What kind of folk art would you introduce? How to introduce? Pay attention to at least two aspects.

Folk paper-cutting is produced among workers, and the aesthetic taste of workers is directly influenced by their geographical environment, social life and social psychology. Shaanxi people raised by the Yellow River and Huang Tu have rough, bold and simple temperament and character. They fly paper-cuts, and pour their feelings, talents and good wishes into the paper-cuts accompanied by day and night, which constitutes a unique regional custom and humanistic mentality and shows high aesthetic value. Paper-cutting in Luliang area of Shanxi Province contains the simplicity, roughness, boldness and broadness of stone carving art in Han Dynasty. Jinnan paper-cut knife and pen are vigorous and bright, with the characteristics of seeing the fine in the rough and hiding the clever in the clumsy; The paper-cuts of Guangling and Lingqiu in Yanbei are dignified and gorgeous, which have both the wild interest outside the Great Wall and the beauty inside. Jinzhong paper-cut is located in the hinterland of Shanxi Province, and its style is round and beautiful, delicate and fine. The popularity of paper-cutting among the people is often accompanied by birthdays, weddings, funerals, festive festivals and daily life. Living custom is a social factor to promote the development of paper-cutting, and it also forms rich paper-cutting contents and different paper-cutting styles. Folk sculpture has a wide range of subjects and rich contents. Generally speaking, it can be divided into the following categories: First, Shanxi is one of the cradles of China opera and enjoys the reputation of "the cradle of China opera". During the Jin and Yuan Dynasties, the opera activities in Pingyang area in southern Shanxi were extremely active and became the center of the national opera activities. Judging from the many tombs of the Golden Brick of the Song Dynasty unearthed in Jishan, Houma, Xinjiang, Xiangfen and other counties and cities, there are brick carving stages, zaju actors, musicians and dancing figurines. Shanxi people have always regarded opera as a form of self-entertainment. Therefore, folk sculptors not only pay attention to the scenes in paintings, but also often directly show the typical plot of traditional Chinese opera, which makes people enjoy art and stimulate beautiful reverie. The folk houses built in the 54th year of Qingganlong in Ding Cun, Xiangfen County (1789) are carved with woodcuts of traditional operas. Second, auspiciousness means Shanxi sculpture art, and the concept of material selection requires aesthetic feeling, which means jubilation and should be auspicious for export. For example, "Xi, Lu, Feng, Hou" uses the images of four animals: magpie, running deer, bee peak and monkey, and spells auspicious words with homonyms of animal names. Its moral is full of wealth, and high officials are generous. Such as "Magpie (Magpie) Events (Persimmon) Lotus (Lotus) Year", "Auspicious (Chicken) Celebrates Fish (Fish)", "Three Yang (Sheep) Celebrates Thailand", "Six Deer (Crane) Celebrates Spring", "Songhe Celebrates New Year" and "Five Blessingg (Bat) Celebrates Longevity". Three Friends in the Cold Year (Matsuzaka Plum), Chunlan Qiuju, Cats and Butterflies Rich, Greeting the Duke, Kirin Asahi, Lion Rolling Hydrangea, Phoenix Beating Peony and Squirrel Eating Grapes all determine auspicious themes through vivid and beautiful animals and flowers, which respectively reflect people's abundant harvest. 3. Historical Legend In the past, this kind of sculpture was widely circulated among the people in our province. This is because in the struggle with nature, the ancient working people were unwilling to passively obey and submit, but actively conquered and transformed nature, so they idealized human ability and created superhuman strength-immortals to serve themselves. In ancient myths and legends of China, there are eight immortals, including Han Zhongli, Zhang, He Xiangu, Lan Caihe, Han Xiangzi and Cao Guojiu. Who said he got Shinto, detached from the world, didn't eat whole grains, sucked the wind and drank dew, and chased the phoenix in Lapras, and lived forever? He also said that he is omnipotent, unpredictable and boundless, and can control the luck of the world and dominate everything in the world. Admittedly, this is an illusion, but people are always superstitious, worshipping and yearning for it, hoping that it can save the world from disasters and bring happiness. Therefore, in the folk sculpture art, there are many themes, such as the Eight Immortals' Birthday, Harmony with the Two Immortals, Lu Yaxian, God bless the people, Fu Lushou Samsung and so on. These mythical works reflect people's prayers for healthy life, prolonging life, conquering nature and avoiding disasters. Shanxi folk gongs and drums are known as "the first drum in China". Drum is the musical instrument of our ancestors, which existed as early as primitive society. There are not only legends of the Yellow Emperor drumming here, but also unearthed cultural relics to prove that drums are the best in the cultural