藝心耳目－故宮多媒體體驗展
常設展覽 | 2F S204
故宮典藏中華文化瑰寶，並致力於研究、保存、展示、教育及推廣的工作；為提升文化近用權，已建立豐厚的數位典藏資料庫，並結合藝術、科技與當代人文思維，透過新媒體技術創作出享譽全球的互動藝術作品，展現故宮國寶的核心價值及藝術性，同時引領觀眾親近體驗，探索應用博物館資源。
故宮南院特闢數位體驗展廳，首次展出「四季故宮－夏荷」、「四季故宮－秋色」、「筆墨行旅」、「畫馬‧共創百駿」及「雅集鏡遇」等多件曾獲奬的書畫類互動作品。展出的作品分別取材自唐代〈明皇幸蜀圖〉、宋代馮大有〈太液荷風〉、范寬〈谿山行旅圖〉、元代趙孟頫〈鵲華秋色〉、清代郎世寧〈百駿圖〉、清宮〈十二月月令圖 三月〉等，時間自唐宋到明清，以中國傳統山水畫、文人畫以及中西合璧技法的清代宮廷繪畫，透過視覺、觸覺、聽覺、體感等多重感受，賞析傳統書畫歷代風格的演變，感受故宮典藏名作之意境與美感。
Pleasing to the Senses: NPM Multimedia Experiences
Permanent Exhibition | 2F S204
The National Palace Museum (NPM) houses collections that represent the best of Chinese art and culture. In its commitment to research, conservation, exhibition, education, and outreach, the NPM has enhanced cultural accessibility with a rich array of digital archives and created world-renowned interactive artworks that combine art, technology, and new media. These innovative artworks serve to highlight the artistic value of the NPM’s treasured collections and encourage visitors to explore the museum’s abundant resources.
In the brand-new Digital Experience Gallery, the Southern Branch of the NPM is debuting five award-winning interactive works on paintings and calligraphy: Summer Lotuses, Autumn Colors, Traveling Through Brush and Ink, Let’s Paint One Hundred Horses and Elegant Encounters. These interactive works are based on the Tang dynasty Emperor Minghuang’s Journey to Shu, Lotuses in the Wind at Taiye by Feng Dayou and Travelers Among Mountains and Streams by Fan Kuan in the Song dynasty, Autumn Colors on the Qiao and Hua Mountains by Zhao Mengfu in the Yuan dynasty and One Hundred Horses by Giuseppe Castiglione, and Activities of the 12 Months: The 3rd Month by court artists in the Qing dynasty. Covering a period from the Tang all the way to the Qing dynasty and including styles such as traditional Chinese landscape and literati paintings and Qing dynasty court paintings integrating Chinese and Western techniques, these interactive installations present visitors with the best of the NPM collection by stimulating their senses of sight, touch, hearing, and proprioception, leading them on a journey to appreciate the evolving styles of the paintings and calligraphic works.
In the brand-new Digital Experience Gallery, the Southern Branch of the NPM is debuting five award-winning interactive works on paintings and calligraphy: Summer Lotuses, Autumn Colors, Traveling Through Brush and Ink, Let’s Paint One Hundred Horses and Elegant Encounters. These interactive works are based on the Tang dynasty Emperor Minghuang’s Journey to Shu, Lotuses in the Wind at Taiye by Feng Dayou and Travelers Among Mountains and Streams by Fan Kuan in the Song dynasty, Autumn Colors on the Qiao and Hua Mountains by Zhao Mengfu in the Yuan dynasty and One Hundred Horses by Giuseppe Castiglione, and Activities of the 12 Months: The 3rd Month by court artists in the Qing dynasty. Covering a period from the Tang all the way to the Qing dynasty and including styles such as traditional Chinese landscape and literati paintings and Qing dynasty court paintings integrating Chinese and Western techniques, these interactive installations present visitors with the best of the NPM collection by stimulating their senses of sight, touch, hearing, and proprioception, leading them on a journey to appreciate the evolving styles of the paintings and calligraphic works.
清代
「畫馬－共創百駿」
藝術創作：邵志飛（香港城市大學）
技術應用：陸冠熊
觀眾可從卷軸上的白色馬匹中選擇一匹，移到平板電腦上用觸控筆著色。過程中，觀眾得以發揮創意，與其他現場觀眾共同參與郎氏的藝術創作。
技術應用：陸冠熊
觀眾可從卷軸上的白色馬匹中選擇一匹，移到平板電腦上用觸控筆著色。過程中，觀眾得以發揮創意，與其他現場觀眾共同參與郎氏的藝術創作。
文物取材：清 郎世寧〈 百駿圖 〉
Qing dynasty
One Hundred Horses
Handscroll, ink and colors on silk, 94.5 x 776 cm
The Italian missionary-artist Giuseppe Castiglione (Chinese name: Lang Shining) arrived in China in 1715 to do missionary work and was summoned to the court, where he came to serve in the Painting Academy. He brought the realistic techniques of European oil painting and one-point perspective with him to the court. Castiglione excelled at bird-and-flower subjects "sketched from life" and was especially renowned for his depictions of horses.
