The World In Snuff Bottles

The snuff bottle,a member of the Chinese art treasure house,is known as “the pocket art treasure of combined craftsmanship” due to its rich selection,diverse shapes and exquisite craftsmanship in spite of its three-hundred-year history.As an outstanding representative,the interior painted snuff bottle is a full complement of the ingenuity and creativity of the working Chinese with the combination of painting,calligraphy,material production,the superb skill level and immortal artistic values.Different from other royal snuff bottles,it though originates from the folk and is popular among both the court nobles and the general public because of its wide range of subjects,elegant style,delicate brushwork and magical work.The development of the interior painted snuff bottle witnessed its evolution from the folk to the court,and vice versa,a typical case of the transition from practical art to ornamental art.During the reign of Emperor Guangxu in Qing Dynasty,the production process of the interior snuff bottle was introduced from Beijing to Boshan.After more than one hundred years of development,it was self-contained due to its excellent production,unique craftsmanship and distinctive style,and enjoyed the popularity among snuff bottle collectors at home and abroad.The favor of the people is even more important in today's painting circles.However,influenced by social customs,changes in people's lifestyles,consumption habits and aesthetic tastes,the inheritance and development of material cultural heritage has encountered unprecedented difficulties and challenges.The article takes the art of snuff bottle painting as the research object,extensively consults the literature on the basis of extensive field investigation,comprehensively uses the inductive comparison method and other research methods,and uses the relevant principles of art,combined with design,art,economics,law,public management and other subject knowledge,from the history and culture,art generation,process and functional value,industry status and technical heritage continue to analysis and research.The full text consists of six parts,of which the fourth chapter to the sixth chapter are the focus of the research.The first chapter introduces the background and current situation of the research,the purpose and significance of the research,and the research content and methods.The second chapter combines the historical literature to study the origin and the introduction of snuff and the generation and development of the inner painting snuff bottle,presenting different opinions on the origin of snuff bottles.The third chapter analyzes the influencing factors,production process and main representatives of the art of Shandong interior painting by visiting glass making artists,interior painted artists and production enterprises in Boshan and other places.The author summarizes the historical,material,humanistic,social influence factors,production process and main representatives of the art of painting in Shandong.The fourth chapter focuses on the production tools and drawing techniques of the painting snuff bottle,and studies the unique artistic value and humanistic connotation behind the development from the perspective of practical and aesthetic functions.The fifth chapter analyzes the current situation and organizational form of the painting industry in Shandong based on the situation of the investigation.The sixth chapter begins with the separation of traditional art and modern life,the lack of innovation consciousness,the lack of inheritance subject and the imperfect legal protection system,and proposes a series countermeasure and suggestions of perspectives from the perspective of intangible cultural heritage protection.Therefore,I hope that I can seek some useful experience in the inheritance and development of traditional art in the social radicalization in the study of Shandong interior painted art.