heritage of the Chinese nation. Today, there are thousands of drums all over the country, and dozens of drums in Shanxi, which can be traced back to the "earth drum" and "giant drum" of ancient culture, and now it is from the handsome drum of Zhou to the tambourine of several inches. Shanxi is indeed one of the cradles of China drum culture. Drum in Shanxi, the national prosperity, a large number. There are gongs and drums in the Qing Dynasty, percussion, inspiration, classics and temples. Rich accumulation, colorful art, how many people gathered, and how many Chinese and foreign scholars and experts aimed the landscape frame at it. Drum culture has become the representative of Sanjin culture and a banner of Yellow River culture, which not only adds luster to the land of Sanjin, but also adds luster to the Chinese nation. 1. Voicing gongs and drums Voicing gongs and drums mainly include majestic gongs and drums, Taiyuan gongs and drums, Jiangzhou drums, Yuecun Soliton and Weighing gongs and drums. From 1988, Shanxi's majestic gongs and drums have truly played the prestige of Shanxi folk art, enjoying a good reputation in the whole country and the world, from the peasant games to the Asian Games, from the folk art festival in the provincial capital to the 40th anniversary of Tiananmen Square. Magnificent gongs and drums are popular folk square art in Huozhou, Hongdong, Fenxi and Linfen. According to legend, in 6 19 AD, Li Shimin fought Liu Wuzhou in Huozhou, drumming, ringing gongs, retreating, advancing and retreating in an orderly way, and won a great victory, so it was handed down from generation to generation with majestic gongs and drums. This kind of gongs and drums is characterized by "prestige". Judging from the configuration of gongs and drums, the organization, performance and dress of the orchestra are showing its prestige. First, the voice is awesome. Looking at the magnificent gongs and drums, I heard about their sound factory without seeing their shapes, which is like thunder. In fact, the musical instruments it uses are very simple, with only four pieces of drums, gongs, cymbals and cymbals. The traditional configuration ratio is 2 drums, 8 gongs, 4 cymbals and 2 cymbals. Now the number of people has expanded to 400 to 500, the proportion of gongs and drums has increased, and the sound has become more prominent. The playing method is drum conductor, gong main performance, and cymbals and cymbals are alternately played in two parts. Phrase processing often appears in the form of "complex sentences" Hundreds of drums, hundreds of gongs, hundreds of cymbals, and * * * played in unison, which sounded like the roar of heaven and earth, making people feel the power and prestige of Li Shimin who led the troops in those days. Because of the change of rhythm, there are 2/43/44/4 and 3/85/8, so it presents a variety of colors, which makes people feel interesting, grand but not monotonous, strong and feminine. The second is the formal momentum. The magnificent Qupai is not only an independent chapter, but also a complete set. Its multi-stage divertimento is generally divided into three parts: hat head, main body and end. Musical form, sentence pattern and rhythm are mostly marching; Most of the names of Qupai come from the military, such as "Going to the meeting with one knife", "Three battles against Lu Bu", "Ambush on all sides", "Five horses defeated Cao", "Six out of Qishan" and "Seven catching Meng Huo". Most performances begin with "drumming", and the ups and downs are combined with relaxation, but they do not deviate from the magnificent theme, resulting in a feeling of swords and swords. Third, the scene was awesome. There are hundreds of people playing magnificent gongs and drums, all dressed as ancient foot soldiers, arrayed one by one, advancing and retreating back and forth, opening and closing left and right; Sometimes the wind blows away, sometimes the rain hits the dead leaves; Separated as gossip, gathered in yin and yang. The scene was really amazing and touching. Fourth, the dance is magnificent. When the players perform, they make various dance postures in combination with the rhythm of drums. Drummers have "opening the bow left and right", "impact with horse stance just look", "interspersed fighting" and "opening and closing fighting"; Gong players have "backward buckle forward" and "backward bow"; There are cymbals players such as "big cymbal high flip" and "chest flip", and there are also cymbals players such as "single flip", "double flip", "oblique *" and "positive *". Here, drums and cymbals have also become swords, and the players have become commanders, majestic and murderous. In the performance, "drum flower", "gong flower" and "cymbal flower" were skillfully used. The ribbon decoration on the pestle wrist made the whole scene colorful, giving people a pleasing feeling, and "martial arts" became "dance" again. Shanxi folk embroidery not only has a long history, but also has a wide range of themes and rich content, which has the characteristics of reflecting Shanxi customs. Shanxi folk embroidery has its own unique artistic style, with