An Investigation Into The Aesthetic Characteristics, Origin And Spreading Of Spring Festival Pictures In Mianzhu

Yangliuqing of Tianjin, Taohuawu of Suzhou, Mianzhu of Sichuan and Yangjiabu ofWeifang are generally accepted as four well-known producing areas of spring festivalpictures in China. In recent years, basis on the development of folklore research andprotection of intangible cultural heritage, Researches on spring festival pictures inMianzhu have appealed to investigators from industrial art, folklore and protection ofintangible cultural heritage. Arrangement and investigation into spring festivalpictures in China have seen great development in these days.Meanwhile, we are gladto recognize that the society and academe have spent increasingly attention to theprotection and broadcasting of spring festival pictures. However, taking Mianzhuspring festival pictures as example, several deficiencies could be found in researchesin spring festival pictures. Initially, most researches are conducted into two aspectsand orientation, protection of intangible cultural heritage and industrial art.Limitedresearch areas may lead to restrictions on the development of research. Secondly,most researches into spring festival pictures are revolved around a specific area,especially researches on protection of intangible cultural heritage.Most researchescentralize spring festival pictures in a a specific area, and ignored similarities anddifferences between spring festival pictures from different areas.Basis on recognition to deficiencies of recent researches, the author consider thatspring festival pictures are not only a significant ingredient of industrial art in anarea,but also an important carrier of folk faith and popular religion. Spring festivalpictures in China are accepted to be a symbol of intelligence and wisdom of Chinesepeople. As a result, investigation and analysis of the arts features and developmentheadstream of spring festival pictures may be benefit to further discussion into characteristics of folk faith and popular religion in a specific area. As far as researchmethods, the author conducted substantial interviews and investigations inYangliuqing of Tianjin, Taohuawu of Suzhou, Mianzhu of Sichuan and Yangjiabu ofWeifang, but compared to distribution of existing spring festival pictures, theseresearches may still elementary. As a result, historical literature research is seen as themain method in this research.In folklore research,integrating theory with practice issignificant to arrive at a reasonable and realistic conclusion.The thesis is composed of five main parts.The preface mainly introduces currentresearch of spring festival pictures in Mianzhu and textual research method.The second part is divided into five sections.This part will discuss artisticstyle,aesthetic characteristics and features of relevant folk faith basis on five types ofimages in spring festival pictures of Mianzhu. Comparison between spring festivalpictures in Mianzhu and other areas will be conducted in this section.The third part will analyze the relationship between artistic style of spring festivalpictures and features of folk faith in Mianzhu basis on images and technology.Meanwhile, an investigation into similarities and differences between spring festivalpictures from different areas will be conducted through analysis of artisticstyle,aesthetic characteristics and technology features in main producing areas ofspring festival pictures in China.The fourth part will present several hypothesis about origin and circulation ofspring festival pictures in China based on the comparison between spring festivalpictures in Mianzhu and other areas. In addition, these hypothesis will be discussedand confirmed in combination with relevant evidences from literature research andfield study.The final part will put forward two predominant characteristics of spring festivalpictures in Mianzhu, and discuss the significance and position of Mianzhu springfestival pictures in the history of Chinese spring festival pictures.