Chapter 99: Mogao Grottoes Project
Interests are always the best catalyst for fighting spirit.
The enlarged version of A Thousand Miles of Rivers and Mountains produced by the Chinese Painting major not only established the impression of the major in the public eye, but also undoubtedly aroused the fighting spirit of colleagues in the academy.
It’s like when others are desperately trying to make money, you start building your own brand first.
No one will allow their peers to overtake them like this.
What's more, now is a critical moment when a large group of craftsmen who are unwilling to admit defeat are competing together for the blue ocean market.
They are able to understand the competition between different majors within the college.
But at present, all the major technical majors in this college are putting almost all their energy into the construction of Yong'an College.
This move by the Chinese painting major will inevitably be seen as a "jumping the gun" in the eyes of other majors.
Moreover, although we all belong to the same Donghuang traditional culture, Chinese painting has a clear inheritance and protection, and occupies a certain position in the examinations of art students.
The policy position of Chinese painting is a peak that other professions cannot reach.
So when the Chinese painting major took the lead in launching the charge, even though what they were doing was a very normal and aboveboard image competition.
Other technical professions will still have some complaints about it.
Therefore, when the Chinese painting major fired the first shot in this competition, even the major craft majors of Yongan College still had unfinished "construction"/decoration tasks to do.
However, each major submitted a variety of proposals that could demonstrate its own skills in visual effects as soon as possible.
For example, the "city defense turret" of the ancient architecture design major, and the embroidery version of "Qingming Mountain and River Map" of the embroidery major, which are difficult cultural and creative renovations.
There were so many different tricks, and they even completely disregarded the difficulty control. They were really afraid that if they were not careful, they would lose out in terms of theme and creative difficulty.
Jia Wenyan could almost foresee that during that period, after the construction of Yongan Paradise was completed, Yongan College would be determined to create "handicrafts" that could be displayed in a museum.
In their eyes, since the traditional Chinese painting major has already taken the lead, it will be impossible for them to easily seize the remaining territory.
And this time, in addition to replicas of famous works, many professionals also considered the possibility of original design.
Especially for the ceramic major, since they won the first prize in the park's figurine and decoration business, they have completely opened up their minds.
From peripheral products of their own IPs such as "The Story of the Stubborn Stone" and "The Girl Who Sees History", to their original human-shaped designs that are in line with the look and feel of cultural relics, based on the Yong'an Museum's "Cultural Relics and Spirit Images" plan.
During this period, Yongan College can be said to have raised the morale and work efficiency in all aspects to an unprecedented level.
During this process, the successful opening of Wing On Theme Park undoubtedly sounded the clarion call for the second phase of competition.
However, Jia Wenyan was not completely unprepared for this.
While others were still thinking about what kind of hot situation Yong'an College would be in after its opening, Jia Wenyan struck while the iron was hot and, under the pretext of cultural relics protection and cultural promotion, applied for an opportunity to visit Mogao Grottoes to inspect and restore the site, and to produce related programs for publicity.
This was the first time that Jia Wenyan took the initiative to apply for an external restoration job after coming to Xian'an City.
Before this, although Jia Wenyan always regarded herself as a cultural relic restorer, what she had been handling were mainly replicas of various rare cultural relics.
Although she has also demonstrated her restoration ability during this process through methods such as restoring "Ru porcelain fragments".
But in the eyes of the public, Jia Wenyan's abilities and characteristics are always more inclined to "shaping" rather than "restoring".
This is something that Jia Wenyan has always been very distressed about.
Her original intention was to use this kind of reproduction to help the damaged artifact spirits prolong their lives, and at the same time prove to the public that she had the ability to repair real historical artifacts.
At the same time, she also used this opportunity to convey to the public what these cultural relics should have looked like and had a historical image thousands of years ago.
But now, as these impressions continue to deepen, although she has gained public recognition, she has long deviated from her goal of being involved in more "high-level cultural relics restoration".
This is really the only regret that she has never been able to completely get rid of after running the Yong'an Museum for so long.
Although the current officials or industry insiders have recognized her abilities, whenever she mentions news about cultural relics restoration, netizens will instinctively direct their attention to the so-called "more suitable" angle for her.
However, few people know that the ultimate goal of both the Yong'an Museum and the Yong'an College is to better ensure the inheritance of those historical relics.
Jia Wenyan is very clear that she is not the kind of person who can carry forward technological technology through innovation.
She lacks the "creativity" that an artist should have.
But she is confident in her perception and intuition during the replication process.
