Take a folk art as an example, talk about his understanding and inheritance

China's folk art history has a long history. Mention of Anhui Province unique folk arts and crafts to count the famous Wuhu iron painting. Once upon a time, Hefei fire brush painting and Wuhu iron painting. The Hefei folk art, we may be most familiar with the Lu Opera and Yang Snake lamp, representative of the Lu Opera and Yang Snake lamp belongs to the national intangible cultural heritage, and the "fire brush painting" and "Yang Snake", "door songs The "fire brush painting", as well as the "Yangsnake" and "door song" are the first batch of intangible cultural heritages in Anhui Province. Fire brush painting is a Hefei specialty that is not particularly well known, but also a treasure of the art world. "Fire brush painting", also known as branding painting, fire needle embroidery, hot painting, is an extremely precious and rare type of painting. Ancient branding painting originated in the Western Han Dynasty and flourished in the court of the Eastern Han Dynasty, with a history of more than 2,000 years. Later, due to years of disasters and wars, the branding process was once lost, until the end of the Ming and early Qing Dynasties revitalization, the real into the folk and gradually spread.

Firebrush painting in Anhui is mainly in the form of family inheritance, folk workshop and civilianization, popularization and practicality before the establishment of New China. After the founding of new China, the main Hefei Arts and Crafts Factory is the base for creation, the main inheritor is the master of folk arts and crafts Liu Zhuhua (1916~1991) and his disciples, Liu Zhuhua and his disciples as the representative of Anhui "fire brush painting" through the innovation of the painting tools named, the use of new materials for painting (instruments) and the use of local themes, content innovation and the formation of an independent painting style. The "Fire Brush Painting" in Anhui, represented by Liu Zhuhua and his disciples, has formed an independent school through the innovation of painting tools, the use of new painting materials (instruments) and the innovation of local themes and contents. Hefei Arts and Crafts Factory is the "creative base" of Hefei Fire Brush Painting, and Liu Kai, 66, and his father, Liu Zhuhua, can be called the representative figures of Hefei Fire Brush Painting.

One, in the past: the fire was extreme

Fire brush painting with "iron" as the pen, "fire" as the ink, in the wood, bamboo reed, rice paper, silk and other different materials such as painting. Its works are as large as several zhang, small less than a foot, with high artistic appreciation and collection value. During the 40 years when the fire brush painting was in its heyday, Liu Zhuhua actively taught the art of fire brush painting and successively brought out more than 200 disciples such as Liu Kai and Bao Rong. Their works have participated in many domestic and foreign arts and crafts exhibitions, famous at home and abroad, fire brush painting has become the province, the city of foreign gifts, Liu Zhuhua and so on were also received by the national leaders of the cordial reception. 1959, Liu Kai was also an expert in the identity of fire brush painting as a member of the National Day Observation Group of Anhui Province, to participate in the National Day Ceremony, which is a clear indication of the status of the fire brush painting at the time. The heyday of the fire brush painting is the early 1980s, when the provincial and municipal leaders visit, will be the fire brush painting as a gift to foreign guests.

Two, the status quo: "painting" since the drift

and most of the dilemmas faced by folk art is similar, the fire brush painting is not known to most people, and even many local people in Hefei do not know what it is, in the eyes of the younger generation, the fire brush painting is almost an unfamiliar term. "Fire brush painting" production techniques since the 1990s began to fall into the doldrums, withered and fragmented, and is now on the verge of being lost

The situation, urgently need to be rescued and protected by the state and society. Hefei Arts and Crafts Factory "restructuring", the fire brush painting production line production, as well as the production of fire brush painting of the main wood linden lack of fire brush painting in the creation of some of the inheritors of the fire brush painting have to change their profession,

Once the fire of the fire brush painting gradually withdrew from the stage of history, faded out of people's sight. At present, only Liu Kai stuck in the study, alone to support the development of Hefei fire brush painting.

