# Exploring the Impact of Virtual Reality on Painting Appreciation
## 1 Introduction
### Impact of Exhibition Presentation Methods on Appreciation  
The recent advancements in digital technologies have enabled the digitization of physical art; however, methods for using digital technology to fully interpret the connotations of an artwork and encourage the audience to delve deeper into them must be enhanced. [PERSON] et al. [13] explored the differences between viewing physical exhibits and their photos, as well as theme display zones, on user experiences through subjective evaluations. The results showed that although the visitation experience was primarily affected by the viewing style, it had a lower impact on the overall experience provided by the exhibits or exhibition area. Physical exhibits provide a better experience owing to higher autonomy, freedom, and interactivity, whereas their photos allow for focusing on the themes within them, making it easier to highlight their value and enhance their evaluations. This study suggests that physical exhibits can be paired with brochures including their close-ups to provide visitors with a more comprehensive viewing experience. Moreover, [PERSON] et al. [14] compared the differences in audience interactivity between physical exhibits and screen images. The results showed that both media could make it easy for an audience to understand the themes of the exhibits. However, the audience generally thought that the physical exhibits were more attractive and liked them more, and they were willing to spend more time interacting with them. [PERSON] et al. [15] explored the impacts of four display types (3D images displayed via large-screen; picture and text billboards; VR; and audio-visual multimedia) on audience experience and found that VR and large-screen 3D displays were preferred. The higher preference and effectiveness indicate that, compared with static information or multimedia audio, 3D dynamic images are better at attracting the attention of the audience and enhancing their information acceptance. [PERSON] et al. [16] conducted a case study in a store to compare the effects of four presentation methods (physical field, field photos, 360\({}^{\circ}\) panoramas, and VR) on the psychological and physiological responses of participants. They found that the immersion effects of 360\({}^{\circ}\) panoramas and VR were better and induced a degree of viewing pleasure similar to that of a real scene and significantly higher than that when viewing photos. Recently, [PERSON] et al. [17] reconstructed a modern painting in VR and asked participants to move around in its 3D world. The results showed that the VR rendering had a negative impacts on identifying objects within the painting and its interpretation but no impact on its analysis and assessment. However, students who viewed VR paintings exhibited greater interest and enjoyment than those who viewed 2D ones. [PERSON] et al. [18] used a VR technology to construct immersive scenes with specific artistic styles and integrated avatars to allow for interactions with characters in artistic paintings. They noted that the feelings toward art viewed in the VR environment were more positive than for those viewed on a computer screen. In the painting activity that followed the art appreciation, participants in the VR group exhibited significantly higher attention levels than those in the computer-screen group. [PERSON] [19] compared the effects of physical and VR exhibitions by analyzing the total visit time, participation, and interactive-experience levels. The results showed that VR exhibitions scored lower than physical exhibitions in color aesthetic perception, probably because ambient light affected the accurate perception of the colors in the paintings. In contrast, the stylistic-aesthetic scores of the VR exhibitions were higher than that of the physical exhibitions. The author noted that because virtual artwork can be manipulated, participants can observe its stylistic structure more comprehensively, whereas they are prohibited from touching the physical artwork. [PERSON] et al.