She was still thinking about how she could increase the public's attention as much as possible to the restoration of cultural relics in the Yong'an Museum and Yong'an College.
But not long ago, an enlarged version of "A Thousand Miles of Rivers and Mountains" from the traditional Chinese painting major gave Jia Wenyan a rare inspiration.
That is to give full play to the public's sensitivity to the visual effects of objects.
For example, the enlarged version of A Thousand Miles of Rivers and Mountains recently reproduced by the Chinese painting major.
Although it does require very fine workmanship and manpower.
But to be fair, many students majoring in Chinese painting at Yong'an College are still far from being able to display the charm of the original works in terms of skills.
All they did was to restore the original image as much as possible and use the enlarged version to fill an entire wall with visual impact, in order to further shape the public's recognition of the professional capabilities of Chinese painting.
Craftsmanship may be one aspect, but the visual impact brought by the size of the object is definitely the most basic and easiest thing for the public to feel "shocking".
So after getting official approval, Jia Wenyan also got herself a big job.
That is the restoration work of the Mogao Grottoes murals.
Mogao Grottoes is the most representative of Donghuang mural art.
It records a large amount of valuable historical materials, including Buddhist stories, myths and legends, as well as trivial matters in the lives of ancient people.
It can be said that the existence of Mogao Grottoes is the most three-dimensional historical book in the history of Donghuang.
However, the existence of murals still has its indelible flaws.
Over the years, the murals of Mogao Grottoes have suffered all kinds of damage due to closures, moisture, and various other types of dirt.
Not only did a lot of the paint fade over large areas, some even mixed together, making the patterns on the murals a mess.
These have had a great impact on the restoration of the murals.
What Jia Wenyan has to do now is to properly combine the restoration of the murals with the VR cultural relics time and space concept she had conceived earlier.
This can be said to be the most suitable cultural relic restoration at present to highlight Jia Wenyan's conceptual conception.
Think back to the target audience she had conceived for the "Cultural Relics VR Space-Time Project".
She had two main ideas. One was the Old Summer Palace which was burned down by foreign powers, and the other was the "Afang Palace", the most well-known unfinished project in Donghuang.
Today, people can conclude that many things will never be rebuilt or restored. However, the VR space-time concept of cultural relics, through the "space-time gap" created by historical documents and other materials, can make people clearly feel the creation process of cultural relics and everything in their background.
But these are just thoughts after all, and the murals in Mogao Grottoes are real existences that need people to constantly maintain and repair them.
Although considering the nature of murals being chiseled on stone walls, it is almost certain that those precious murals can no longer be restored to their original state. But as long as they can build a sufficiently clear VR scene model, it will be very helpful for the work of mural restorers.
The murals in the Mogao Grottoes and the huge size of the Buddha statues can just meet the needs of Jia Wenyan's public image.
Super large, high difficulty, coupled with sufficient traffic and even national sentiment.
The restoration task of Mogao Grottoes was just what she wanted. She had also made full preparations for this project.
She plans to use program promotion to let everyone know and understand their cultural relics time and space VR plan.
In this way, they can not only use this to promote the restoration of cultural relics, but they can even use VR modeling that transcends time and space to allow many tourists who do not have the time and energy to visit the local area to have more opportunities to try and experience the scenery of various scenic spots and historical sites.
Oh, by the way, the VR space-time creation of Mogao Grottoes has another very clear advantage, and that is the limitation of Mogao Grottoes in the area of tourists’ viewing.
Not to mention the potholes that are not open to tourists because they have not yet been developed and repaired.
As for the caves that are already open to tourists, most of them cannot allow tourists to witness the complete scenery of Mogao Grottoes due to overcrowding and the huge viewing angles of the murals and Buddha statues.
She believes that this will be the best supplement to tourists' sightseeing experience, and she can also use the process of building VR bit by bit to convey to the public the difficulties and significance of the Mogao Grottoes restoration process.
Once the plan was submitted, it immediately received support from the radio and television, as well as the local cultural and tourism industry in Mogao.
As the person involved, Jia Wenyan also decided, after communicating with Dong Lele, to answer some questions that the public is curious about in a form similar to a live interview before the actual filming begins.
Surprisingly, just when some people were still speculating what kind of model this so-called "Mogao Grottoes VR restoration" was.
Suddenly, there were waves of unbelievable hot searches in the barrage of comments on the Yong'an Museum.
Netizen OS: [Did Sister Dong Lele change her role? ]
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