Translating Qi Baishi’s Flower-and-Bird Paintings into Interactive Images

As exhibitions of digital Chinese painting have grown in number, the production of such large-scale,
interactive works has become not only costly but also has had undue influence on the traditional ink
form, leading to a loss in the aesthetic value and cultural tradition of the display and transition of
Chinese paintings. In this research, which centres on the creative practice of individual artists, I explore
how to retain the original style of Chinese paintings as well as the practical methods that can be used to
create interactive Chinese paintings and convert them into digital artworks.
Qi Baishi’s flower-and-bird paintings, especially those featuring shrimp, have been recognised by
academics for their artistic value. Three flower-and-bird paintings by Qi Baishi were selected to create
two interactive digital works. The characteristics of Qi Baishi’s art were analysed, and the dynamic
bases of the depicted objects were studied to identify a reasonable interaction method that would respect
traditional aesthetics and retain the unique stylistic value of his craft.
The aesthetic changes in Qi Baishi’s flower-and-bird paintings that took place as a result of the media
transformation were examined using criteria typically applied to the aesthetic analysis of traditional
Chinese paintings. My exploratory practice confirms that it is possible to design interactive media based
on digital Chinese paintings. The newly created works have retained the aesthetic characteristics and
cultural value found in this art form. The study of Qi Baishi, his flower-and-bird paintings, and object
motion rules provided a foundation for the dynamic transformation. Thus, the research methods,
theoretical framework, and design process proposed in this thesis provide a model for the future
exploration of interactive Chinese paintings.