| This paper takes the Weixian New Year picture "the king of the great stove"as the research object,takes folk art as the standard,widely draws lessons from the research methods and research results of iconology,cultural anthropology and other disciplines,and adopts the research path of "placing in the original environment,constructing pedigree,interpreting pictures with pictures and mutual evidence with pictures and texts",so as to place the research object in the original environment of folk etiquette and customs culture in the middle and lower reaches of the Yellow River for investigation,Combined with field research information and literature,this paper clarifies the cultural origin and generation and evolution process of the image of the king of the kitchen stove,interprets the adhesion between "form" and "meaning" and its meaning change under the cultural origin,and then makes an in-depth analysis of its cultural connotation and aesthetic characteristics.In order to solve the problem that it is difficult to judge the age of the woodblock New Year picture image,this paper puts the Weixian New Year picture "Dazhao king" into the perspective of cultural origin for an overall study,and constructs the "image pedigree" and "typology system" closely related to the Weixian New Year picture "Dazhao king" with the guiding ideology of formal analysis and archaeological typology.After in-depth research,this paper makes a conclusion The preliminary conclusion is that the edition of the New Year picture of Weixian county "Dazhao Wang" originated from the years from Daoguang to Xianfeng.In the cross regional comparative study of the images of Zaowang,this paper further finds important evidence of the close communication between the origin of Weixian New Year pictures and the origin of Dongchangfu NEW year pictures in the specific historical period of the late Qing Dynasty.Combined with a large number of field investigations and literature,this paper makes an in-depth textual research on the content of Weixian New Year pictures The image content of the king of the kitchen stove explores the image expression of the deity,the cash cow,the cornucopia,the Tongbao of Zhou Yuan,etc.on this basis,it finds the cultural phenomenon that the original meaning set by the creator of the image manuscript is "offset" in the local social etiquette and customs practice site,which reveals the semantic ambiguity and even "Misreading" of folk art in the cultural origin Phenomenon is an important factor to stimulate the creativity of folk art.In view of the fact that the custom of offering sacrifices to the kitchen stove and the image of the kitchen stove king,including the "king of the kitchen stove" in Wei County,are dying out in folk life,detailed field investigation is carried out at the present stage to "rescue" the image cases Record,dig deep into its real cultural logic in the people's life world,and try to present it in a detailed way,which is of paving significance for the follow-up study of relevant cultural phenomena.The "Introduction" part of this paper explains the particularity and research significance of Weixian New Year picture the king of the great stove,introduces the research perspective and research methods,and sets the topic as the cultural concept and endogenous logic of "schema derivation" and "meaning proliferation" of specific types of folk art images based on the analysis of literature;At the same time,the basic concepts involved in "draft sample","edition sample" and "New Year picture" are determined and explained.The first chapter,the image overview of the king of big stove in Wei County,describes the image contents of the four types of the existing New Year pictures of Wei County,introduces its production and circulation,and expounds the "layered" image mode and its super long social life history combined with the field investigation information.The second chapter expounds the background factors of image formation,combined with the illustrations of ancient books and the image pedigree of the kitchen king of Weixian New Year picture.The third chapter is the constituent elements of Wei county's big stove king,which makes a detailed text analysis of the God image,animal image and treasure image in the image,and discusses the reason why the manuscript creator combined them into the picture of big stove king.The fourth chapter is the image generation part of the king of Dazhao in Wei County,which makes a comprehensive comparative analysis of the king of Dazhao and Yuanbaoshan Zao in Dongchang Prefecture,explains the commonness,differences and interactive relationship between them,further discusses the image generation and evolution process of the king of Dazhao,and interprets the image content.The fifth chapter is the etiquette and customs connotation of the kitchen king of Wei County,which makes a detailed record of the belief and customs field and sacrificial rites and customs of the image,expounds the divine personality attribute of the kitchen king in the pedigree of the gods,the construction,invitation,posting and sacrificial process of