The New Connotation Under The New Era:A Study On The Innovation And Development Strategy Of Mianzhu New Year Painting From The Perspective Of Demand

As a famous national intangible cultural heritage of our country,Mianzhu New Year paintings in Sichuan,together with Tianjin Yangliuqing New Year paintings Weifang Yangjiabu New Year paintings and Suzhou Taohuawu New Year paintings,are known as the"Four New Year paintings in China".Its history can be traced back to the Song Dynasty and flourished in the Ming Dynasty In the Qing Dynasty,with bright colors,numerous themes and unique styles,it is a must in Chinese folk art.However,Mianzhu New Year pictures developed to the beginning of the 20th century and gradually began to decline.Today,the development of Mianzhu New Year pictures is facing many difficulties in inheritance,the dislocation between the value of New Year pictures and contemporary needs,the impact of the new media era,the disappearance of New Year pictures’ functionality and sense of existence,and the creativity of New Year pictures derivatives.Insufficient and many other confusions,the above reasons lead to the worrying situation of Mianzhu New Year paintings in modern times,and the protection and development prospects are not optimistic.In essence,the needs of health,happiness,reproduction,and value realization are eternal.What needs to be done is to unify Mianzhu New Year paintings with the context of contemporary life through certain images,semantics,and scene conversions.This article hopes to provide a new development direction for the innovation and development of Mianzhu New Year paintings from the perspective of contemporary needs through the analysis and excavation of the needs of Mianzhu New Year paintings and the introduction of Maslow’s "need level" theory analysis,combined with the analysis of relatively successful innovation cases at present and specific innovative measures.