256.
[11] HIRAYU H, OJIKA T, KIJIMA R. Construction the Historic Villages of Shirakawago in Virtual Reality[J]. IEEE Multimedia, 2000 (4): 61-63.
[12] Kristen Day. New Urbanism and the Challenges of Designing for Diversity[J]. Journal of Planning Education and Research, 2003, 23: 83-95.
[13] William Jepson, Robin Ligget, Scott Friedman. Virtual Modeling of Urban Environments[M]. CPC Presence, 1995: 72-86.
[14] Lucet Genevieve. Virtual Reality: A Knowledge Tool for Cultural Heritage[J]. Visapp, 2009: 3-10.
[15] Sampaio, Alcinia Zita. Simulation of construction processes within virtual environments[J]. Grapp, 2008: 326-331.
[16] Bruder, Gerd. Arch-Explore: A Natural User Interface for Immersive Architectural Walkthroughs[C]. //IEEE Symposium on 3U User Interfaces, 2009: 75-82.
[17] Hu SX. Real 3D digital method for large-scale cultural heritage sites[C]. //Ninth International Conference on Information Visualization, 2005: 504.
[18]张同乐.传统建筑的新兴表现形式-计算机虚拟现实技术的应用[J].科技情报开发与经济, 2005 (24): 121.
[19] Khan, Fahad Shahbaz. Using VRML to build a virtual reality campus environment[J]. World Congress on Engineering, 2008: 484-488.
[20]樊锦诗.敦煌石窟保护与展示工作中的数字技术应用[J].敦煌研究, 2009, 6: 1-3.
[21]吴玉涵,周明全.三维扫描技术在文物保护中的应用[J].计算机技术与发展, 2009, 9: 173-176.
[22]冯乃恩.数字故宫[G].故宫博物院年鉴, 2007: 155-160.
[23]闫波,杨宝容.哈尔滨数字文庙的审美特征与文化价值[J].哈尔滨工业大学学报, 2009, 1: 93-98.
[24]王建一,郝冰,欧剑.基于虚拟现实技术的虚拟博物馆设计[J].新闻界, 2007, 6: 172-175.
[25] [加]马歇尔·麦克卢汉.理解媒介[M].何道宽,译.北京:商务印书馆, 2000: 33-25.
[26] [美]尼葛洛庞帝.数字化生存[M].胡泳,译.海口:海南出版社, 1997: 68.
[27] Wu M, Jiang H. The Application of Digital Technology in the Design Domain[C]. Pacific/ Asia Workshop on Computational Intelligence and Industrial Application, 2008 (12): 19-20.
[28]孙志奇.寒山寺历史沿革略考[C].寒山寺文化论坛文集, 2008: 917-922.
[29]姚炎祥.寒山寺文化研究再思考[C].寒山寺文化论坛文集, 2008:36-47
[30]何善蒙.寒山传说及其文化意义[C].寒山寺文化论坛文集, 2008: 477-487.
[31]汪祖民.寒山寺除夕听钟活动及其展望[C].寒山寺文化论坛文集, 2008: 245-263.
[32]沈志军.寒山寺文物保护[C].寒山寺文化论坛文集,2008:368-374.
[33] Sherman, William R. and Alan B. Craig. Understanding Virtual Reality: Interface, Application, and Design[J]. Morgan Kaufmann Press, 2002 (9): 4-38.
[34]毛贺.寒山寺空间格局和景观组织特色[C].寒山寺文化论坛文集, 2008: 416-421.
[35]祁嘉华.中国古建筑美学精神的三重维度[J].建筑, 2006: 19.
[36]童庆炳.现代心理美学[M].北京:中国社会科学出版社, 1993: 58-75.
[37] Pavel Zehonlk & Rick L Jenison. Presence Teleoperators and Virtual Enviramments [J]. Presence as Beijing in World, 1998 (2): 78-89.
[38] Badni K. The collaboration of two different working practices enabling autonomous virtual reality artwork[J]. Digital Creativity, 2011 (1): 49-64.
[39]陈恒醇.科技美学[M].陕西:陕西人民教育出版社, 1997: 143.
[40]陈嘉映.海德格尔哲学概论[M].北京:生活.读书.新知三联书店, 2005: 23-25.
[41] [德]奥利弗·格劳.虚拟艺术[M].陈玲,译.清华大学出版社, 2006: 149-152.
[42] JosueJr GRamo. On the cultural history and epistemology of telepresence[J]. see Grau, 2000: 233-235.
[43] [德]马丁·海德格尔.时间与存在[M].周晓琪,译.北京:生活.读书.新知三联书店, 2006: 57-65.
[44] Mark Poster. The Second Media Age[M]. Polity Press in association with Blackwell, 1995: 89-92.
[45] Edmonds E. The art of interaction[J]. Digital Creativity, 2010 (4): 257-264.
[46] [德]恩斯特·卡西尔.人论[M].李化梅,译.北京:北京西苑出版社,2003:76-85.
[47] Jean Bandrillard. Mark Poster. & Selected Writings[M]. Stanford University Press, 1998: 120-125.
[48]贾秀清.重构美学:数字媒体艺术本性[M].中国广播电视出版社, 2006: 69-78.