This handscroll, completed in 1728, depicts a hundred steeds in various poses within a horizontally stretching landscape to create a majestic scene of pasturing. The horizon line for the landscape is maintained at a two-thirds height throughout, creating for a complete and contiguous sense of space across the surface of the painting and the scenery. The trees and other motifs are also shown in correct proportion to suggest a spatial effect of level distance. The technique in the painting differs from that of traditional Chinese art, with the artist, Giuseppe Castiglione, utilizing areas of light and dark colors for the forms to suggest their volumetric quality and to express a sense of light and shadow as well. As for the horses, though their forms are outlined with lines, they are mostly modeled with areas of color. Castiglione, however, consciously subdued the shadows for the forms to preserve their solidity but without creating a dramatic contrast between light and dark. This work can be seen as Castiglione's way of actively integrating the qualities of two disparate painting traditions.
This handscroll, completed in 1728, depicts a hundred steeds in various poses within a horizontally stretching landscape to create a majestic scene of pasturing. The horizon line for the landscape is maintained at a two-thirds height throughout, creating for a complete and contiguous sense of space across the surface of the painting and the scenery. The trees and other motifs are also shown in correct proportion to suggest a spatial effect of level distance. The technique in the painting differs from that of traditional Chinese art, with the artist, Giuseppe Castiglione, utilizing areas of light and dark colors for the forms to suggest their volumetric quality and to express a sense of light and shadow as well. As for the horses, though their forms are outlined with lines, they are mostly modeled with areas of color. Castiglione, however, consciously subdued the shadows for the forms to preserve their solidity but without creating a dramatic contrast between light and dark. This work can be seen as Castiglione's way of actively integrating the qualities of two disparate painting traditions.
宋代
「四季故宮－夏荷」
“接天蓮葉無窮碧，映日荷花別樣紅。”
宋畫家馮大有筆下盛開的荷花池，荷葉田田，有的花開燦然，迎風帶露；有的含苞待放，顧盼生情。池中群鴨悠遊自在，空中彩蝶飛舞，飛燕展翅，活力十足，彷彿即將展開一場盛夏的視覺饗宴。「四季故宮－夏荷」建構一個虛擬體感的互動空間，呈現夏荷風滿塘、風姿萬千之景象，大地的吐吶隨著您行走觸發魚兒游來、浮萍聚散以及水面波動，同時，生命之風隨著時序日夜交替吹來，散發出無限的生機與活力，讓您藉由新媒體技術感受夏日躍動的生命。
文物取材：宋 馮大有〈太液荷風〉
宋畫家馮大有筆下盛開的荷花池，荷葉田田，有的花開燦然，迎風帶露；有的含苞待放，顧盼生情。池中群鴨悠遊自在，空中彩蝶飛舞，飛燕展翅，活力十足，彷彿即將展開一場盛夏的視覺饗宴。「四季故宮－夏荷」建構一個虛擬體感的互動空間，呈現夏荷風滿塘、風姿萬千之景象，大地的吐吶隨著您行走觸發魚兒游來、浮萍聚散以及水面波動，同時，生命之風隨著時序日夜交替吹來，散發出無限的生機與活力，讓您藉由新媒體技術感受夏日躍動的生命。
文物取材：宋 馮大有〈太液荷風〉
Song Dynasty
Summer Lotuses
"The green of lotus leaves stretches to the heavens;
Lotus blossoms shine with their red in the sunshine."
The lotus pond in full bloom as conveyed by the Song dynasty artist Feng Dayou is filled with lotus leaves and blossoms in radiant bloom swaying gently in the breeze. Some are buds awaiting to open and bring further life to the scene. Ducks swim leisurely about the pond as colorful butterflies dance in the air with swallows spanning wings for a scene full of life unfolding in a visual feast for the eyes of summer at its height. The construction of a cyber-physical interactive space allows the myriad imagery of breezy summer lotuses filling a pond come to life with your steps activating the emergence of fish swimming and duckweed gathering and dissipating with the ripples on the water's surface. At the same time, the breeze of life follows the cycle of time and day to issue forth boundless life and vitality. New media technology applied to a sense of realism allows you to use digital methods to feel the vibrant life of a summer day.
