Research On The Localization Process Of The Ancient Chinese "Pictures Of Farming And Weaving" Spreading To Japan From The Perspective Of Cross-cultural Communication

"Pictures of Farming and Weaving" refers to images depicting farming and silkworm textile work.It first appeared in rock paintings,artifacts from the pre-Qin period,brick and stone portraits of the Han Dynasty,and frescoes in the tombs of the Wei and Jin dynasties.The complete "Pictures of Farming and Weaving" was born during the period of Shaoxing in the Southern Song Dynasty.It was drawn by the county magistrate of Yuqian County(now Lin'an,Hangzhou).Since then,there have been copies of Lou Shu's "Pictures of Farming and Weaving" in Song,Yuan,Ming and Qing Dynasties.This paper takes the ancient Chinese "Pictures of Farming and Weaving" and Japanese "Pictures of Farming in the Four Seasons" as the research objects,uses the literature analysis method and case study method,and supports the cross-cultural communication related theories to explore the localization process of "Pictures of Farming and Weaving" spreading to Japan,aiming to analyze the methods for Japan to absorb foreign cultures.Accordingly,the idea of this paper is as follows:First of all,the research discusses the birth background and core content of "Pictures of Farming and Weaving" of Lou shu in the Southern Song Dynasty,and introduces Liang Kai's "Pictures of Farming and Weaving",Cheng Qi's "Pictures of Farming and Weaving",Song Zonglu's "Pictures of Farming and Weaving",and Jiao Bingzhen's "Pictures of Farming and Weaving",which have a wide influence in Japan.we further analyze the deep meaning of the "Pictures of Farming and Weaving" in the past dynasties.Secondly,the research discusses the political,economic and cultural background of the eastward spread of ancient Chinese "Pictures of Farming and Weaving" to Japanfrom the four aspects of media mechanism,reception mechanism,diffusion mechanism and functional mechanism of cultural exchange.and explore the dissemination process of "Pictures of Farming and Weaving" in Japan from the perspective of cultural flow.Thirdly,the research explores the process of the integration of the ancient Chinese "Pictures of Farming and Weaving" into Japanese culture from the perspective of cultural localization,which is divided into three stages.The first stage is the selection and acceptance stage.The "Farming Pictures" in Liang Kai's "Pictures of Farming and Weaving" incorporates the elements of Japanese Four Seasons Painting to form the "Pictures of Farming in the Four Seasons" with unique Japanese characteristics.The second stage is the stage of integration and development."Pictures of Farming in the Four Seasons" incorporates elements of Japanese customs.The style of the picture is diversified,and the "Pictures of Farming in the Four Seasons" with gold foil and rich colors appears.The screen is placed in the Japanese rural custom activities such as Dengaku and Falconry;Landscapes with Japanese characteristics such as cherry blossoms and snowy mountains appear.The third stage is the stage of diversified development."Pictures of Farming in the Four Seasons" sinks from the elite culture to the civilian culture."Pictures of Farming in the Four Seasons" patterns exist in the picture books that popularize the art of painting among the people,the agricultural books that spread the farming techniques of agriculture and mulberry,the painting horses that bless and pray,and even all kinds of arts and crafts.Finally,the research takes the ancient Chinese "Pictures of Farming and Weaving" as the object to explore the ways in which Japan absorbs foreign cultures,and holds that Japanese culture absorbs foreign cultures through three steps: first,it selectively receives foreign cultures;secondly,it forms new cultural elements through transformative integration,and finally develops into new cultural forms,which spreads to many fields,and constantly enriches its own cultural connotations in the process of innovation and development.