The Development Of Heilongjiang Acheng Printmaking And Its Language Analysis

This paper mainly excavates and combs the development of Acheng printmaking,analyses the regional language characteristics of Acheng printmaking,the language characteristics of Acheng wood printmaking and Confucian printmaking,and the main representative painters and their works of Acheng printmaking.At the same time,it also compares the creative groups and works of Acheng printmaking.Firstly,this paper deeply explores the causes of the formation of Acheng prints,analyses the geographical position of Acheng,the humanistic feelings and plots of Acheng people under the influence of historical golden source culture,and the rise of mass printmaking movement under the background of the great social culture of China in the 1950 s and 1960 s,which have played an important role in promoting the emergence of Acheng prints.The relationship between Acheng printmaking and Beidahuang printmaking has deeply influenced the artistic creation of Acheng printmaking,but compared with Beidahuang printmaking,Acheng printmaking has formed its own printmaking language characteristics,they have both connections and differences.The printmaking of Beidahuang is mainly about the natural scenery of Beidahuang and the work and life of the reclaimers.The style of the printmaking is rough and bold,and the color is strong.The printmaking content of Acheng Acheng is basically based on the theme of Acheng pastoral and rural life.The painting has a strong local flavor and contains a strong sense of gold culture.Furthermore,this paper elaborates the development and language characteristics of Acheng woodcut from three aspects: the regional language characteristics,the development and language characteristics of Acheng woodcut,the development of Acheng's unique orifice woodcut and its language characteristics.First,the regional linguistic features of Acheng prints are mainly embodied in the unique feelings of black land and strong rural atmosphere in northern China,as well as the excavation and expression of Jinyuan culture,Shaman folk customs and other ancient regional customs in Northeast China.Secondly,through combing the development of Acheng woodcut,this paper discusses its language characteristics,mainly on the development of early Acheng woodcut and Acheng woodcut after the reform and opening-up and its language characteristics.After the reform and opening-up,Acheng woodcut performance content has changed from resistance to conquer nature to harmony between man and nature,the scenes are clean and tranquil,and the style is also towards decoration.Third,to sort out and excavate the development and language characteristics of Acheng's unique orifice prints,orifice and board paintings use a wide range of tools and materials,easy to hand-made,the picture has a strong sense of generality and integrity.Then,this paper further discusses the development and linguistic features of Acheng printmaking through specific analysis of the representative painters,printmaking group creators and printmaking works of Acheng printmaking with examples.Finally,this paper explains the significance of the development and combing of Acheng printmaking and the analysis of its printmaking language.Through in-depth excavation and sorting out,this paper presents a rational and systematic development thread and process of Acheng printmaking in Heilongjiang Province,which fills in the blank of the development research of Acheng regional printmaking.At the same time,in the process of discussing the development of Acheng printmaking,the academic analysis of Acheng printmaking language has been carried out,which makes academia and art circles have a new understanding of the artistry and academia of Acheng printmaking,and has increased the attention and attention to some traditional expression methods of Acheng regional printmaking,such as paper hole printmaking.This paper has a very important practical significance and historical value for the theoretical foundation construction of Acheng printmaking.