simple patterns, bright colors, simple composition, exaggerated modeling, diverse stitches and exquisite embroidery. Most of these folk embroidery works come from rural working women. In the childhood of human history, the historical facts of sewing animal skins with bone needles and hemp thread, covering the body from the cold, grinding animal teeth, shells and colored stones, and dressing up at the chest and wrist were recorded. Although it was not an embroidery art at that time, it actually marked the yearning and creation of beauty, which our ancestors have been pursuing since then. People's instinctive pursuit of beauty and the appearance of basic tools and materials make embroidery an art form very early. As early as the Zhou Dynasty, there was a saying that * * * was loyal. There are poems such as "sheepskin, plain silk five", "sheepskin, plain silk five (plain silk or)" and "sheepskin sewing, plain silk five" in The Book of Songs Zhao Nan, which describes the exquisite technology of sewing leather garments at that time. "plain clothes" and "plain clothes Zhu Embroidery" in The Book of Songs tang style truly describe the embroidery art at that time, while the Tang Dynasty at that time refers to the central Shaanxi. Shanxi folk embroidery has a long history and has become an indispensable part of human life in the whole social development process. Its technical level is also increasing. Hu Lingneng, a poet in the Tang Dynasty, praised the level of folk embroidery at that time with a quatrain: "When the sun sets, the flowers in front of the hall are beautiful, and we fight for a small pen to go to bed. Embroidered into a quiet place in the spring garden, which attracted the spirit warbler to fall into wicker. " Shanxi folk embroidery, whether in southern Shanxi or northern Shanxi, mountainous areas or plains, is frank, simple, enthusiastic and wild because of its ancient cultural and geographical conditions. Especially as garment embroidery, it coexists harmoniously with human personality, so it is both plastic arts and environmental arts. It is not only a splendid folk culture, but also a colorful and true folk life. Shanxi folk toys are the precious heritage of traditional culture and the living fossil of the development of national art in the Yellow River Basin. First, Shanxi folk toys have a long history. Among a large number of ancient ceramic products unearthed in Shanxi, many of them are similar to the pottery whistle and pottery toys fired in Xinjiang County today. The Neolithic pottery mound excavated in the ancient city of Wanrong County is enough to prove that the land of Sanjin produced a very beautiful prototype of clay toys thousands of years ago. Although these pottery products have a strong worship color, they are not unrelated to all kinds of modern folk toys purely for enjoyment. "Seven-tone Whistle" is popular in Jishan, Daixian and other places in Xinjiang, and it is an evolution based on Tao Xun. Linyi Wenjiaying's colored clay toys have enjoyed a high reputation since the Ming Dynasty, which mixed the belief of praying for fertility in the matriarchal clan era and the consciousness of avoiding evil spirits for children to ensure peace, safety and health. The custom of women and children "wearing sachets" and playing with sachets originated in the Han Dynasty. According to legend, May 5th is an evil day, with pests breeding and epidemics raging. The Jade Emperor sent messengers to cure the plague, made sachets of wormwood and coated them with realgar wine to kill pests and save people from disaster. For a long time, there has been a folk song that "the five poisons dare not commit, the five poisons turn to dust, and the evil spirits return to the underworld." Wearing and playing with sachets has been passed down from generation to generation for thousands of years, and the production skills have become more and more sophisticated. Shanxi solitaire toys first appeared in the Ming Dynasty. In Sui Koulue, it said: "At the end of Wanli, the folk Ye Xixi ... flourished in Chongzhen." So far, this card game still exists in Huairen, Lingshi, Qixian and other places. Shanxi folk custom gave birth to and developed the art of folk toys, which enriched folk customs, which were as calm and pure as rural folk customs, and embodied and materialized the pure beauty of working people. With the Spring Festival, Lantern Festival, Tomb-Sweeping Day, Dragon Boat Festival and Mid-Autumn Festival, as well as the birth customs such as birthday, three days, full moon, centenary and one year old, many folk toys have been produced. Toys in folk fertility customs are rich and colorful, especially in festivals and traditional temple fairs. In particular, the primitive emotion and profound primitive mysterious psychology brought by the worship of folk gods affect the aesthetic requirements of folk toys and promote the continuous creation and development of various toys. Second, Shanxi folk toys rooted in folk toys are the free artistic creation of working people. It embodies strong local feelings and breeds romantic artistic imagination. The creation of folk toys has extensive