Artifact of Inspiration: Feng Dayou, Lotuses in the Wind at Taiye, Song Dynasty
Lotus blossoms shine with their red in the sunshine."
The lotus pond in full bloom as conveyed by the Song dynasty artist Feng Dayou is filled with lotus leaves and blossoms in radiant bloom swaying gently in the breeze. Some are buds awaiting to open and bring further life to the scene. Ducks swim leisurely about the pond as colorful butterflies dance in the air with swallows spanning wings for a scene full of life unfolding in a visual feast for the eyes of summer at its height. The construction of a cyber-physical interactive space allows the myriad imagery of breezy summer lotuses filling a pond come to life with your steps activating the emergence of fish swimming and duckweed gathering and dissipating with the ripples on the water's surface. At the same time, the breeze of life follows the cycle of time and day to issue forth boundless life and vitality. New media technology applied to a sense of realism allows you to use digital methods to feel the vibrant life of a summer day.
Artifact of Inspiration: Feng Dayou, Lotuses in the Wind at Taiye, Song Dynasty
元代
「四季故宮－秋色」
“清溪流過碧山頭，空水澄鮮一色秋。”
趙孟頫憑藉著記憶描繪〈鵲華秋色〉，將浪漫詩意的寫意之景，贈送給好友周密，一解好友思鄉之苦。季節將轉入秋，紅葉片片，林間屋舍嚴然，山羊穿梭其間，辛勤的漁夫似乎想趁著舒適的氣候滿載而歸。屋中的婦人，忍不住探出身子，彷彿也為這動人的情景所吸引。本作品以顏色和時序詮釋秋的信息，透過您用手朝畫作揮舞，隨著手移動之處，畫作開始放大，呈現鵲華秋色原畫細緻之美，猶如幻化成畫家提筆揮毫，傳遞著文人間相知相惜之情誼。
文物取材：元 趙孟頫〈鵲華秋色〉
趙孟頫憑藉著記憶描繪〈鵲華秋色〉，將浪漫詩意的寫意之景，贈送給好友周密，一解好友思鄉之苦。季節將轉入秋，紅葉片片，林間屋舍嚴然，山羊穿梭其間，辛勤的漁夫似乎想趁著舒適的氣候滿載而歸。屋中的婦人，忍不住探出身子，彷彿也為這動人的情景所吸引。本作品以顏色和時序詮釋秋的信息，透過您用手朝畫作揮舞，隨著手移動之處，畫作開始放大，呈現鵲華秋色原畫細緻之美，猶如幻化成畫家提筆揮毫，傳遞著文人間相知相惜之情誼。
文物取材：元 趙孟頫〈鵲華秋色〉
Yuan Dynasty
Autumn Colors
"A clear stream passes by mountains in green;
Clear skies and limpid waters melt in the autumn hues."
Zhao Mengfu used his recollections to paint "Autumn Colors on the Qiao and Hua Mountains," taking a romanticized and lyrical approach to sketching scenery as a present for his good friend, Zhou Mi, to relieve Zhou's longing for his hometown. The scenery has just turned to autumn with red leaves appearing here and there. Cottages are scattered as goats roam around. Hardworking fishermen seem to take advantage of the pleasing weather and make their way home with a full catch. Women in the cottages come out as if drawn by this appealing scenery. This installation uses color and time order to interpret the message of autumn. Using digital body sensor interaction, you can use your hand to wave over the painting and move your hands to initiate close-ups, revealing the original delicate beauty of "Autumn Colors on the Qiao and Hua Mountains." It is as if you became a painter sweeping the brush, transmitting the true friendship between the literati.
Artifact of Inspiration: Zhao Mengfu, Autumn Colors on the Qiao and Hua Mountains, Yuan Dynasty
Clear skies and limpid waters melt in the autumn hues."
Zhao Mengfu used his recollections to paint "Autumn Colors on the Qiao and Hua Mountains," taking a romanticized and lyrical approach to sketching scenery as a present for his good friend, Zhou Mi, to relieve Zhou's longing for his hometown. The scenery has just turned to autumn with red leaves appearing here and there. Cottages are scattered as goats roam around. Hardworking fishermen seem to take advantage of the pleasing weather and make their way home with a full catch. Women in the cottages come out as if drawn by this appealing scenery. This installation uses color and time order to interpret the message of autumn. Using digital body sensor interaction, you can use your hand to wave over the painting and move your hands to initiate close-ups, revealing the original delicate beauty of "Autumn Colors on the Qiao and Hua Mountains." It is as if you became a painter sweeping the brush, transmitting the true friendship between the literati.
Artifact of Inspiration: Zhao Mengfu, Autumn Colors on the Qiao and Hua Mountains, Yuan Dynasty
