The Study Of The Formal Language Of The Chinese Folk Printing Graphics

Typography is one of the most representative creative activities in ancientchina. In the dimensions of the long time and geographical space, generations ofwise sage and craftsmen created countless masterpieces in design in the printingprocess, making great significant contribution to the dissemination and heritageof Chinese culture, which has also been promoting the course of the worldcivilization. So, typography is well known as the mother of human civilization.Print content is usually divided into two main parts---printed graphics andtext. Graphics appear much earlier in the text, so the printed graphics producedmuch earlier than the printed word. Printing graphics applications is far greaterthan the printed word. In the upper cultural context, the main manifestationsuggested the Confucian classics, history printed subset Sutra, Taoist, Koran andother books, including more text than graphics content. In the middle or lowculture category, ordinary people generally with low literacy rate, decided thatthe folk culture spread mainly through an intuitive, graphical image of thelanguage and the content of the folk prints.Folk printing graphics technology produces flexible ways, there standwoodblock printing, typography, stamped, rubbing, would be missing, they arealso combined with a combination of two or more techniques, printed and handpainted from the plate to the printing process, all reflect and embody thetraditional Chinese "climate, geography, material beauty, Handicraft" aestheticcreations. From the plate to the printing process, it is also the real and imaginaryshape shaped, positive and negative shape of the yin and yang shape conversionprocess, civil printed graphics to achieve the actual situation, the positive andnegative contrast and coordination to achieve the harmony of yin and yangaesthetic realm.Study of folk printing graphics, especially new understanding to clarify thefine traditional culture folk printing graphic implies, helps to protect theexcellent traditional culture, heritage, and to enhance the development in thenew historical conditions, so that it has new content.The author, from2005onwards, that under the guidance of theinstructors, traditional Chinese printing a keen interest, and with the researchmentor "China Printing Graphics Origin" made some supplementary research. In2009, under the guidance of mentor Dr. identified research phase. As the studyof folk printed graphics can be directly referenced papers, rare books, so thescope of this document other than the traditional scholarly research monographs,also refer to the notes novels, local history, genealogy, newsletters, folk artists oral history information, physical information literature and so on.The author in the early stages of thesis writing has collected a large numberof civil printed graphics firsthand, to lay a solid foundation for writing papers.For the last five years, the field research in the domestic20provinces,municipalities and autonomous regions as well as Taiwan, interviewed dozens offolk artists and related research scholars, shoot production, printed graphicsusing folk activities photos, videos ten thousand copies, printed collectionedition and print production tools as well as more than a thousand pieces ofphysical information.This essay, based on the long-term and extensive field research, inaccordance with a great deal of graphic examples as well as the humanities andscience research, makes a comprehensive and systematic out-sort to the formallanguage connotation of the Chinese folk print graphics, so as to dialyze thecontains of the simple dialectical materialism, natural materialistic, formalmaterialism and religious ideals, even including the implied metaphysics andother elements. The Methodology System of the explanatory language forChinese folk typography, to aim at the interpretation of the deeply impliedphilosophy of such formal explanation, is tried to construct by researching forthe texture effect with its basic regulations.The author, in this essay, broadens in attempts the new horizons of formallanguage of the folk, trying to offer the modern ideas and methods for Chineseart and design practice in today’s digital time.