the"sanctity" of the house space,and further from the relationship between "image"and "position" and the communication and interaction process between the audience and the image in the time and space of etiquette and customs,This paper analyzes the meaning system of the king of the kitchen stove.This paper mainly has the following four understandings:first,Weixian New Year picture "big kitchen king" is the product of the development of etiquette and customs culture in the cultural circle of the middle and lower reaches of the Yellow River.Its image is generated in the evolution context of regional kitchen King schema and has become a "high-order form" of typed image evolution.Second,the image of the king of the kitchen stove is still a paper horse in essence because its use in the time and space of etiquette and customs has two functions of "offering" and "burning".Third,the king of the big stove is a new kind of folk painter's painting of Yuanbao mountain stove in Dongchang mansion.The painting content reflects the subjectivity of folk artists' creation and fully shows the aesthetic intention of folk art creators and audiences towards goodness and beauty.4?The picture content of the king of the kitchen stove is a visual representation of the "home" cultural consciousness of secular believers.This is not only reflected in the creation technique of sacred and secular isomorphism in the painting environment,but also in the folk function of images in the practice of"Nian" folk culture.Zaowang New Year picture has developed from "paper horse" to situational God picture.It is the product of artistic creation of God in folk society.The images in the picture metaphorize rich cultural information.Around the core image of Kitchen God,folk painters add related composite images one by one,and their meanings are superimposed layer by layer.They develop from the kitchen king"paper horse" printed with ink line monochrome to the "idol painting" of Weixian color printed New Year picture "big kitchen king",which is not only the treatment method for the creator to realize the utilitarian intention of expressing shape and meaning,but also the strengthening of specific cultural concepts,The overall image in the painting symbolizes the "cultural phase" of Kitchen God with compound semantics.These images are combined with the scenery elements such as cornucopia,cash cow,God of wealth and eight immortals in line with the believers' psychological expectations,forming a huge image system of the family.The visual expression of the divine personality attribute of "the head of a family" is the core theme of metaphor in the picture of the king of the kitchen stove in Weixian county.From the perspective of spatial attributes,the space created by the king of the kitchen stove in Wei county takes "home" as the core,and has the dual attributes of holiness and secularity.The most common names on Liang Fang in the picture of kitchen king are "head of a family" and "kitchen King's house",which is the starting point for folk painters to conceive the spatial layout of the picture.On the basis of the human world,the divine space presented in the king of the kitchen stove further extends to the heaven,and constructs a relatively complete spatial model in which sacred and secular coexist.The human world can be displayed through common scenes in the kitchen,such as women holding babies,cooks curing stoves,chickens and dogs.The sacred space is embodied by the images of immortals such as hehe two immortals,Zengfu God of wealth,Zhaocai boy and Lishi immortal official.On the whole,it emphasizes the sense of spatial order of the coexistence of heaven,earth and man.The spatial layout in these images is similar to the spatial layout of villagers' family courtyards shown in the local ancestral axis pictures,which proves the home consciousness reflected in the kitchen king map space from another side.The above is the space presented in the picture of the king of the kitchen.If the image of the king of the kitchen is placed in the cave space in the middle reaches of the Yellow River and the folk scenes in the kitchen of the quadrangles in the lower reaches of the Yellow River,it can also be found that there are many overlaps between the virtual space shown in the image and the real space of the residential courtyard when looking around on both sides and around with the throne of the king of the kitchen as the center,This artistic spatial processing technique makes it easier for secular believers to substitute into the picture situation,and then accept the theme conveyed by the picture.From the perspective of the scene theme,the combination of characters in Wei county's big stove king takes the stove king and his wife as the center,which constitutes a festive scene for the whole family to get together.Folk artists often distinguish the variety of Zaowang New Year pictures and describe the content of the picture according to the number of people in the picture.Dazaowang is often called "Dazao with 32 people".Different folk scenes also have different requirements when selecting the kitchen