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Basic information of inheritors of Liangping New Year pictures.
Basic information
brief introduction
trace (back) to the source of sth
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Types and contents
Artistic feature
Inheriting meaning
Basic information of inheritors of Liangping New Year pictures.
[Edit this paragraph] Name of basic information and cultural heritage: Liangping Woodblock New Year Pictures Area: Liangping Woodblock New Year Pictures in liangping county, Chongqing HeritageNo.: VII- 10 Heritage Category: Folk Art Application Date: 2006 Applicant/Applicant: Chongqing liangping county Heritage Level: Country [Edit this paragraph] Brief Introduction Liangping Woodblock New Year Pictures in liangping county, Chongqing belong to one of the "Three Musts" of folk art, and the New Year Pictures are one of the "Three Musts" of folk art. Liangping Woodblock New Year Pictures with a history of about 300 years ago have profound cultural, historical and academic values. Liang Ping's New Year pictures, refined by romantic techniques and bold art, are based on exorcism, happiness and historical stories. The picture is full and concise, the shape is simple and rough, the expression is vivid, the composition is complete and the contrast is strong. As a set of color woodcut prints, they have high artistic value. In southwest China, Liangping woodcut New Year pictures are as famous as Mianzhu New Year pictures in northwest Sichuan and Jiajiang New Year pictures in south Sichuan, which is one of the three famous New Year pictures in Sichuan history. Together with Liangping Bamboo Curtain and Liangshan Lantern Opera, it is called "Liangping Three Musts". Once known as a wonderful flower in eastern Sichuan, it was rated as one of the top ten Quyi in Bashu in 2000. However, the prestigious Liangping woodblock New Year pictures are on the verge of extinction. [Edit this paragraph] Tracing back to the source Liang Ping's woodcut New Year pictures are said to have originated in Jiajing period of Ming Dynasty, which was quite developed in Kangxi and Yongzheng periods of Qing Dynasty and reached its peak in the Republic of China. According to "Etiquette and Folklore of Liangshan County" (volume 10, 20th edition of Guangxu in Qing Dynasty), there is the following statement about the portrait of Liang Ping's door god: "Sweep the house on the 23rd and 4th of the twelfth lunar month, and sacrifice to the country at night." According to legend, Kitchen God plays good and evil on earth every day, so he prays for it. "New Year's Eve" is a relaxed door god, making spring stickers. Sacrifice ancestors with pig heads, chickens and fish to meet the kitchen god. Setting off firecrackers, getting together for a long time and drinking are called "shou sui". Liangping woodblock New Year pictures came into being with the evolution of social customs and developed with the development of printing. At that time, Liangping Pingjin Shop (now Liangping Pingjin Town) developed into hundreds of workshops, with more than a thousand kinds of paintings, and each family carved wood and painted artists. There is a room painted with red paper in Jin Town Development Zone, Liangpingping 1536. At that time, painting houses printed single patterns and gods on red paper to meet the needs of people's weddings, funerals and weddings, and later began to make New Year pictures. During the Qianlong period of the Qing Dynasty, the New Year pictures industry set up a guild called "Meigehui", and the owners of dyeing paper and New Year pictures donated money to build Meige Temple. Every year, a meeting will be held in June 16 of the lunar calendar to offer sacrifices to Master Mei Ge, discuss and decide all the affairs of the guild, and coordinate all the matters in the guild. Liang Ping's woodcut New Year pictures in Qing Dynasty are famous in Beijing and sell well in Southeast Asia. According to the Records of Liangping County, there were branches in Yichang, Shashi and Hankou during the Kangxi period of Qing Dynasty, and their products were sold to Shaanxi, Southwest China and the Yangtze River basin, which was very popular. According to the survey, there were Yuanxing, Xinli, Zhengxing, Hengtaizheng, Dehetai, Fengxiangyun and Yao Wang Door Gods in the workshops of New Year pictures at that time. "Mr. Zhu, who is idle in the screen, has a new yellow color on the official green list, and he is even more famous in Beijing Province. He is a door god of golden soil and water." This Zhuzhi Ci is about the heyday of Liang Ping's New Year pictures in Qing Dynasty. From the heyday of 19 13 to 1934, Liangping New Year pictures entered its heyday, producing millions of pictures every year, which not only met the