| With the proposal of the strategy of rural revitalization,the construction of beautiful villages in the form of art has become an important way of rural development in China.Among them,the intuitive wall painting art is gradually becoming more and more favored everywhere.Many villages and towns in Mianzhu City,Sichuan Province,have transformed the local national "intangible cultural heritage"-Mianzhu New Year Painting into wall painting construction,and this new form of painting that integrates local unique art resources and historical culture has achieved good results.However,looking at its current situation,in the contemporary social environment,although the practice of Mianzhu New Year painting applied to rural wall painting integrates traditional resources with rural civilization in the new era and forms a mutually supportive development trend,from the perspective of artistic level,the artistry of the existing rural wall painting is relatively low,with the help of the light of folk art,but helplessly falls into the trap of "reproduction";from the perspective of artistic transmission effect,the relationship between this art form with the characteristics of traditional New Year painting art and the public has fallen into a dilemma of both closeness and distance.In order to analyze the origins from the perspective of art science,this paper is based on the social background of rural revitalization,taking the application of Mianzhu New Year painting in rural wall painting as the research object,and the current situation,misunderstandings,values and countermeasures of the application of Mianzhu New Year painting are discussed in depth.The citation section of this paper reviews and evaluates the current research status on the basis of discussing the source and background of the selected topic,and expounds the innovative points of the research.The main body of the paper can be divided into five parts.The first is an overview of the historical evolution,types of subject matter and technological processes of Mianzhu New Year Painting.The second is to start from the perspective of social background and human settlement environment background,respectively,to explore the motivation for the transformation of Mianzhu New Year painting to wall painting.The third is based on sufficient fieldwork,the typical cases of rural wall painting of Mianzhu New Year Painting are described according to the theme classification of content and aesthetic characteristics;then the artistic characteristics are analyzed according to the law of formal beauty;and finally the anti-intentional interpretation is carried out to reveal the application of Mianzhu New Year Painting in rural wall painting,as well as the relationship between Mianzhu New Year Painting and New Year painting artists,villagers and tourists.The fourth is to discuss the misunderstandings in the application of Mianzhu New Year paintings in rural wall paintings,and analyze the theoretical root causes that lead to these misunderstandings and problems.The fifth is to make value judgments on the phenomenon of the application of Mianzhu New Year paintings in rural wall paintings,and put forward strategic suggestions such as balancing policy positions and artistic positions;establishing a more complete organizational system;and paying attention to the refinement of folk art elements.In summary,this study relies on the intangible cultural heritage object body of Mianzhu New Year Painting,and through the investigation and exploration of the artistic transformation process of its appearance in wall painting through medium transformation,actively considers the misunderstanding and value of Mianzhu New Year Painting in rural wall painting,and tries to propose some countermeasures that help to enhance its artistry,which is conducive to the extension of the intangible cultural heritage value of Mianzhu New Year Painting.It also provides case inspiration for the strategy of injecting folk art resources into rural revitalization and construction. |
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