Art Research Of Haining Shadow Play

I write this paper mainly using coalescent research methods of historical documents study, comparative study and Folklore Field Work. On the one hand, I looked up a large amount of Local Records and ancient poetry anthology. Searched the existing information on shadow play. On the other hand, I compared Haining shadow play with the ones from other regions in mainland China, concluded the following characteristics of Haining shadow play.Shadow play is a living folk art style. I deeply involved with civil, by interviewing the shadow play performances and producers, got a large number of oral information. At the same time, through hardcopy and practice of shadow play production, I have got intuitive understanding to the Haining shadow art language. Basis on this, I will divide the research into four major parts, and discuss them respectively, with a view to be detailed.The first part is the brief history of Haining shadow play. This part is subdivided into two sections. The first section, according to Gu Jiegang's view, Chinese shadow play is "homogenesis with different development," which is recognized by academic group, I try to explore the origin. The second section, I focus on exploring the exact time of shadow play arts when it came to Haining and its visage. And I try to explore the influence from Haining esthetic idea and other native folk arts .and gradual evolution to the Haining shadow play which we see today.The second part, The relationship between shadow play and folk culture in Haining. The reason that the Haining shadow play can be in vogue for a long time in the Haining folk, is because it relates closely with the Haining locality's folk custom. I will demonstrate the colorful Haining shadow play for the reader from the angle of ethnology.The third part, Shadow play show. In this section, I will show you the shadow play omnidirectionally by telling the compositions of the shade person, the stage prop manufacture and the shadow play troupe members, as well as the aria in the shadow play and the play list. The fourth part, Haining shadow play's unique artile language, which is the focus of this paper. Recognized by the academia of Wei Liqun's works "civil Shadow Play", which divides shadow play of china into three parts. I carry on crosswise comparing Haining shadow play with other native areas as representative's shadow play. I Summarize the unique art language characteristic of Haining shadow play from the modeling aspect. Thus I get the inspiration that Haining shadow play modeling does on the contemporary traditional Chinese painting reform.The fifth part, the protection of Haining shadow play. Base on Haining shadow play's present situation, and unify the effects that the Haining shadow play performances and the governments do for protecting Haining shadow play, the author give her own opinions.At present, The academic group has not conducted the systematic research to the Haining shadow play. Among the existing few writings about Haining shadow play, most of them are only introductory text, and merely discussing on its historical origins and performance characteristics of the description, and have not conducted in-depth Systematic study. Evenworse, the research to Haining shadow play from art is even less. Based on the senior scholars'research results, I intend to tidy up shadow play from the angle of folklore and art,to provide information for future study,also hoping to summed up some experience and lessons through these information with a view to arouse the broad masses'consideration to the protection and development of Shadow Play lovers and researchers shadow play.Finally, we believe that, with the non-material world heritage protection being on the agenda of rescue protection, we should seize this opportunity, and summerize Haining shadow play timely, summerize the past and we will face to the future maturely.