The Hollowed-Out Art Of Minorities In Western Hunan

Because of the geographical location,Xiangxi Tujia and Miao Autonomous Prefecture is less affected by modern industrial civilization,which has given the region its unique folk customs,aesthetic habits,and traditional crafts.The author conducted a wide range of literature review on the history and craftsmanship of ethnic minorities in Xiangxi ethnic minorities,interviewed relevant inheritors,visited local studios to conduct on-site investigations,summarized materials and made their own opinions.This has laid a theoretical foundation for further in-depth study of the art of hollowing out ethnic minorities in western Hunan.The hollowed-out arts in the ethnic minority areas of western Hunan have typical ethnic characteristics,various types and rich connotations.I have selected local hollow arts with representative and artistic values,such as tiger carving,wooden carved window,chrysanthemum stone carving,and miniature bamboo carving.The differences between their commonalities and personalities are drawn,and the meaning of the cultural connotations reflected by them is deeply explored.The first part of the first chapter summarizes the cultural connotation and value function of ethnic minority hollow arts in West Hunan from the aspects of the topic selection and research significance,the research status quo summary,the research purpose,method,route and innovation of selected topics;Chapter 2 from the humanities The influence of geographical and cultural differences on the art of hollowing out of ethnic minorities in western Hunan outlines the art of hollowing out of ethnic minorities in Western Hunan.Chapter 3 The core part of this thesis focuses on stamping tigers,carved wooden panels,chrysanthemum stone carvings,and miniatures.The development history,material characteristics,composition and modeling,and production techniques of the four types of hollow carvings in bamboo carvings are interpreted in multiple dimensions to point out their differences in individuality,and it is believed that they are each different in material selection,modeling composition,and production procedures.The characteristics are unique,but there are no restrictions on craftsmanship.Artworks retain their original features.These aspects are also common;Chapter 4 gives a detailed and comprehensive exposition of the understanding of the artistic aesthetic connotation of ethnic minority arts in Western Hunan,and proposes stampede and wood carvings.The commonness among the flower panel windows,the chrysanthemum stone sculptures and the miniature bamboo carvings is considered to be At the cultural level,they all have regionality,inheritance,and mass.At the art level,they all have the originality of form,the commonality of content,and the symbolic commonality of color.In Chapter 5,the author tries to find out where the ethnic minority hollow art value fits in with the interpretation of the contemporary inner world of the information age,and the significance of the art of ethnic minority hollowing out in Xiangxi to the contemporary people.The proposal for the protection and development of hollowed-out arts hopes to contribute to the study of ethnic hollow arts in western Hunan.