spontaneity. Its production is not commercial and is not affected by any market price and political trend. The emergence of folk toys is based on the direct needs of their own lives: teasing babies, dressing up children, beautifying themselves and decorating their living environment. They express their feelings, ideals and wishes at will according to their intuitive feelings about life and traditional aesthetic habits. For example, the "mud tiger" in a mud toy looks like a monkey and a tiger, and the wings of a cloth chicken are embroidered into the shape of two flowers. Folk artists use the simplest and most convenient hand-made, the cheapest soil, cloth and wood paper, rely on skilled skills, adapt to local conditions and use local materials; By giving gifts to each other, observing and learning from each other, fathers and sons, mothers and daughters or villagers can give full play to everyone's intelligence. The natural inheritance of artistic skills has formed a unique free and dexterous style of hand-making. Folk toys are closely related to the lives of villagers. They are material products with practical value that people need in their lives. It is also a work of art that teaches beauty. In the long-term social production practice, human beings have formed a unique aesthetic taste. At the same time of material production, they consciously follow the law of beauty to shape the shape of toys and become the materialization of beauty. "Use" and "beauty" are closely linked. Folk toys are the combination of art and practicality, the harmony of beauty and practicality, and the two are integrated into one. For example, the baby's cloth tiger pillow can not only provide children with sleep and play, but also give people a beautiful appreciation. Folk toys have profound meanings. Folk artists conform to the feelings of national happiness, love and hate. They use toys as an external form to condense their ideology, symbolize an idea, influence people's emotions and become an "ideology". Most folk toys are devoted by mothers to express the love of the creator. With the help of the images of tigers, chickens, fish, dragons and phoenixes that people love to see and hear, the theme of "auspiciousness and prosperity" is skillfully expressed. Among Shanxi folk toys, the consciousness of racial reproduction and life worship is the most frank, and the "tiger's head and fish's tail pillow" is the most typical representative. Wen Yiduo wrote in the article "Talking about Fish": "Fish has the meaning of prosperity in China", and the tiger is a symbol of vigorous, mighty and strong among the people. The clever combination of tiger and fish symbolizes the combination of yin and yang, vividly showing the blessing to the Chinese nation for "mushy", long-term and prosperity. These folk toys focus on the pouring of feelings, which makes people understand and induce people's associations from suggestive and symbolic factors, thus pinning and expressing their feelings and love. Shanxi folk toys are relatively concentrated, which has accumulated strong emotional awareness, beliefs and expectations of Chinese descendants. Shanxi folk toys are rough, simple, vivid and beautiful, paying attention to decoration, boldly choosing details and highly summarizing artistic images. At first glance, it is so clumsy, the posture is unnatural, the structure is out of proportion, and the edges and corners are irregular. However, all this has not weakened, but has enhanced the inherent stability and richness of the works, making Gu Zhuo more rugged, energetic and unrestrained. The rough appearance is not rough, the childish appearance is more charming, and there is a sense of flow and rhythm in silence, which makes the inner spirit more dignified and concentrated. Color plays an important role in Shanxi folk toys. Because the theme of toys is happiness and auspiciousness, they come out in their red, warm and gorgeous colors. The big red tiger is covered with blue plum blossoms, with a yellow wormwood leaf at its tail and two green ears on its red head. Among the bright colors, there are purple in yellow and green in red. Folk artists do not reproduce natural colors, but break through the principle of color perspective and the concept of time and space. The concept of this color is associated with the ancient yin-yang and five elements, which dominate everything in the world. "The sky is full of fire, water and earth, and the colors are green, red, black, white and yellow", which is called positive color by the people. Toys are decorated with green and red patterns on a white background and yellow, red and green on a black background, which are simple and eye-catching, rich and harmonious, based on nature and detached from nature. This healthy and simple color concept is full of enthusiasm and vitality, and has a shocking appeal. Shanxi borders Henan in the south, Shaanxi in the west, Inner Mongolia in the north and Hebei in the east. The influence of customs and people's feelings inevitably permeates the artistic style and techniques of folk toys. Among Shanxi folk toys, some clay toys are very similar