What are the characteristics of peasant paintings?

Peasant painting is one of the unique paintings in China, and it is a folk local art with a long history and tradition. It originates from the countryside, from life, and takes the aesthetic pursuit of the folk class as its value orientation. Peasant painting combines primitive ideas and modern consciousness, which has both civilian style and some elements of modern painting. This makes it distinctive in style, diverse in techniques, rich in techniques and vivid in subject matter. It shows the most vivid figures and scenes in rural areas of China, and is unique in the field of fine arts, and has gradually been widely loved and concerned by people.

First, the origin and historical background of peasant painting

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"Peasant painting" is literally a painting painted by peasants, and many scholars have been controversial about its title. But so called, both point to clear, and established. In China, the earliest painting related to farmers is the rock painting with crops as the theme in Jiangsu, which is the earliest recorded peasant painting in China and recognized by experts. In the present Qijia culture, the works about farmers and farmers' farming were about 3500-4000 years ago, which may be the earliest real peasant culture in human history. In other words, peasant paintings have existed since the beginning of agricultural society. After the founding of New China, farmers, herdsmen and fishermen were the main creative subjects, and amateur writers from other classes created a large number of self-appreciated paintings with their unique artistic language.

Its formation and development are closely related to the progress of China society and the support of government cultural institutions, and it is a kind of "mass art" with propaganda as its main purpose. It is generally believed that peasant painting in China rose in 1950s. Its development has had three climaxes: the first time was around 1958. In order to cooperate with the Great Leap Forward, painting fever rose in rural areas all over the country, and "poetry and painting were all over the wall" was a major landscape in rural areas at that time. Although the content is illusory and grandiose, it objectively promotes the development of peasant painting in the whole country and lays a good social foundation for the development of peasant painting in the new period. At the same time, the optimism of peasant paintings and the passive obedience in artistic creation are also very obvious in this period. The second time was during the Cultural Revolution. Marked by the peasant painting in Huxian County, Shaanxi Province, influenced by politics, peasant painting has a more obvious brand of the times and is a "model drama" project in the art world. The third time was in the 1980s. Peasant painting began to return to the noumenon of folk art, and its colorful, exaggerated and naive unique charm gradually attracted social attention. The scale of the third climax is far ahead of the previous two, because after the end of the Cultural Revolution and the smashing of the Gang of Four, farmers and artists emancipated their minds and had the need for positive expression. At the same time, the government has also increased its support. In this way, peasant painting is unique in the field of culture and art and develops continuously, thus occupying an important position.

Second, the aesthetic characteristics of peasant paintings

Farmers' paintings are very beautiful. There is nothing wrong with drawing such a conclusion. But where is the beauty and what are its characteristics? This problem is worth discussing. In my humble opinion, peasant painting, like painting, sculpture and all other plastic arts, is pleasing to the eye in appearance and pleasing to the eye in appreciation. Its pattern modeling has the characteristics of variety, bright color, strong color, bold composition and artfulness. These things directly and truly touch people and make them feel happy at the aesthetic level. Secondly, peasant paintings can exchange ideas with viewers, which is touching. Secondly, peasant painting has a philosophy of life and a detached humanistic spirit, which is entrusted with beautiful yearning and ideal pursuit. By appreciating peasant paintings, we can appreciate the infinite charm and interest brought by paintings. Moreover, peasant paintings completely conform to social practice and aesthetic practice. We should look at it from the social and moral point of view, because only in society can there be beautiful "* * * synaesthesia", and everyone feels beauty, so they can have beautiful vitality.

(1) Peasant paintings are simple and natural, and truly represent the beauty in real life.

Peasant painting can directly present its own beauty and summon people's aesthetic feeling. First of all, it is manifested in visual impact, including image modeling and color matching. The shapes of patterns are rich and varied. People, flowers, birds, animals, trees and mountains and rivers all come from life. Through sketching, farmer painters process natural images and extract patterns. Do not seek vivid images, composition is not bound by the principle of perspective, free and unrestrained. Its distinctive features are bright colors and strong colors. Farmers' paintings mostly use bright colors such as red, yellow, blue, white and purple, which gives people an open-minded and knowledgeable feeling. This pure color application makes the colors of peasant paintings striking and harmonious. Its color matching, some use large pieces of red lead and pinlan to form a strong complementary color contrast, and some use small color pieces such as bamboo green, pintao, purple yellow and ink line draft to make the picture loud, concise and lively. Very simple and clear, but it looks colorful. Color can best arouse people's peculiar imagination and pluck the strings of emotion. "Auspicious map of nature" is an aesthetic concept expressed under the traditional folk culture concept, which mainly expresses utilitarian significance such as survival, seeking benefits and avoiding harm. Therefore, red and green can be said to be the color characteristics of the whole folk art, and these artistic "appearances" are the concretization of the aesthetic feelings of peasant painters, who want to realize their thoughts through the creation of images. Therefore, rich shapes and harmonious colors provide a vivid spiritual picture and show the truth in the hearts of working people. This is the formal function of peasant painting, which can make thoughts, concepts and ideals concrete, objective and real. Let people feel, see and get a pleasant enjoyment. Peasant painting is the product of the times, and its artistic content can reduce its historical value with the alienation of the times, but its form will always maintain its charm.

