Research On New Year Wood-block Prints In Pingyang,Shanxi Province Under The Perspective Of Western Semiotics

Pingyang woodblock print is one of the folk art forms in Shanxi,which was bred and grown in the soil of folk customs in southern Jinnan,influenced by the wild and rough farming civilization in the Yellow River Basin and the local simple and loyal folk customs,carrying the beautiful meaning of the people in Pingyang area praying for blessings and blessings,auspicious and well-being,and then with a vivid image,full composition,warm color as an external artistic presentation method,with distinct symbolic characteristics and regional cultural characteristics,integrating artistry and ideology.This paper will interpret the Pingyang woodblock prints based on the Western semiotic theory as the index,and deconstruct and analyze the artistic symbol attributes of Pingyang woodblock prints based on the case study method,taking the examples of Pingyang woodblock prints as the main basis,and explain the significance of Pingyang woodblock prints as artistic symbols.According to the existing research literature,there is almost no research on the interpretation of Shanxi Pingyang woodblock prints by Western semiotic theories,and the author tries to provide a theoretical resource or thinking method for the exploration of Pingyang woodblock prints through his own research,and also provides a hole for the research of Western semiotic theories in the field of Pingyang woodblock prints.This paper is divided into five parts for writing,the first part is to trace the origin of Western semiotic theories involved in the topic selection,explore the ancient origin and development of Western semiotic theory,and interpret the symbolic thought systems of several semiotic theorists recognized by the current academic community.The second part is to explain the emergence and development of Ping yang woodblock prints in Shanxi,discuss the background of the production of Pingyang woodblock prints and the historical process of germination,growth,maturity,decay and rebirth from different angles,the third part applies Saussure’s binary symbol theory and Susan Lange’s art symbol emotion theory to elaborate on its art symbol classification and emotional communication,and the fourth part applies Saussure’s theory of bitemporal biaxial semiotic properties and Morris’ s behavioral semiotic theory.The last part is to explore the relationship between the symbols of Pingyang woodblock prints and their creators,and on the basis of the above research,Roland Barthes’ s secondary symbolic system view is applied to explore the extended aesthetic significance and the original meaning of the connotation of Pingyang woodblock symbols.