| The concept of intangible cultural heritage is accompanied by a series of practical activities such as protection,transmission and restoration,and it is easy to see that its "cultural space" and "ecological environment" are not optimistic.Both the registered intangible cultural heritage and the non-registered folk creations（traditional folk culture and folk art）have their internal philosophical texture and external image representation sewn together with the crystallization of human civilization such as wisdom,labor,imagination and creativity in the process of human development.The biggest difference between intangible cultural heritage and tangible cultural heritage is that it is a cultural phenomenon without material form,and it has been preserved and perpetuated in the form of memory as society changes.From the perspective of continuity,it is also a way to broaden its development space and cultural field.Folkloric visual art is a visual representation system with collective memory and reflection built by the protectors,inheritors and researchers of folklore culture in an intervening and reflective manner due to social changes,the decline of folklore culture ecology and the change of ideology between generations.We are now in a new era of art reflux and pan-media,therefore,folklore visual art "charm" and "charm" the traditional folk culture and art that are rarely seen in life,supplemented by media integration means of communication,on the level of inheritance,is also promoting folk culture.It is also promoting the living inheritance and redevelopment of folk culture（art）.The graduation project "Nan Liang Shuo Chang " takes Nan Liang Shuo Chang as the main body of visual construction,and through the creative means and expression of visual art,the historical value,national spirit,viewing value,collective memory,cultural concept and regional identity of Nan Liang Shuo Chang are embedded in the audio-visual language of the work in the form of symbolic encoding.The aim is tobreak the "isolation" of the cross-media communication of Nan Liang Shuo Chang by using poetic creative techniques and artistic expression of folklore visual art,so that the viewer can closely integrate with the folklore visual art work and build a mutual and intertwined relationship.Taking "Nan Liang Shuo Chang" as a specific case,this paper will further explore the internal latent structure between the transformation of folk art（culture）into folkloric visual art,and the "operational value" of cross-media transmission.The first part is based on the theory of "decontextualization" to demonstrate the operability of Nan Liang Shuo Chang as a folk art for cross-media transmission.The second part explores the metaphors and transmission paths of ethnic visual arts in different media based on existing examples of folklore visual arts.The third part illustrates the steps and values of the creation of the visual art series "Nan Liang Shuo Chang".The fourth section analyzes the communal aesthetic value of the folklore visual art works of the Nan Liang Shuo Chang series by substituting the communal aesthetic thinking. |