to those of Henan in shape and color, while cloth tigers and dolls are similar to those of Weinan and hua county in Shaanxi, and some are exactly the same. Historical changes, wars and famines have caused people to emigrate, and the development of commercial economy and cultural exchanges are all caused by the influence of Shanxi folk toys on its neighboring areas. Shanxi folk toys are slightly different due to the differences in regionality, geographical conditions and living customs. Jinnan is mainly along the Yellow River and Fenhe River, becoming the Yellow River Triangle of Shanxi, Shaanxi and Henan. Located in river valleys and waterways, it has a long history of ancient culture and ancient folk customs. Folk toys in this area are simple and elegant. Jinzhong area is located in the plain, with superior geographical conditions, prosperous economy and culture, rich life, exquisite and elegant folk toys, exquisite and delicate; The northern part of Shanxi is mostly mountainous and hilly, bordering on the plateau, and folk toys are bold, rough and simple. Although each has its own unique skills and interests, it has a distinct consistency of Sanjin verve. Like sachets, people and animals in southern Shanxi are mainly sewn, while cloth tigers step on snakes, scorpions, geckos, toads, millipedes and centipedes. Vivid image, full of confusion, colorful and fresh red, represented by Wenxi, Xinjiang, Jishan, Wanrong and Yongji. The sachets in Jinzhong area are often woven with colored silk threads into diamond, square and triangle colored patterns, which are called sachets. There is also a color wheel wrapped in silk thread for children to play with. Their shapes, patterns or colors are very wonderful, and their decorations are also very interesting, represented by Qixian, Fenyang and Jiexiu. Most sachets in northern Shaanxi are based on fruits, vegetables, flowers, birds, insects and fish related to people's lives, which are simple, generous and exaggerated, represented by Huairen, Zuoyun and Yin Shan counties. Lions, tigers, dogs, chickens and sheep are common themes in clay toys. The clay dolls in Xinzhou, Daixian and Dingxiang are heavy-eyed, fat and blessed, mostly sitting, with large colors, exaggeration and simplicity; Painted clay toys in Linyi, southern Shanxi, are mostly legendary heavenly generals, heavenly dogs and tiger dolls, with white as the base and yellow, red, blue and green as the depiction, which are exquisite, agile and amiable. The clay dolls begging for children at Niangniang Temple are beautiful and small in shape in Jiangxian and Wanrong counties. Huairen and Youyu are coarse and fine, just like a "clay sculpture". To say that the mud whistle is the most exquisite one in Xinjiang county, it is actually a fired pottery product with beautiful shape and exquisite pattern. The rich black background is dotted with yellow, red and white, and the shapes of birds and animals exaggerate the head, contract the body and omit the limbs, which is very distinctive. Cloth tiger toys can be seen everywhere, with different images and postures. There are as many as 24 kinds of cloth tigers in Jiangxian County, such as tiger head and fish tail, tiger head and tiger tail, tiger head and pomegranate tail, unicorn, etc ... liger in Ruicheng County, with its head and body inlaid and its head and tail suspended; Youyu Zuoyun in Yanbei area and Buhu in Huairen county have big heads, big ears and fat bodies; The cloth tigers in Jinnan, Wanrong and Jishan are mostly walnut eyes with eyebrows, small mouths and beards made of fluff, with decorative patterns on the back and slender and curved tails. Cloth tigers in northern Shanxi have thick eyebrows, big eyes, wide mouth, painted beards, rough lines and straight tails. There is not much difference in appearance between the two-headed tigers in several areas, all of which are fierce and clever, but the performance in the south of Shanxi is lively and clever, while the north of Shanxi is simple and lovely. "The fire in Nanzhuang, the lamp in Taigu, and Xu Gou's back stick love to harm people", which is the folk praise for Xu Gou's back iron stick for hundreds of years. The back iron bar traced back to Xu Gou was first produced in Jiajing period of Ming Dynasty more than 400 years ago. It was originally an activity of offering sacrifices to gods because of drought and lack of rain. Later, because it was inconvenient to look up, some people pretended to be the Queen Mother and the Kim couple. In history, Xu Gou's first iron bar was called "the phoenix pulls the dragon to open the umbrella". Carrying iron bars is a group dance with unique style, and its characteristics can be summarized as: mime, aerial dance and mobile acrobatics. The spring breeze of reform and opening up has injected new vitality into the iron bars of Xugou. After continuous excavation, arrangement, innovation and development, this art is becoming more and more exquisite, with higher popularity and larger radiation area. It was beautiful to go to Beijing and Shenzhen. It was received by the central leaders and praised by foreign friends as "a must in the East".