demand of local farmers for new year's goods, but also exported to Shashi, Yichang, Wuhan, Hanzhong and Guiyang. In the early years of the Republic of China, a founder of Wang Xing spread the printing industry of New Year pictures to Yuanba Post (now Yuan Yi Town, Liangping) and named it "Kun Fa Hao". Due to the numerous workshops of New Year pictures, Ping Jin and Yuan Yi have gradually formed a prosperous "Brush Square Street". There are more than 30 workshops in liangping county, and there are many manual workshops for New Year pictures, ranging from twenty or thirty artists to forty or fifty people, with hundreds of employees. New Year pictures developed from monochrome to multi-version color overprint, and were hand-painted on this basis. Craft from simple to complex, the variety is constantly enriched, and it has become one of the famous producing areas of New Year pictures in China. At that time, the town was half a workshop and half an inn, teahouse and restaurant. In the peak season of ordering and selling New Year pictures, merchants from all over the country gather and are called "Little Chongqing". A typical painting room is divided into two floors: front and back. A plurality of stairs on the ground floor lead to the upper floor, which are used to handle the materials needed for each process; The second floor is connected into a workshop, and craftsmen line up according to the production process of New Year pictures. In 1930s and 1940s, it was collected by museums in the Soviet Union, the United States and France, and became famous at home and abroad. At the end of the 20th century, the traditional Liangping woodcut New Year pictures were included in such large picture books as The Complete Works of China Fine Arts, The Complete Works of China Folk Fine Arts, The Three Gorges Folk Fine Arts and Folk New Year Pictures. With the change of history, Liangping New Year pictures gradually declined, and the handicraft workshop stopped production on 1958. [Edit this paragraph] Variety and content Liang Ping's New Year pictures are divided into four categories: parallel imports, consignment, stamp clearing and stationery. The paintings are printed with gold and silver, and the Liangping woodblock New Year pictures are bright, colorful and lively. The content is mostly door gods, opera stories, myths and legends, and various auspicious patterns. The content of Liangping woodcut New Year pictures can be roughly divided into three categories. The first is the door god, which mainly includes general drawings, knives and axes, promotion and knighthood, flogging, and the five-year entrance examination; Second, myths and legends, mainly including "a mouse marries a woman" and "a unicorn sends a child"; The third is drama stories, mainly including Shiro's Visit to Mother, Treading an Umbrella, and Zhong Kui's Marrying a Sister. Liangping county also produces all kinds of stationery, decals and door paintings. [Edit this paragraph] The paper used in Liangping woodblock New Year pictures with artistic characteristics is white bamboo handmade paper produced by local Baili Bamboo Sea. Also known as binary paper. After the painter finished painting, the sculptor pounded the manuscript with sticky rice, completely stuck it on the smooth pear board, carved the main outline according to the manuscript, and then carved various color plates according to the line board. The lines were uniform, clear, straight and tense. In terms of painting techniques, Liangping woodblock New Year pictures not only inherited the technological process of traditional watermark woodblock New Year pictures and the engraving technology of Sichuan School, but also absorbed the engraving and color matching technology of Huizhou School and Jinling School, and also used the focus perspective in western paintings to distinguish the distance skillfully. Its composition is full and concise, the characters are exaggerated and deformed, the color contrast is strong, the motion and static are handled properly, and the shape is simple and rough, which makes people unforgettable. Liangping Woodblock New Year Pictures are different from the artistic treatment of Mianzhu Woodblock New Year Pictures in Sichuan, but adopt woodcut overprint and local painting. Liang Ping's woodblock New Year pictures, such as a portrait of a character opened by a painter, have unique facial features. The distance between the two black eyes is very close, which seems to be "eye to eye", but the eyes are intense, which makes the characters particularly powerful; Furthermore, in the five senses of a character, such as the upper edge of eyebrows or eyes and the inner side of temples, touch the black block with large hand-drawn strokes, and at the same time draw several parallel ink lines