Ho And His Film Classes Shadow Modeling, Design Patterns Study

Shadow pla y origina ted in the Han Dynasty, prosperous in Ming Dynasty, hasbeen more tha n a thousa nd years of history. Mr civil shadow plot area in the QingDynasty art. A large number of shadow in the loca l arts performa nces, people call the"shadow family&q uot; Ho of the most representative shadow. Ho shadow classwas established in light of three years (1821 AD), the current elderly Squad leaderShi-ping (Shadow Ho-human transmission of the fourth-genera tion) this is the age of81, he is the plot area Mr Ho Ka Road North offices out farmers, although illiterate,but sculpture, performa nce art is the shadow class. From 1957 until now, led by Hoshadow classes severa l times in the provincia l and municipa l quyi won awards inPerforma nce.In 2005 he was awarded the Office of the provincia l culture of"practica l and cultural talent in rural areas, deputy senior&q uot; titles.Nevertheless, the troupe is still a sma ll unknown villa ge troupe is carrying thesma llest unit of the loca l shadow. So far from the reform and opening up themoderniza tion of production, the gap between the rich and the poor loca l villa gers,and villa gers in different age groups have also taken place in the way of life changed alot. Troupes in this consta ntly changing and struggling to deal also refl ects the nonmaterial culture facing unprecedented embarrassment. The fate of the troupe, nonmaterial cultural heritage and the protection of this paper is to explore the issue.In addition, the shadow is the occurrence and development of art in privatefarmers, but it is with the folklore, the relationship between the established belief inthe status of the history of Chinese culture. It with other folk arts, as in the formationand early days of witchcra ft, religion, folk customs together. To explore the spirit ofits origina tor and the ma in aesthetic grasp of the aesthetic attitude is the key to the artof shadow play. Ho shadow of the ban has been no exception witchcra ft, the impact ofcultural totems, in the development process and by the prosperity of the region's loca lculture and diverse cast of smoke in the integration of the secular concerns of life, andultimately the formation of its unique artistic style and aesthetic taste. Film of itsshape, design patterns of the study, as well as the history of design patterns, the symbol of implication and hidden subseq uent simple Chinese folk artists in this articleare the aesthetic sense of the thought.