To Research The Influence And Application Of Formative Arts Brought By Feugxiang Wooden New-Year Paintings

The traditional wooden new-year picture is an important part of folk art, and it has become an independent painting form through its developing process. It is both the extension of imperial paintings and the reflection of folk customs as well as the embodiment of folk artists. In China, the wooden new-year picture could be divided into two categories, one is the Northern picture, which is characterized with bold lines, such as wooden new-year pictures of Zhuxian Town and Hua County in Kaifeng City of Henan Province, Wuqiang County and Neiqiu Couny in Hebei Province, Dongchangfu, Pingdu, Weifang and Jiaonan in Shandong Province, Yangliuqing County in Tianjin Province, Linfen, Datong, Ying in Shanxi Province, and Fengxiang County in Shanxi Province. The other is the Southern pictures characterized with delicate lines, such as the wooden new-year paintings in Taohuawu County in Suzhou, Mianzhu City in Sichuan Province, Liangping County in Chongqing Municipality, Quanzhou County and Longhui County in Hunan Province, Foshan City and Chaozhou City in Guangdong Province, Guilin City and Nanning City in Guangxi Province, Dali City and Lijiang County in Yunan Province.And Fengxiang, adjoins Xi’an, the capital of thirteen dynasties. This favorable geographic condition also helps Fengxiang pictures in laying the important position in Northern wooden new-year pictures. The beginning time of Fengxiang new-year paintings can not be testified, but we still can find a clue in the recalling of an elderly person named Taiyi:"According to a pedigree of Tai Family in Nanxiaoli County which was documented in Dingmao year (1147) of Ming Dynasty and founded before the Liberation, in the second year of Ming Dynasty under the reign of Zhengde Emperor (1507), there were eight households engaging in the production of wooden new-year pictures in Tai Family." Moreover, Fengxiang pictures have been rooted in little counties and rural areas. In these important producing basements, the Fengxiang wooden new-year picture has been protected in a sound way and it is deeply fonded by local people. And in the following Anti-Japanese War, the development of woodcut art in Northern Shanxi Liberated Zone was influenced largely by local custom of new-year pictures; moreover, a large number of folk art artists were fostered.Centered on Fengxiang wooden new-year paintings, this paper is of multi-sided values. The first value could be concluded as historical value. Fengxiang wooden new-year paintings are nurtured on the Loess Plateau, which is the birth place of ancient culture of Zhou Dynasty, and the Fengxiang painting develops on profound cultural basis. Fengxiang paintings have undergone ups and downs through thirteen dynasties to now. The second is the cultural spirit value. Cultural spirit chooses and promotes a certain kind of art in an invisible way. That is to say, this certain kind of art must be in accordance with the current spirit. Otherwise, the cultural spirit will isolate and limit the development of other kinds of art. Therefore the cultural spirit constantly occupies the dominant position, leading the creation style and the public aesthetics. People’s ideologies have changed because of the changes of times and the development of the society, but the basic genes that bind the nationalities and the cultural spirit embodies in the Fengxiang wooden new-year paintings have not changed and have lasted for hundreds of years instead. Therefore, the Fengxiang new-year painting is an important part of Chinese ethnic spirit. The third value, which is also the priority of this paper, is the artistic value of Fengxiang wooden new-year paintings. The Fengxiang wooden new-year painting is a historical epic of Northwestern people and it has become an independent art form in constant promotion and enhancement. It has its own fixed models of shaping, orders of manufacturing workmanship and distinctive visional sensations of pictures. Through the extensive history of its development, people can feel the authentic Southwestern culture and Southwestern spirit in the beautiful lines, exquisite color-matching and delicate shaping. In the research on the shaping, colors, picture formation and concerned cultural aspects of Fengxiang wooden new-year paintings, this paper discusses the influence and application that brought by the art for of Fengxiang wooden new-year paintings on oil painting, traditional Chinese painting, decorative painting, designing and so on. Recognize actively and emphasize the significance of the aesthetic value in this folk art, and apply folk-custom elements more in various kinds of art works, and integrate more arts jointly. To research in detail its formative arts and reflect on the present trend of being over-formal art, and to find the most harmonious relation between the formal language of art and its cultural implication, will find a outlet for Chinese culture and art.