Research On Young Willow Paintings In The Late Qing Dynasty And The Early Republic Of China

Yangliuqing is a famous folk wooden board painting in Tianjin.It absorbs the forms of woodcut prints,comedies and arts and crafts.It is a magnificent touch in the history of art and plays an extremely important role in traditional culture.The author of this article will go to Yangliuqing Town to conduct on-the-spot investigation,collection of works photography,and reference to the methods of combining relevant literatures.This paper will elaborate on the origin,traditional model,political background and artistic function of the young willow paintings in the late Qing Dynasty and the early Republic of China.The art conducts multi-angle analysis and research to clarify the tenacity of the Yangliu youth paintings in the specific historical turning point and the significance of inheriting innovation.The thesis is divided into four chapters,which are written from the overview,form content,aesthetic analysis and inheritance protection of Yangliuqing paintings in the late Qing Dynasty and the early Republic of China.The series of characteristics of traditional Yangliuqing paintings in the period of farming society have undergone tremendous changes in the context of the late Qing Dynasty and the early Republic of China.First of all,we must outline the young paintings of the willows in the late Qing Dynasty and the early Republic of China.The first chapter is an overview of the young paintings of the willows in the late Qing Dynasty and the early Republic of China.During the late Qing Dynasty and the early Republic of China,there was a movement about the New Year's painting-the improved New Year's painting movement.Accurately speaking,this movement is an improvement for the Yangliuqing painting.This new year painting movement has a direct relationship with the Enlightenment initiated by the middle and lower classes.Secondly,it explains the changes in the Yangliuqing paintings during the late Qing Dynasty and the early Republic of China.See Chapter 2,,Analysis of the Content and Form of Young Willow Paintings in the Late Qing Dynasty and the Early Republic of China".This movement thought also made the picture content of Yangliuqing's paintings take advantage of the opportunity.These newchanges in the new year's paintings first appeared in the newspapers that were in the grip of the time.The new concept made the Yangliu youth paintings at this stage full of vitality.There are three new themes and contents,the real-time political theme,the enlightenment theme,and the theme of new things.Among them,the theme of new things occupies the most weight in these three new themes.The willow youth painting will be the fashionable things that appeared at that time.It is drawn into the theme of New Year's paintings.This is also the instinct of the masses to pursue new things.The entry of the same Western technology has alsobrought new impacts on the production of Yangliu's youth paintings.For example,the spread of western printing techniques made the young willow paintings from the original wood carvings in the late Qing Dynasty and the early Republic of China.A new printing method,"lithographic technology",has appeared.The aesthetic analysis is carried out by the pictures of the improved New Year paintings.See Chapter 3,"Aesthetic Analysis of Young Willow Paintings in the Late Qing Dynasty and the Early Republic of China”.The overall picture of the Yangliuqing paintings at the end of the Qing Dynasty and the early Republic of China generally adhered to the style of traditional Yangliuqing paintings in terms of composition,perspective,lines and colors,but new techniques and ideas were incorporated.From the traditional symmetrical composition of composition to the change of non-traditional scatter composition,the traditional Yangliuqing painting tends to be flat in the perspective of the picture.By the end of the Qing Dynasty and the early Republic of China,the paintings of Yangliuqing paintings were influenced by Western painting techniques and began to focus on the overall picture.Perspective problem.The lines of traditional Yangliuqing paintings on the lines originated from the"eighteen strokes" method,which was biased towards the Chinese literati painting.In the late Qing Dynasty and the early Republic of China,on the basis of the "eighteen strokes",the" line drawing method" of the Qing Palace Academy of Paintings appeared.Gao Tongxuan,a young painter of Yangliu who entered the Royal Academy of Paintings,used the techniques he applied after returning to Yangliuqing Town,and his works also showed the perspective of Western painting.There are two kinds of colors of traditional Yangliuqing paintings in color.There are brightly colored Chinese New Year paintings,and the annual paintings are also elegantly colored.In the late Qing Dynasty and the early Republic of China,the raw materials of the West entered the Chinese market and impacted the local pigments.The quality is not enough,and the printed color of the improved New Year paintings does not have the traditional taste of the traditional Yangliuqing decorative New Year paintings,which is also the reason why the improved new year paintings are not sold.At the end of the development of Yangliuqing paintings in today's environment,see Chapter 4,"The Protection,Inheritance and Development of Young Willow Paintings".From the time axis of the late Qing Dynasty and the early Republic of China,the development of young Yangliu paintings was studied to study the development direction in today's social environment.The protection of Yangliuqing paintings is actually protecting the profound human and historical value behind it.The most important core of the Yangliu youth paintings has been the spiritual inheritance of the masses.From the pictures of the new year paintings,we can understand the spiritual needs and changes of the masses at that time.The purpose of protecting them is to let the young Yangliu paintings melt in modern society.The elements of the exchange era,innovation,and continuous rej uvenation of internal vitality.I hope that through the author's meager efforts to deepen people's understanding of this traditional and vital national treasure,and more young people to invest in to understand it,protect it,pass it on,and carry it forward.