翻译：与真实对应的虚拟媒介材料在体现中国画精神上也不遑多让同样展现出民族情操。隋唐艺术的气势阳刚、秦汉工艺的铿锵有力、魏晋风骨的慷慨刚健等等民族艺术印记隐现于民族创造意识之中从侧面体现出民族的精神内涵。这些虚拟的精神能量也会随着灵感一起点燃中华民族复兴道路上的无数火种。这个时代山水已成为无限可能的概念激光山水、数字山水、达达山水、错位山水、蜃市山水、人工智能山水等新生词汇跃入大众视野。使用山水画作

The virtual media materials that correspond to reality are not inferior in reflecting the spirit of Chinese painting and also demonstrate national sentiment. The artistic imprints of the Sui and Tang dynasties' masculine vigor, the Qin and Han dynasties' powerful craftsmanship, and the Wei and Jin dynasties' generous and robust style are hidden within the national creative consciousness, indirectly reflecting the spiritual connotation of the nation. These "virtual" spiritual energies will also ignite countless sparks on the road to the rejuvenation of the Chinese nation along with inspiration.

In this era, "landscape" has become a concept of infinite possibilities, with terms like laser landscape, digital landscape, Dada landscape, dislocated landscape, mirage landscape, and artificial intelligence landscape entering the public's view. Using landscape painting as a base also reflects a reflection on social issues and an expansion of the spirit of Chinese painting. Yang Yongliang's visual work "Night Travelogue II" [displayed on an LED screen, 8K resolution, 28 million pixels], which combines a landscape painting of thousands of miles with the architecture of Macau as a script for electronic rendering, can be seen as the development and extension of Chinese culture in the current era (see Figures 3-5). Various elements in the work are developing and changing, showcasing the blending of "landscape" after traversing time and space.

"Foreign Mountains" is an interactive lighting installation completed by the VIAS team composed of young artists from the Shanghai Academy of Fine Arts, China Academy of Art, and LINGYAN Technology (see Figure 3-6). The work consists of five groups of "mountains" presented by several LED light strips hanging down. Real-time data such as the location, sunlight duration, traffic flow, and dynamic data are obtained and the image form and light and shadow effects on the display change with the updates in the data. The relatively regular changes in traffic flow become the normal social work patterns in the "urban scene." In a certain sense, this work metaphorically represents the "social clock." When the content of landscape art is driven by human social activities, will our interest then shift to contemplating the relationship between individual and social values?

Art, as a sophisticated social activity, is extremely complex and highly creative. If traditional Chinese landscape painting is the expression of the artist's spiritual landscape, then in today's highly informationalized society, these "virtual materials" constructed "landscape" works will continue the essence of the Chinese national spirit and also embody another form of the spirit of landscape