The Farmer Draw Inheritance And Development Research Of Rizhao,Shandong Province

The farmers’ paintings based on the farmers for the creation of the main body, iscommitted to the service life of the peasants, to reflect the Chinese farmers a uniqueaesthetic taste and spirit of the pursuit of a popular painting. Peasant paintings ofRizhao is generated as a result of the political needs of a special form of painting,from the "Great Leap Forward" period to the development of this century, numerousblocked, sixty or seventy years of ups and downs, due to graphic content and ofpolitical ingredients change fuzzy exist in the traditional folk art ". Because of itsawkward identity and the aesthetic standards of the uncertainty, the development ofpeasant painting was difficult.1988Ministry of Culture named Jinshan, Shanghai, Hu County in Shaanxi,Shandong Rizhao “Three Farmers’ Paintings Village”, this article is representative ofone of the three peasant paintings Rizhao peasant paintings from the development ofhistorical, artistic characteristics and art training Ban interviews, analysis, research, tosort out the history and heritage of the of Rizhao farmers painting, and then to identifythe bottlenecks and obstacles of the development of farmers’ paintings in Rizhao, anddescribed the Rizhao area of this remedial measures taken.On the basis of the existing research on the origin of the Rizhao peasant painting,the development of the artistic features of folk connotation and value and developcountermeasures for the first time a systematic study aimed at the Rizhao farmers byanalyzing paintings, and thus the protection of heritage Shandong the folk art of theregion play a reference role.In this paper, is divided into five parts, Part I: Introduction-Review of this topics,mainly on the of this research methodology and data sources; Part II: painting, Rizhao,Shandong farmers to introduce farmers’ paintings in the "Great Leap Forward"movement generated and the characteristics of this period; Part III:"face-lift of thenew farmers’ paintings, mainly of peasant paintings from the late1950s to the"Cultural Revolution "before the cause and initial characteristics; Part IV:" CulturalRevolution "to" end of the century,"prosperity, mainly from the analysis of Rizhaopeasant paintings from the" Cultural Revolution "broke out in1976to1999" the end of the century "prosperity reason and artistic characteristics. This section of the"Cultural Revolution" broke out, the end of reform and opening up of the three cut-offpoint, a detailed introduction to the prosperity of the peasant painting in Rizhao; PartV: The farmers’ paintings-paintings to old age, mainly Rizhao of farmers in the newcentury painting development to analyze the situation; farmers the value of thepainting and the development of countermeasures, mainly based on the perspective ofthe art value of the three values of Rizhao peasant paintings, and from the cultureheritage of people, establish a new brand, three aspects of the legal protectionintroduced Rizhao farmers draw the development of clearance the road.The author visited the painter of peasants and the training of teachers throughfield investigation, interviews with cultural unit to Rizhao, and access to a largenumber of data to ensure that the content of this article is true and reliable.