RE-EXAMINATION OF DIGITAL PAINTING IDENTITY DEFINITION BASED ON THE PERSPECTIVE OF MEDIUM SPECIFICITY THEORY
DOI:
https://doi.org/10.55197/qjssh.v7i1.1048Keywords:
digital painting, medium specificity, identity definition, visual effects, practice processAbstract
The medium specificity theory posits that each art form possesses irreducible or irreplaceable artistic conventions, including specific visual effects or practical processes. However, numerous scholars directly define digital painting as a replication or continuation of traditional physical painting, subsequently interpreting or evaluating its artistic value based on the artistic conventions of physical painting. This cognitive misalignment of identity has resulted in the specific artistic conventions of digital painting not receiving sufficient attention and discussion, thereby preventing its artistic value from being properly evaluated within academic communities. On this basis, this study will adopt a perspective grounded in the theory of medium specificity to argue that digital painting is not merely a continuation or replication of physical painting. It has developed a visual language of painting with distinct digital features, leveraging advancements in digital imaging technology. The specific functions of graphics software and graphic programming tools have replaced the traditional practice or strategies associated with using brushes. Overall, this study aims to dismantle the cognitive constraints imposed by physical painting conventions, proposing a more rational perspective for identifying digital painting. This approach enables academic communities to recognise and evaluate the artistic value of digital painting more effectively.
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