Three, the future: rebirth and inheritance

Fire brush painting of the past is so red-hot, but now is on the verge of being lost, hard to find. Hong Kong and Taiwan friends to buy, large exhibitions in foreign countries to invite the inheritors to perform, a number of tourism websites focusing on the Hefei fire brush painting this Anhui specialty. In Hefei's many galleries, it has been rare to see the fire brush painting, Hefei's painting exhibition, arts and crafts exhibition also has little fire brush painting a place, and was selected as one of the first batch of Anhui Province, "intangible cultural heritage" directory, will undoubtedly give Hefei's fire brush painting to bring another world. In order to well the fire brush painting this traditional craft heritage, Liu Kai is willing to teach his fire brush painting skills to others. He said that he could recruit students with certain art foundation and drilling spirit, and he had said, "If there are more people, I can run a class under the organization of the city." And Liu has a desire to run a factory, he wants to gather back the idle heirs of the fire brush painting craft and form a certain scale. He told people, "The production line on the horse will make the fire brush painting better to be inherited." However, only the plant, carpentry, painting and some other equipment funds add up to at least 500,000, Liu Kai some helpless. Hefei fire brush painting to get out of the predicament, relying only on Liu Kai's personal efforts is certainly not enough.

1. The government should play an active role in providing financial support

Suggests that the government more organizations have the ability to talented folk artists, and provide more opportunities for exchange and learning, in terms of funding, for the key areas of folk art in Anhui Province, to invest more financial support. In addition, in order to better promote and inherit the national cultural heritage, development and promotion of folk art in Anhui Province, it is recommended that the government set up a folk

Analysis of the inheritance and development of folk art in Anhui Province

--Taking Hefei Fire Brush Painting as an Example

□Yang Yang

Painting by Liu Kai

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Art development and production base. Therefore, making our folk art cross the border and become worldwide art is the key to saving folk culture and art.

2. Stones from other mountains

For how to better develop and pass on folk art, the **** knowledge of knowledgeable people is: let the excellent folk art go back to the folk. Specifically, from children and young people to start is particularly important, Jiangsu Modern Education and Training Center and Jiangsu Provincial Folk Artists Association has made a useful attempt in this regard. Jiangsu Modern Education and Training Center from 2004 began to hold early childhood, elementary school teachers folk craft training courses, but also to hire famous masters of folk crafts in and outside of the province on the trainees to carry out systematic counseling and training, the trainees from understanding to love of folk art to the final mastery of the operating skills, and then in the kindergarten, elementary school to carry out relevant activities, so that children from a young age to love the ancestors handed down the "Live". Jiangsu Modern Education and Training Center also carries out and promotes teachers' folk craft training programs, so that participating schools and kindergartens can form special characteristics and realize the inheritance and development of folk art. Jiangsu Province is worth learning, and Anhui and Jiangsu provinces neighboring, Anhui Province has a unique geographical advantage, the relevant departments of each other can carry out learning and exchange activities, learning from Jiangsu Province's excellent experience, which will have a pioneering significance for the inheritance and development of folk art in Anhui Province.

3. Inheritance and development, drawing on innovation

Most of the folk art comes from the life, is a form of folk cultural activities. As folk art is created by folk artists to express their feelings and decorate their lives, it is not purely for the purpose of going to the market, which limits the development of folk art to a certain extent. Our folk art not only in the skills

"keep pace with the times", but also to the market. Because art is detached from the market, it is difficult to have space for development. Folk art in order to get a better inheritance, should be some advanced skills into the handmade, but also some of our traditional handicrafts to improve, so that it and the market closely integrated, for our traditional folk art in the market economy and the modern living environment to seek a way out of the development.

Since fire brush painting is an intangible cultural heritage of Anhui Province, it is necessary to find, excavate, record and preserve those folk art masterpieces which are unknown but embody rich national culture, and to research and analyze them, all these work need to be done by experts and scholars. At the same time, in the face of piracy and plagiarism, on the one hand, it is necessary for the state to introduce effective laws and regulations to protect folk artists; on the other hand, it is also necessary for folk artists to enhance their awareness of self-protection, actively declare copyright protection, and utilize the legal weapons to safeguard their rights and interests.

Conclusion

The protection of intangible cultural heritage needs to condense the strength of each and every one of us. We, as contemporary youth, should actively protect the fire brush painting with unique artistic flavor. I believe that in our *** with efforts, fire brush painting not only will not die out, but also will have a good development prospects, let us *** with expectations.