King New Year picture style.For example,families with a small population choose the kitchen king style with a small number of pictures,while families with a large population choose the kitchen king style with a large number of people.Single families often choose the single kitchen King picture for worship.In the folk customs of Yanggu,Shouzhang and other places spread in the single money stove,the family eats together around the stove,and the male owner of the family,as the "head of the family" in real life,eats at the mouth of the stove.When people in the lower reaches of the Yellow River offer sacrifices to the stove on the 23rd of the twelfth lunar month,all families in other places have to go home and leave the stove together.It can be seen that in the cultural concept of the people,the kitchen King's New Year picture represented by the kitchen king,as a visual symbol of folk belief in customs,metaphors the role of "the head of the family" in the real family.The folk painters configure the kitchen King's wife,Zengfu God of wealth,house God and other gods and secular figures for the kitchen king,which reflects the situation of family reunion in reality.The themes of "Jinshan Jinbao","Yinshan Shengcai","Zhouyuan Tongbao" and "cornucopia" in the picture are the mirror presentation of "good life" from the perspective of "home",which fully shows the secular society's emotion and desire for "home".From the perspective of folk function,the king of the kitchen stove is an intuitive expression of the concept of villagers' families seeking advantages and avoiding disadvantages,praying for blessings and disasters.First of all,as far as the divine personality attribute of the kitchen king is concerned,he belongs to the God of eyes and ears sent by the emperor of heaven to supervise good and evil on earth.At the same time,he is also the God in charge of people's destiny.Although he belongs to the grass-roots God in the folk God system,he belongs to the "family God" in the sacred space of people's families.The title of the kitchen King chart,such as "East kitchen commander,heaven's ears,eyes and ministers",is an expression of the kitchen King's divine personality attribute.People's cultural psychology of worshiping the kitchen king is to pray that he can "say good things from heaven and bring auspiciousness to the lower world" and bring happiness to the family.Secondly,the kitchen King picture implies a wish for a rich family life.This is not only intuitively reflected in the visual images symbolizing wealth,such as cornucopia,cash cow,Yuanbaoshan,heavenly official blessing,wealth horse,but also embodied in the etiquette of worshipping the kitchen king.For example,the folk custom of "chicken facing the inner room and dog facing the door" when posting the king of the stove,the orientation of chicken and dog in the picture should be consistent with the real space of the stove or hall.According to the folk concept,"the chicken pours in and the dog bites out",which means that the chicken can bring treasure home and the dog can guard the house.Thirdly,the eight immortals and the house God in the king of the kitchen stove belong to the family patron saint in terms of divine personality.These images are often combined in the three-tier kitchen stove picture to protect the safety of the family and play the spiritual consolation function of praying for blessings and auspiciousness.This paper holds that as an intuitive way of cultural representation,the creator embodies the collective unconscious cultural choice in the process of organizing the picture.In fact,there is a alienated inter structure between image and semantics,which contains an important source of folk art creativity.The guiding concept of folk art images constructed around "Nian culture" is a positive and healthy life emotion and spiritual desire.The long process of generation and evolution of Weixian New Year picture "the king of the kitchen stove" has always been close to the people's cultural psychology to shape the visual image,which not only reflects the aesthetic characteristics of folk art in pursuit of auspiciousness and harmony,but also shows an endless cultural spirit deeply rooted in the practice of etiquette and customs of the people at the bottom.In terms of method,through the case study in the typed images of Zaowang New Year pictures,combined with the research methods of iconology and anthropology,and through field investigation and literature,this paper analyzes the changes of symbolic significance,dynamic mechanism and functional connotation of specific folk art images,promotes the theoretical construction of New Year pictures,and expands and deepens the methods and paths of folk art image research.This paper explains the generation and evolution law of the image case of the king of the great stove in the traditional etiquette and customs society,discusses the cultural concept and endogenous logic behind the "schema evolution and meaning proliferation" of folk art images,and deepens the research horizon of divine images. |
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