The Enlightenments From Japanese Ukiyoe To The Chinese New Year Picture

In the resent decades, the art educators have noticed the folklore value andaesthetic value of the traditional Chinese new year picture. Some scholars reorganizethe history of new year picture and made mass of interviews in the countyside. Theirappeal of protecting the primeval culture has received accepted by the government.However, it didn’t receive enough attention of the public. These appeals includedhistory-research, ancient board protection and the effort of museums, but seldom canyou see solutions to the real problems.This paper is going to describe the dilemma of new year picture nowadays onthe basis of mass materials. With the methods of horizontal comparison andlongitudinal study of literature and art, this paper is going to reproduce the processfrom prosperity to decline, and compare with the present situation of Ukiyoe, which isstill hot in the modern Japanese art forms. Through analysis of the causes of thecurrent situation of new year pictures, this article will make bold suggestions on howto develop the New year picture nowadays.This article is divided into four chapters. The first chapter mainly combs thechanging history of New year picture origins, describe the geographical features andaesthetic paradigm of the four new year picture origins. It also contains a introductionof New year picture’s main function and the folklore value of the New year picture.The second chapter shows different Ukiyoe artists and their works, and thenanalysis the psychology of Japanese according to these Ukiyoe pictures.The third chapter analyses the common part of the Ukiyoe and New yearpictures in the field of public culture. Through the expounding of the theory of massculture, we come to the conclusion which the new year pictures has to face the projectof how to survive and develop in the process of mass culture popularization.The fourth chapter lists the efforts of Chinese and Japanese artists on protectingthe old and making innovations. It shows the shortcoming of the traditional concept ofChinese artists, and makes reasonable suggestions from two aspects: the nationaleducation and the art practitioner.The conclusion part summarizes the very popular culture which the new yearpictures have to face today, and claims that we shall make dynamic protection as wellas the static protection. Thus will make the traditional new year picture come backinto the vision of public, the time won’t be long.