on the lower edge or outer side of them. This combination of thick and dense lines and faces forms a three-dimensional intermediate tone with strong contrast and distinct rhythm. When dealing with the nose, folk craftsmen usually use a special nose contour board with a small top and a large bottom like a wooden pestle to print ink lines in the center of the face, and then draw the five senses one by one on this basis, and then paint two red lines on the lower part of the cheeks. This is the unique artistic feature of Liangping woodblock New Year pictures. Usually, folk artists overprint flesh-colored or white powder on their faces, and before they are dry, they paint them with two stripes of red, or simply write with their fingers, dip them in ochre red and then dip them in a little white wine, and quickly wipe them off. In this way, the color of the whole picture of the face can still jump out clearly under strong contrast. Especially in the paintings of door gods, the majestic image of God is very funny and life-oriented, and the festive and peaceful atmosphere is increasing day by day. Liang Ping's meticulous facial description and vivid oval blush treatment are in contrast to the regularity of block printing. They are humorous and interesting, and they are unique in China folk New Year pictures. In terms of color application, Liangping New Year pictures are exquisite in craftsmanship, excellent in raw materials, bright and dazzling in color, dignified and calm, and have been preserved for many years. The lines are combined with hand-painted and color-matching watermarks, which are uniform in thickness, clear and straight, thin but not weak, vigorous and powerful. The craftsman has "red with green, tender with tender;" Red with yellow, happy ". In order to achieve this rich, thick and contrasting color effect, soft color (from various dyed plants, light and soft after adding powder) and hard color (from various colored minerals, thick and rich in color) are used at the same time, and the tones are divided into yin and yang (cold and warm colors), and the main color blocks and dense color blocks are properly matched. Under the overlapping and misprinting of repeated overprinting, the picture is rich and harmonious, which conforms to the folk New Year pictures. Liang Ping's New Year pictures are full and concise, sparse and dense, virtual and real, static and dynamic. Some goalkeepers usually add one to five children at random in the lower corners of both sides, and the whole picture looks steady and balanced. "Heroes have no items, beautiful women have no shoulders, literati are like nails, and martial arts are like bows." The characters in Liang Ping's New Year pictures are elegant and generous, with vivid expressions. In particular, the door gods draw characters, exaggerate the head and highlight the five senses, and shorten the lower limbs as much as possible. The whole body is only three or four heads long and looks strong. In terms of subject matter, whether it is depicting customs and human feelings, or folk stories and opera myths, it is full of rich flavor of life. [Edit this paragraph] Inheritance significance As the only origin of Chongqing New Year pictures, Liangping New Year pictures are well-known at home and abroad for their unique historical value, academic value and unique artistic charm. The works are seasonal, regional, collective, national, inherited and changeable. Many traditional New Year pictures are closely related to myths and drama stories, and most of them have a long history of development. In the process of development, they have merged orthodox (official) and foreign cultural influences and gradually become artistic commodities with strong ornamental value. During the period of War of Resistance against Japanese Aggression, many paintings were taken to museums in the Soviet Union, the United States, French and other countries or collected by oriental art lovers. However, with the changes of modern social environment, great changes have taken place in folk customs. In this context, Liangping woodcut New Year pictures gradually faded out of people's lives, some New Year pictures and woodcut treasures scattered among the people, some inheritors died one after another, and the New Year pictures lacked skills and were on the verge of extinction, which urgently needed rescue and protection. The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, this heritage was approved by the State Council to be included in the first batch of national intangible cultural heritage list. Liang Ping's woodblock New Year pictures, which have experienced the impacts of the four clean-ups, the Cultural Revolution and modernization, are still preserved by Tu Guofa, Xujiahui, Quan Changming and Liu Yong.