| Liaocheng Woodcut New Year Paintings studied here originated and inherited from the original Dongchangfu and its surrounding areas in the Ming and Qing Dynasties.It is the collective name of Woodcut New Year Paintings that are in Dongchangfu District and the areas around Liaocheng city-Yanggu,Dong'e,Guanxian,Linqing and Gaotang etc.Among them,Dongchangfu and Zhangqiu Woodcut New Year Paintings are the second batch of folk art national intangible cultural heritage representative projects.In Liaocheng,it is seldom to name the local New Year Paintings as Liaocheng Woodcut New Year Paintings.It is not that there is no large-scale Woodcut New Year Painting production in Liaocheng area,but that Woodcut New Year Paintings in Liaocheng area are crowned with Dongchangfu Woodcut New Year Paintings,Zhangqiu Woodcut New Year Paintings,Guanxian Woodcut New Year Paintings,Dong'e Chizhuang Woodcut New Year Paintings,Linqing Woodcut New Year Paintings and Shenxian Woodcut New Year Paintings,respectively.These names which are given separately according to the county administrative divisions,are just habitual appellations of local cultural departments,but are also gradually accepted by the local people.In this study,the name of Liaocheng Woodcut New Year Paintings is used to refer to a complete art form in a regional social context,emphasizing the close relationship between the art form and regional society,further highlighting the overall image of the art form and strengthening the integrity of the inheritance of the art form.Folk art forms grow up in a specific geographical space and are closely related to people's daily life,social and economic conditions and external national situation in the regional society.Therefore,Liaocheng Woodcut New Year Paintings are studied in the canal regional society,and as the Woodcut New Year Paintings are closely related to the ontology of the engraving skills,artists,regional society,etc.,they are also put into the scope of the study,so as to explore the interrelationship and interaction between the various research objects in the process of their evolution and the characteristics of the times and cultural implications contained therein.In particular,it analyzes the unique relationship between its artistic noumenon and the Liaocheng canal regional society.It includes six chapters.In order to explain the research well,a proverb statement is put in it.The proverb statement mainly explains some nouns with regional color in Liaocheng Woodcut New Year Paintings,which is helpful for a clear understanding of Liaocheng Woodcut New Year Paintings and its artists.At the same time,the origin of the study,the literature review of New Year's Paintings,the determination of the research object,the main research methods,the basic framework and the main research contents are written in the introduction part.Chapter one:Liaocheng's local society and the rise of the Woodcut New Year Paintings.Liaocheng Woodcut New Year Paintings are closely related to the regional society that nurtures its emergence and development.Therefore,tracing and presenting the geographical space and historical evolution of the regional society that it inherits is the basis of corresponding research.Mainly from two aspects,it tries to explain the interdependence between the development process of Liaocheng woodcut New Year Paintings and natural and human environment of the regional society and the daily life of the people;finds its development process in the regional geographic space and historical evolution,which is conducive to the analysis of its historical features in the regional historical context.Chapter two:Life scenes in Liaocheng.The living scenes of Liaocheng's regional society are the external context in which the Woodcut New Year Paintings are inherited.The attention to its external context is to sort out the external motivation that influences its inheritance.It pays attention to the people's belief system in Liaocheng District,restores people's belief system,describes the artistic expression of local people's belief,and focuses on one of the important ways of people's belief expression-New Year's Paintings.It also takes the people's festival life in Liaocheng District as the object of concern,describes the four seasons and days of the local people,and deeply describes the festival customs,esp.the posting of New Year Paintings during the Spring Festival.Taking the commercial life of the local people as the object,it describes the local commercial development and the presence and operation of foreign business associations,and reveals the impact of local social development on people's commercial consciousness.Chapter three:Narration of local people's New Year PaintingsLiaocheng woodcut New Year Paintings are closely related to the life of local people.The realistic desire of local people to pray for good fortune and to ward off evil spirits is expressed in the theme of the New Year Paintings.As a livelihood of some local people,the New Year Paintings help the local people who live in poverty.Through invitation and appreciation of New Year Paintings,local people build a space where people and gods live together to realize the communication between people and gods.Through studying the subjects of the performance and influence of people's prayers and desires to ward off evil of Liaocheng Woodcut New Year Paintings,finds the marks of people's lives on Woodcut New Year Paintings,and takes the participants in the production of Liaocheng Woodcut New Year Paintings as the object to analyze the role of artists in the field of production of New Year Paintings and regional society.Chapter four:Liaocheng Woodcut New Year Paintings as a group livelihood.Woodcut New Year Paintings are a kind of livelihood for the local people,and they are a kind of support for agricultural production and life.In the vicissitudes of regional social life,due to the prosperity of New Year's Painting industry,a certain group of artists has formed,making some villages in the region become New Year's Painting villages.However,with the development of the times,Woodcut New Year Paintings gradually entered a low ebb,and re-enters the cultural stage in the name of cultural heritage,becoming a symbol of the culture of the times.From the livelihood of the local people,investigates the life landscape of the local people centered on the artists and villages of New Year's Paintings and from the destiny of the Woodcut New Year's Paintings,investigates the image construction of the regional social folk art in different times.Chapter five:The things are still there,but people are no more the same ones-New Year Paintings and the role of the artists.Through the study of "seeing people,things and life",describes the space-time inheritance of Liaocheng Woodcut New Year Paintings,explores the driving force behind them from society and culture,and outlines the social and cultural significance in the process of inheritance of this skill.From the new context of intangible cultural heritage protection,explores the remodeling of Liaocheng Woodcut New Year Paintings by the state and local governments;according to the identity transformation from New Year artist to non-hereditary inheritor,investigates the inheritance status of Liaocheng Woodcut New Year Paintings and the identity reengineering of artists with the help of individual narrative.By the above researches,studies the interactivity of relevant forces such as the state,local,intellectuals,the public and so on that impact Liaocheng Woodcut New Year Painting heritage.Chapter six:Continuous change-Folk art forms in contextThrough the vertical and horizontal dissemination of folk art forms,describes the regional social and cultural landscape in which they live,and analyzes their changes in different contexts. |
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