Peasant painting is also a means for farmers to express their feelings, and it is the externalization of good feelings. The formal beauty of the picture directly expresses the spiritual connotation, which is meaningful and interesting. Its themes are mostly farmers and farmers' farming, happy homes, busy spring harvest and so on. Artistic modeling has absorbed nutrients from various folk arts. The shapes of people, animals and scenery depicted in the painting are very similar to those of traditional paper-cutting, facial makeup, embroidery and cloth art. The concept is simple, the decorative effect is emphasized, and the rich and fresh Shan Ye style is retained, which is simple and lively, with earthy fragrance and beautiful shape. Every picture is a blend of scenes, vivid farm life, warm labor scenes and festive celebrations, which fully embodies the natural beauty of farmers' paintings and makes viewers feel the beautiful life in the paintings unconsciously and feel happy physically and mentally. Peasant painting is created in the practice of production and life, which has unique folk customs and is the eternal theme of peasant painting. Compared with other arts, peasant painting has strong local flavor, simple feelings, naive and romantic thoughts, vulgar and elegant colors, and is almost naive in children's paintings. They are closely related to real life, keep pace with the times and are "original". It embodies the innate interest. Li Zehou said: "Interest is a way to judge an object's ability or express it only by completely non-utilitarian happiness or unhappiness. This pleasant object is beauty. " An excellent work of art can guide the aesthetic taste of the public, not cater to the public. Farmers' paintings can communicate with viewers, which is touching. By appreciating peasant paintings, I realized the communication and comfort with people of that era. Hegel said: "What should art do to move people? Generally speaking, moving is the sound of emotion ... but what is moved in art should only be your true feelings. " "True feelings" is to reflect the rational brilliance of life and people with real social and historical content.

(2) Peasant paintings are rough and bold, exaggerating the beauty of things.

Peasant painting is not only simple and natural, but also rough and bold, which is common in peasant painting. When peasant painters paint with this feature, their initial motivation is to express the beauty of things, and the best way to express the beauty of things is exaggeration, and the most direct expression skill of exaggeration is boldness and boldness. The author does not pursue a detailed description of everything, but exaggerates the essence of things in order to make the finishing point clear at a glance. In real life, people face some aesthetic objects of natural phenomena, such as tsunami, lightning and thunder. , and can't grasp their forms with limited experience. Only through internal rational thinking can they grasp their own image and arouse a spiritual and objective picture. The same is true of peasant paintings. The creation of peasant paintings is the result of farmers' pursuit of their own values and rational thinking about social phenomena. Under the influence of reason, the author integrates his feelings and imagination, assimilates his intentions through absorption, transformation and assimilation, and then produces the creative impulse to conceive a pattern to express his wishes. However, peasant painters have not been trained and edified by professional art colleges, and they are not familiar with and master painting skills. Therefore, they can't be perfect in composition, combination of dots, lines and surfaces, and color application, so they have to find another way and take the road of "rough and bold" to be unique. Rough and bold peasant paintings are the most typical. There are many kinds of paintings by the door gods, such as those that show the grain sealing the gods, good weather, wealth and good fortune, and avoiding evil spirits, and so on. No matter what kind of painting, its most basic feature is rough and bold, expressing sincere wishes with exaggerated methods. For example, there is a door painting to ward off evil spirits and filth. One kind of painting shows Guan Yu holding a long-handled broadsword with a single tone. What is the most outstanding thing about this painting? Not his armor, not his subtle facial expressions, nor his burly figure, but a big knife and big eyes. The first thing you see in the whole picture is the broadsword and eyes, which gives people the impression. The drawing of broadsword and eyes is a few simple strokes, which is very bold and exaggerated. The original intention of this painting is to exorcise evil spirits and avoid filth. With Guan Yu guarding the door, any monster will stay away from him. However, through the external performance of this painting, Guan Yu's hatred of evil and his single-handedness, the heroism above ten thousand people is vividly displayed. This kind of painting plays an important role in revealing the beauty of things. In peasant paintings, there are many such things, too numerous to mention.

(3) Peasants' paintings are upward-oriented, pursuing ideals, truth, goodness and beauty.

The peasant painting art has the same social connection as other human activities. Only in society can there be aesthetic synaesthesia. In ancient China, truth, goodness and beauty were considered as one. In modern times, we believe that truth, goodness and beauty originally exist in the material production practice of human society, and practice has produced truth, goodness and beauty. Therefore, the creation of peasant painting art is completely in line with social practice and aesthetic practice. Peasant paintings reflect the relationship between people and life. As one of the most essential art forms, it should return to its most essential function-the expression of human emotions and the pursuit of beauty. This psychological expression is also social. Every work reveals the essence of life. Peasant painting is extracted, processed, summarized and created from real life, which reflects the essence of a certain historical period and the real face of conventional social life through artistic images. It is the premise of the goodness and beauty of works, and it does not exclude artistic imagination and artistic fiction, from real life to artistic truth.

Peasant paintings are drawn with a kind heart. True love creation is the source and motive force of artistic creation. To move people, we must first move ourselves, and first feel it ourselves. This feeling comes from life, life, or the feeling of the soul. It is this kind of life experience that makes the psychological process of farmers' artistic creation a kind of imagination and emotional activity with feeling as the carrier. Emotional communication is the most profound essence of art. China peasant paintings show goodness with beauty, cultivate people's temperament and lead to goodness. Peasant painting directly presents a kind of beautiful long-cherished wish and emotion, so it is imperceptibly entertaining. We seldom see sadness and pain in our works. No matter what kind of social background, it has always been festive and prosperous, and an inspiring force inspires people. It is really a good medicine in people's minds and has social effects.