VR panoramic video is the most popular VR service. It is widely used in many scenarios and has attracted the attention of industry and academia. The beauty paintings of the Tang Dynasty occupies an important position in the history of ancient Chinese beauty paintings. In Ukiyo-e beauty paintings, you can clearly see that it has a deep relationship with traditional Chinese ladies' pictures. It is undoubtedly influenced by ladies' pictures in the Tang Dynasty especially, and draws nourishment and seeks inspiration. This article mainly studies the image comparison between the portraits of ladies in the Tang Dynasty and the beauty paintings of Japanese Ukiyo-e. This article systematically compares and contrasts the two female themed art of Chinese beauty painting and Japanese Ukiyo-e beauty painting. From this we can see the close connection between the cultural origins of the two countries and the difference in the artistic styles of the two nations. This article first divides the Tang Dynasty lady pictures and the Japanese Ukiyo-e beauty painting panoramic video into 1152 tiles with a resolution of 1280×1280, and uses the motion-restricted video block division method to encode; downloads the zoomed area according to the viewpoint position during playback Then merge the code streams of the tiles into one, use a single decoder to complete the decoding, and render to the circular enlarged area. The experimental results show that the perceptible pixel ratio of the experimental image is increased by 2.56% at the lowest and 9.72% at the highest; the central area of the image is more prominent, so the contrast in the grayscale result image is enhanced, which highlights the difference in the part of interest. With colors, users get more information, and the sense of immersion and realism is stronger.

Edrisen Zeinali. Contrastive Study of the Images of Figures of Ladies in the Tang Dynasty and Japanese Ukiyoe Beauty Paintings. International Journal of Art Innovation and Development (2022), Vol. 3, Issue 4: 1-13. https://doi.org/10.38007/IJAID.2022.030401.

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