Exploration On The Symbolic Deposits Of Folk Decoration Graphics In Huizhou

In the endless flow that expands in human history, the art and culture, techniques and its cultural ecology of different nationalities and districts will definitely condense and reveal their own way of production and life, as well as the geography, climate, cultural traditions, philosophy and artistic spirits. And those ethnic psychological qualities, conventional customs, including such ethnic and geographic characteristics whose value systems influence and interact with each other as the aesthetic ideals, experiences, patterns and so on that gradually deposited in the long course of social practice have also fused in them. Rooted in this oriental fertile soil in Anhui Province, the Hui culture has always been dominating and influencing the historical and cultural spirits, ideas, dispositions, thoughts and minds of the people in Huizhou District for thousands of years, which will inevitably infiltrate, influence and shown in people's living and production environment. Meanwhile, the formation and development of the Hui culture also penetrated through carrier and the formation of the feature, quality and style of the artistic practice of folk decoration in the Huizhou.It is hard to handle, understand and learn the cultural deposit and feature of the graphic design of folk decoration in Huizhou in both the depth and breadth level, if separating from the research on the whole cultural ecology or the cultural backgrounds and social psychology. Decoration in this thesis not only points to the decoration activities and phenomenon, including the results of decoration activities in the broad sense, but also means and includes the specialized decoration craft, techniques and methods of the formation of folk houses. Based on this foundation, entitled as Exploration on the Symbolic Deposits of Folk Decoration Graphics in Huizhou, this thesis aims to carding the basic shape, pattern, feature, craft, methods and techniques of the Huizhou folk decoration signs, and explore the symbolic deposits that hidden in the artistic and humanistic thoughts, spirits and concepts. By deeply exploring the cultural soil and features of heritage, and probing into its symbolic and signal language, this thesis makes a further discussion and illustration on the understanding, handling and inheriting the traditional Hui cultures, as well as the exploration of the function and value that the symbolic and signal languages of Huizhou folk decoration graphics have played under specific historical backgrounds.Based on those understandings and knowledge, the introduction of this thesis illustrates the purpose and significance of the title, and makes a review of the research on the relations among sings, symbols, graphics, decoration graphics, Chinese traditional graphics and folk decoration arts of Huizhou. The analysis is carried out vertically and horizontally in an overall or emphasized sense. The vertical research is to clear up the source, creation, development, mode and feature, and to trace back to the original mold and explore the normal form of Chinese traditional decoration arts according to the reform and development of history; and the horizontal research is to point out the relative pattern, original mold, feature, craft, method and technique of the folk decoration arts of Huizhou in Ming and Qing Dynasties, upon which an all-round research is carried out and illustrated deeply. The first chapter conducts comparative researches around the relative concepts of signs, symbols and the decoration graphics; the second chapter defines and grasps the essence of the common phenomenon of decoration and the theories of folk decoration graphics of Huizhou, discussing the relation, type and formation of them and making arrangements, classification and depiction; the third chapter unscrambles the cultural deposits of folk decoration graphics of Huizhou, clearing up and illustrating those aspects as geographic environment, natural conditions, social economy, cultural traditions, artistic spirits, philosophical ethics, psychological features, values and so on; the fourth chapter emphasizes on the symbolic deposits of the folk decoration graphics of Huizhou, pointing out their formation, evolution and development. The deposits not only reveal the logic results of people's expectations for long life and well-being; hope for the prosperous offspring and prolong life; desire for the perfect marriage and eminent career, but also a historical course that embraces everything; be harmonious but remains different; and harmoniously coexistence with everything. Those words and topics go through, wrap and infiltrate the folk decoration arts of Huizhou inwardly and outwardly, and from the beginning to the end; spirit to material; art and technique; physical and psychology; man and matter, as well as folk customs and likes and dislikes, which is an inevitable prerequisite, foundation and background of the exploration and discussion of the symbolic deposits of the folk decoration graphics of Huizhou.