The Research On The Blind Artists Of Shanxi Linxian Sanxianshu

The thesis is about the research of the blind artists of ShanxiLinxian Sanxianshu. It takes advantage of research methods such asliterature analysis, field investigation and oral history tocomprehensively study the history and origin of Shanxin LinxianSanxianshu, and the learning experience, professional life, family lifeand social status of blind artists group, hoping to provide a case forthe research of folk artists group.The main body of the thesis includes three parts: Firstly, it studiesthe historical and cultural origin of Linxian Sanxianshu, and displaysthe learning experience of Linxian Sanxianshu artists in the samehistorical period from learning cause, approach and content. Itsystematically analyzes the learning cause, approach and content ofthe blind artists of Linxian Sanxianshu in different historical periods,and reveals the impact of changing times towards their learningexperience at the same time. Secondly, it discusses the performanceof the blind artists of Linxian Sanxianshu in different periods fromspace-time characteristics, social function and repertoire. Thirdly, itpresents the daily life of the blind artists of Linxian Sanxianshu,including marriage and family, income and life, etc. At the same time,it analyzes the social status of the blind artists of Linxian Sanxianshufrom the perspectives of elites, public, and self-positioning. Based on the researches mentioned above, it outlines the situation anddevelopment of the blind artists of Linxian Sanxianshu during socialchange.Since modern times, the life and performance of the blind artistsof Shanxi Linxian Sanxianshu has been closely connected with thetimes. In traditional society they have participated in the folk lifewidely with their unique talents, both as storyteller andcommunicator between people and god; under the circumstance ofthe transformation of folk art and literature, the blind artists ofSanxianshu have been given the function of political propaganda. Thegovernment has participated in the transformation of Sanxianshu,and the blind artists of Sanxianshu have also quickly accepted thenew content and function of the new times; the rise of intangiblecultural heritage protection movement has also added the label ofcultural heritage bearer to them, which however hasn’t really inspiredthem. In different periods, the survival mode and Sanxianshu skills ofthe blind artists have been kept, but also have some change. As aunique group mastering special skills, the blind artists group hassome degree of exclusivity. They have their own survival logic, moralbeliefs, inheritance way of skills, and distinguish themselves frompeople of good sense on skill themselves to changes and continuetheir life. No matter what, survival is the most important thing tothem.At the same time, as a folk art form, Linxian Sanxianshu has aclear trend of declining in the current social environment. Even withthe halo of intangible cultural heritage list, it is not able to stop thetrend. Under the pressure of life, Sanxianshu artists group keeps shrinking, having very few new learners; and audiences are alsoreducing. Artists of good sense and blind artists have invisiblecontradictions. The Intangible cultural heritage protection work hasonly focused on the Sanxianshu art, lack of attention for the carrier ofSanxianshu art blind artists. The human-centered research of thethesis hopes to provide some personal thinking for the protection ofintangible cultural heritage.