A new approach to immersive art exhibitions in museums: A case study of the animation adaptations of Zhang Daqian’s works

Abstract

As human civilization has developed, art is inevitably associated with the characteristics of its time in each period. In this era of rapid development of science and technology, the intersection of art with science and technology has led to new forms of art. As a result, immersive art exhibitions have emerged as a new form of artistic expression. Art aims to guide people to perceive the world and establish a connection with it through artistic activities, and immersive art exhibitions are a good way to achieve this. While visiting immersive exhibitions, audiences develop a subtle connection with the artworks, artists, and even other viewers who share the immersive experience, and this tacit understanding fosters a sense of spiritual relaxation. Therefore, when planning an immersive art exhibition, it is important to create a truly immersive atmosphere. This article aims to explore the historical development of immersive art exhibitions, discuss their characteristics and differences from traditional art exhibitions, and propose a new approach to immersive art exhibitions in museums. By analyzing traditional museum curatorial methods and discussing the application of immersive experiences and digital technologies in the curatorial field - alongside the analysis of two successful exhibitions of animated adaptations of Chinese artist Zhang Daqian’s works at the Chengdu Museum and Shanghai Long Museum in 2016 and 2022, respectively - this article introduces the concept of immersive exhibitions. These exhibitions aim to enhance audience engagement and interactive experiences through animated artworks, expand the expressive forms of traditional museum exhibitions, strengthen the educational and entertainment aspects of art exhibitions, and contribute to increasing the attractiveness and influence of museums.

Keywords

Zhang Daqian / Animation / Museum / Immersive art exhibition / Curation

Funding

This research was funded by the general project of the Sichuan Zhang Daqian Research Center, a Key Research Institute of Social Science of Sichuan Province (ZDQ2022- 01), and supported by the Sichuan Comic and Animation Research Center, a Key Research Institute of Social Sciences of Sichuan Province (DM202205).

Conflict of interest

Yao Song is an Editorial Board Member of this journal but was not in any way involved in the editorial and peer-review process conducted for this paper, directly or indirectly. Separately, other authors declared that they have no known competing financial interests or personal relationships that could have influenced the work reported in this paper.

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