Which folk art is the Three Greatest in Northern Anhui?

The Three Greatest Arts of Northern Anhui refers to Fengyang Feng painting in Anhui Province.

Fenghuang painting is a local traditional art of Fengyang County, Chuzhou City, Anhui Province, and one of the provincial intangible cultural heritages in Anhui Province. Phoenix painting originated in the early Ming Dynasty, unique modeling, fine painting, painting the image of the phoenix can be summarized as "snake head, turtle back, nine tails, eighteen wings, eagle beak, chicken claws, Ruyi crown", and Anhui Tianchang "Tianjun painting", Anhui Lingbi "Judge Painting", and Anhui Tianchang "Tianguan painting", Anhui Lingbi "judge" and called the three major folk paintings in Anhui.

The birth of the phoenix painting, there is no specific written record, but in Chuzhou City, Fengyang County, the local folk legends have been circulating about the phoenix painting. At the beginning of the Ming Dynasty, the Ming Emperor Zhu Yuanzhang set the world's hundreds of workers built in the city after the strike, part of the court painter fell into Fengyang to paint to make a living, the images of dragons and phoenixes into a painting paper screen for sale, and then, after the development of the evolution of the phoenix paintings professional paintings.

Fengyang Feng painting composition characteristics

Fengyang painting composition has a unique graphic characteristics, especially in the spatial structure by the obvious influence of imagery thinking. The so-called "management" is to scrutinize the position of the objects in the picture, as well as the relationship between the objects. As a result, the creators of the composition carry out the spatial layout and arrange the positional relationship of the objects in accordance with the "idea" in the mind of the creative subject.

This kind of spatial relationship gets rid of the limitation of focal perspective, not limited to a specific space-time, breaking the spatial and temporal limitation of objective objects. It can be seen that this layout is not accomplished by visualization alone, but also requires the creator to use his heart to feel, with strong subjectivity and imagination, and is more closely related to Chinese imagery thinking.