東西方藝術的差異除了在媒材之外，色彩表現的方式亦截然不同，尤其是東方水墨運用像傳統石青石綠與熟宣等材料，創作出獨具特色的藝術形式，更是數位典藏最佳的標的，但卻因材質的特異性，而不易被精準的數位化而典藏，甚為可惜。而歐美各國近來卻能針對梵谷、秀拉、馬締斯與達文西等之世界名畫，以最新的多頻譜影像科技慎重且仔細的數位化，並能進一步的分析與典藏，發揮極大的效益。本研究即針對東方水墨藝術獨具色彩表現的作品，以自行整合與研發的多頻譜攝影系統進行影像數位化的工作，預計完成劉國松等之12幅作品超高色彩解析度的多頻譜典藏影像，並對其色彩特性進行頻譜分析與研究，不僅嘗試突破現有ICC色彩管理固定光源的限制，更可建立國內多頻譜數位典藏的參考範例，雖然只是先期研究，但其影響將相當深遠。
The fundamental differences between western and oriental paintings are both in the material they used and the colors they depicted. Oriental water color especially takes up mineral material for green and blue colors as well as rice paper to create a unique artistic form which is the perfect subject for digital archives; however, these types of special material also post extra challenge for current color imaging technology in performing digital archives. Recently in the western museum communities, multi-spectral imaging technology is brought into the process of digital archives. There have been several projects that successful performed digital archives for precious art works like da Vinci, van Gogh, Matisse, and Seurat by deploying multi-spectral image system. This project is focused on the digital archives for oriental water color, especially for the unique art work with fabulous color representation. A preliminary multi-spectral camera system has been built to support this task. Twelve pieces of oriental art works, including one from the famous modern water color master Kuosung Liu, will be the objects for high precision multi-spectral digital archives. The archived images will not only be printed by high precision ink jet printer in CIELAB encoding, but also analyzed spectrally to reveal the uniqueness of traditional oriental water color. This will further enhance the quality of digital archives away from the limitation imposed by the current ICC-based color management technology. A new era in digital archives for distinctive art work with traditional oriental colors can be initiated by this preliminary study.
