What are the color characteristics of folk art?

1, programming

Folk art is not only an artistic custom handed down from generation to generation by the people, but also an eternal belief that people follow, which has formed the psychological characteristics of national concepts with inertia in the inheritance. As the soul of folk art and the basic form of perception, color bears the responsibility of expressing thoughts, beliefs and beauty.

In the historical development and evolution, the thoughts and beliefs carried by color gradually formed a unique pattern of national art, fixed a nation's aesthetic standards and plots, and precipitated in the nation's psychological consciousness. One of the most primitive core concepts is that it will not change because of the changes of the times and the rise and fall of civilization.

Even under the impact of modern civilization, the religious and divine nature of folk art has faded, and its nationalization aesthetic standards will not change. This standard is formed by countless people through constant aesthetic exploration in the long historical life.

At the same time, these aesthetic standards also use their own aesthetic cognition and artistic classics to regulate the artistic pursuit and exploration of folk later generations, constantly imbuing and enlightening the innovation and development of folk art in later generations, thus forming the eternal aesthetic law and the color application law of classical aesthetic characteristics. Art is a regular philosophy, and folk art is no exception, which has long been recognized by the philosophical community.

Through the constant perception of color and long-term experience accumulation and practice, folk art explores and summarizes the real coloring tips of color. The summary of experience and the emergence of coloring know-how make the color development of folk art constantly improve and progress in a relatively continuous way, and also present the aesthetic characteristics of typology and procedure. This programmed coloring rule is universal to all folk art works.

Only by examining the color of folk art from the perspective of time and space can we analyze the procedural color law of folk art innovation. Only in this way can the programmed aesthetic characteristics have lasting vitality in infinite time and space.

The coloring rules in folk art are mostly handed down in the form of songs, formulas or jingles. For example, the color matching formula of Yunjin: two halo jade white two halo red, three halo mercury with red; Another example is Wuxi clay figurine's coloring song formula: brilliant red, charming green, clean white, and pure color like paper reflecting the soul.

2. Regionality

The color of China folk art is regional, but it also has a certain integrity. Under the influence of folk culture and traditional ideas, the regional cultural characteristics of folk art colors are very obvious. Different regional cultures are the key factors to form different artistic color aesthetics and preferences.

China has a vast territory and rich topography, which leads to obvious differences in climate, environment, topography and products in different regions. The living habits and cultural differences between people living in the north and those living in the south are huge, which also leads to the huge differences in folk art colors, which are manifested in the geographical division of folk art colors.

Through the analysis of New Year pictures in different regions, this paper explores the regionality of folk art colors. New Year pictures are one of the most popular folk art forms in China. New Year pictures posted in different parts of China have obvious regional characteristics in color composition.

For example, the New Year pictures in Mianzhu, Sichuan, have the characteristics of simple shape, high color filling brightness, gorgeous colors, high brightness and bright contrast between colors, which can attract people's attention and highlight the happy and bright atmosphere of the New Year.

Another example is the Shuiban New Year picture in Yangjiabu, Shandong Province, which rose in the Ming Dynasty and was made by hand in ancient times. The theme of New Year pictures is very rich, especially in the use of colors, mainly with primary colors, and through the use of a large number of color carrier lines, it shows a simple modeling style.

Among them, the classic Yangjiabu Door God New Year pictures are mainly red, yellow and cyan. This coloring law vividly shows the style and color application style of New Year pictures in the north and the region.

Compared with the style of New Year pictures in the north, the New Year pictures in the south are quite different. First, the composition is fuller than that in the north, and the colors are not as simple as those in the north, showing many and miscellaneous characteristics. They especially like to use purple to express the joy of the year, and the theme is mainly local life and folk stories. For example, the woodblock New Year pictures in Taohuawu mainly reflect the characteristics of artistic color application in Jiangnan water towns.

From the above analysis, we can see that the artistic colors displayed in different regions are very diverse and have strong regional characteristics. In a word, folk art color has obvious regional aesthetic characteristics, which can better promote the diversified development of folk art color in China.

3. Symbolism

From the perspective of chromatics, different colors represent different symbolic meanings. In short, it is the feeling brought by the cool color system and warm color system that we usually say. The color of China folk art is also symbolic. It takes color as a symbol to express ideas or things. China folk art color is not only an element of perception and expression, but also has the function of concept and symbol.

For example, tibetan opera masks in Tibet is rich in colors. Different color masks represent people of different social status. Red is a symbol of power, which is used for mask design of high-ranking figures. White represents kindness and is often used as a mask for the elderly; Green has the characteristics of life and is used in the design of mother's mask. Blue is the color of the sky, so the masks of the gods are blue.

Another example is the social fire mask in Shaanxi, whose color application is also symbolic, and a certain color formula has been formed: red is brave, white is a traitor, and black is upright and brave; Yellow is fierce, grass is blue, green is chivalrous and wild; Gold and silver are brightly colored and specialize in painting monsters. This formula fully shows the color symbol of Facebook.

To sum up, we can see that the color of China folk art has obvious symbolic aesthetic characteristics, and it is precisely because of this characteristic that it plays an important role in the protection of intangible cultural heritage.

4. Decorative

China folk art color has typical oriental cultural characteristics, while China folk art color not only considers the visual effect, but also pays more attention to the integration of emotion and spirit. Although the color of China folk art is not an artistic act, it shows the pursuit of China folk cloth, which has nothing to do with business and utility.

It is a kind of personalized creation that is purely manual and based on the will of the people. It is a unique and personalized color display different from mechanical reproduction.

For example, the bold use of red and green Yangquan noodles seems to be random and irregular, but it can use its emotional characteristics to express a cheerful mood. This kind of color is slightly sharp and cleverly matched, which makes the color natural and presents a harmonious and simple color beauty.

The color of folk art has the characteristics of random materials, and natural objects come at will, which makes natural movements form simple works of art. The works of art made with mud, grass, flowers and leaves as carriers have no artificial significance. The reasonable collocation of materials makes the beauty of color incisively and vividly, and such random collocation also creates the rough decorative aesthetic characteristics of folk art.

This casual and natural creative concept combines the wisdom of folk art and pushes the decorative aesthetic characteristics of China folk art to a high artistic level.

5. There are 56 ethnic groups in China, and there are great cultural differences among them, so there are also different folk art styles with various forms and wide themes. There are New Year pictures, clay sculptures, paper-cuts, clothes and so on. Folk art has various forms and a wide range of subjects. And focus on the characteristics of warmth, simplicity and freedom to show its charm.

China folk art color is a monument in the history of color. Its procedural, regional, symbolic and decorative features have opened up a new coloring road for the development of China's artistic color, and it is also the foundation and guarantee for the preservation of this intangible cultural heritage of folk art.