The Comparative Study Of Tianchang Tianguan Painting And Lingbi Zhong Kui Painting

As a parent art of traditional folk art, which is an organic part of the excellent traditional culture of China. It provides a rich nutrition for contemporary painting, sculpture, arts and crafts, art design in the themes, patterns, modeling schema, material and craft, aesthetic, moral, custom function. In the area of the Huaihe River and the north of Huaihe River in Anhui Province, the interaction of the cultural accumulation and internal and external integration has formed ordered folk art culture ecological heritage. Tianchang Tian Guan, Lingbi Zhong Kui together with the Fengyang Phoenix painting has been dubbed the “the first three in Northern Anhui” since the Qing Dynasty. Among them, Tianguan and Zhongkui paintings belong to Taoism and Buddhism figure painting category in theme, painting, folk custom function, which both has many similarities and its own characteristics.At present, some of the information about Tianguan and Zhongkui painting is to compile a general introductory text, some are printed compilation of individual or community works, some are scraps of communication reports. Although some folk art or interested researchers wrote and published a number of papers, but the content is more related to the intangible cultural heritage declaration and support, or other aspects of the cultural protection of folk art. It lacks of comparative study on the relationship between the degree of attention and concentration of imbalance. Overall,the study is still limited to conciseness, simplicity and one sidedness, discrete state.Doing a comparative study on the Tianguan and Zhongkui Painting, on the one hand,it has the urgency with the times; on the one hand, with the academic necessity. It has the double significance in theory and practice, which for a comprehensive,in-depth, systematically cognize in Northern Anhui folk art of the occurrence,development and inheritance, further enrich the knowledge system of North Anhui culture research and unravel the economic and cultural construction in the northern region of reference and inspiration.This paper takes the methods of literature review, field investigation, case study and other related methods. Based on the reading, analysis of the records, an album of paintings, books, papers, images, media data, the author did many in-depth fields,accessed to local culture and management workers, the folk artists and the broad masses of the people, also participated in the exhibition and seminars etc. the author did a large collection of first-hand information, relying on the master of Chinese painting basic theory and knowledge skills combined with the observation of the paintings to has a creative practice, which orderly progress researches on theory and practice.Through the research, it is found that the Tianchang county and Lingbi County in the administrative divisions belonging to Anhui Province. While among the natural geographical environment, they have some differences. Tianchang area has long history in the humanities. During the period of Eastern Jin Dynasty, Taoism is in vogue, Tianguan become worship idols. Suffering from natural disasters and two years of war bitter, people thirst for spiritual comfort. Tianguan blessing become the visual symbol of the expectations for a better life. Lingbi County, located in the impact of the HuangHuai plain, developed agricultural civilization, convenient transportation and location advantages, a variety of culture in this communication,exchange and integration. With literati painters of travel, Tang Wu Daozi hit Zhongkui painting is quickly introduced to Lingbi. During the period of Yuanyou period of Northern Song Dynasty, a large number of folk artists gathered in this place and laid the Lingbi Zhong Kui painting Dunhou tradition. Although related Zhongkui painting subjects with Zhong Kui blessing, Buffy, married sister, drunk etc., but Zhong Kui is always main description object.While drawing on the theme of Tianguan painting experienced roughly the four periods: the earlier days, Emperor Yao title, and then thought it the benefit of the people historical figures in the title.Thereafter, emperor, immortal, history celebrity further has a wide day, painting in the creation of the content. The traditional painting, often in the plasma of white cotton cloth or plastic alum familiar Xuan rendering, and later also adopted woodblock printed or directly on the wooden plate is cauterized. Traditional Zhongkui painting more familiar Xuan take meticulous and later Zhong Kui painting gradually into the ink brief strokes or freehand painting techniques. In composition and other characteristics, Zhongkui painting with exaggerating style and looking wild. The picture is full from vulgar and the style is simple and vigorous. Tianguan portraits of morphology of the emphasis on symmetry, some although many characters, but can temporal spatial fusion, rational layout, hierarchy, has alwaysbeen prominent day official in the center of the image. In a custom function, Zhong Kui painting mainly in the form of nave painting, hanging in the hall facing the door is on the wall, to townhouse, to pray, to ward off evil spirits; Tianguan painting, in addition to hang in the hall used to express good luck outside, often painted windows,door paintings, kitchen painting and travel, genealogy of the congregation with.Despite there is a significant difference in the formation background, evolving trend,themes, techniques of the Tianguan and Zhong Kui painting, but in folk psychology,like other folk art form as, reflects the ordinary people to pursue a happy life aspiration.Certainly, Tian Guan and Zhong Kui painting get folk achievements and cultural value at the same time, we should also clearly see that as a traditional folk art,which depends on existing platform- the traditional farming culture is drifting away from us. Reviewing history and the traditional folk art of rescuing excavations,a complete record of traditional folk art, systematically study of traditional folk art,which are the obligations we must assume. Looking for the future, inheriting the excellent gene of traditional folk art and creating prosperous new era of cultural art,which are our responsibility.