An Interactive Study Of The New Year Painting Movement And The Folk New Year Painting

The New Year Picture Movement was in the early days of the founding of the People’s Republic of China.Social life,political image,aesthetic concept and so on have undergone significant changes.New Year pictures,as the mainstream representative of traditional folk art,also experienced changes in artistic connotation and functions during this period.Folk New Year pictures have gone through a long period of development and evolution since the farming period,and finally formed a relatively stable form of artistic expression and artistic aesthetic connotation.At the same time,the folk also have a relatively fixed aesthetic habit to the traditional folk New Year pictures.As folk art,New Year pictures are the product of the folk culture and art consciousness,and are created spontaneously by the folk people.They play the functions of entertaining the people and expressing their wishes for a better life.This article aimed movement by studying the new Spring Festival pictures of national guidelines and policies of literature and art,literary and art workers,as well as the New Year picture audience movement in the new Spring Festival pictures of these three basic situation,analyze the orientation and the external social structure is the internal interactive relationship between folk pictures spontaneity,from the perspective of cultural spontaneous movement to reflect the new Spring Festival pictures of gain and loss.This paper consists of four parts:introduction,text,conclusion and appendix.The body of the paper is divided into four chapters.The first chapter,starting with the background and main cultural policies of the New Year Picture Movement,gives a brief introduction to the emerging woodcut prints and Yan’an literature and art propaganda paintings that laid the foundation for the New Year Picture Movement.Then,it explains the literary and art policies of the New Year Picture Movement and explores the embodiment of the new symbolic meaning given by the national will in the New Year Picture Movement.The second chapter focuses on the artists and their works during the New Year Picture Movement.Through the research on the subjects of the New Year Picture works in national art exhibitions during that period,it analyzes the artists’ initiative in creating New Year Picture according to the New China’ s literary and artistic policy,and meanwhile studies the creative thought of bringing in the process of the New Year Picture reconstruction.The third chapter,the New Year pictures in the eyes of the recipients of the New Year pictures movement,explore the change of the New Year pictures audience after the founding of the People’s Republic of China,the folk’s traditional aesthetic habits are summarized,and compared with their attitude to the New Year pictures,to the public love and resistance to the works are analyzed.The fourth chapter,review the benefits of literary and art workers for the new pictures of the sports were discussed,combined with the former three chapters,the analysis of the new China policy of literature and art,art workers intrinsic interaction between the audience,the new Spring Festival pictures three,by Hayek’s spontaneous order theory,and the relationship between the structure and the motility and movement guidance and explore the new Spring Festival pictures the spontaneity of folk art,the relationship between the spontaneity and put forward based on the culture of traditional New Year pictures protection point of view.Finally,from the historical point of view,the gains and losses of the New Year Picture Movement are summarized.