| Surveying on the folk art, more shape analysis and less color work has been researched. And the color research explores more Chinese painting color, but few discussion on the folk art color. There are two tendencies in the color ontology research of China and the western countries. Firstly, based on the physical properties of color, the study takes the color as "objects" and uses optical research color as the fundamental, which means to analyze the source and composition of pigments and its applications in various carriers from the perspective of scientific discovery. Secondly, the study focuses on the relationship between the color and "people", which includes cognitive, experience, psychology in the process of color utilization by human, and the associated color principles and norms based on them. The physical properties of Chinese and Western color system take the natural color knowledge as a starting point. However, different color spectrums are formed because of different of artistic origin theories. The Western art imitation theory establishes the Western color characteristics based on the conclusion of optical analysis, forms the optical color spectrums and theoretical system from the comparison relationship between the hue and the cold-warm color in natural imitation, and further develops into the color cognition psychology. Chinese color develops from the understanding of the color physical property to emphasizing the concept symbols of color analogy and faith. Since Zhou Dynasties, the traditional Chinese five color view and color grade have been gradually distinct, and the color philosophy, symbolic and analogy relationship have been formed. There are not only relations but also obvious differences between the folk style color and religious painting, painting color, or literati painting color. Folk art color is emerged in working people’s production and life, and related with the basic needs of people and the folk cultural psychology as well as the symbol of folk. Rooted in the folk cultural ecology, the folk art color is the external representation of the national internal psychological structure and ethnic cultural identity as well as the gene symbol of traditional culture. It reflects the aesthetic connotation of people. The application of folk art color is characterized by "usefulness". Folk art color has a symbolic meaning, which is a gene of color culture disseminated by song and dance, discourse, folk belief, and cultural space, etc. Due to the transmission of folk art through the method that the masters teach the apprentices by oral instruction and inspiration, the folk art color is rarely recorded in ancient books. However, it can be seen from the diachronic development of culture that folk style color contains the spirit system of public belief, which is the bridge of people’s emotional communication, a kind of cultural gene and consensus, and also is the key to decrypt the ancient Chinese national culture and spiritual beliefs. The study of folk style color is a kind of interdisciplinary research involving color science, folklore, artistic sociology, cultural anthropology and so on. The present dissertation is divided into five parts.The introduction part mainly discusses the theoretical background of folk art color research, the present situation both at home and abroad, and the proposed research innovations in this dissertation.It can be found from the review on the reference literatures that the academic research on the folk art color is of vacancy phenomenon. The introduction deeply and widely summarizes the concept and category of folk art color, puts forward the research significance and methods of folk art colors, and defines the research object and path. Folk art color takes five-color theory as an ideological core, develops into a color concept in life, and incorporates into the wisdom of working people. The folk art color is related to Chinese traditional culture, which is restricted by emperor color-favored rules and etiquette culture, is the extension and realization of the central government color system. The folk art color is related to folk-custom, displays the symbolic features of symbol semantics to satisfy the psychological needs of folk faith. It is the spiritual ideal of the folk relief, related to the folk skill and materials, and is the emotional color system for expressing the image structure. The folk art color is embodying the spiritual pursuit of the people’s yearning for freedom and harmonious life, and showing a booming positive outlook.The first chapter mainly discusses the evolution of the folk art color, system and characteristics from the theoretical level.This chapter includes three sections. Firstly, from the perspective of development history of the folk art color, the evolution track of the folk art color concept has been studied. The five-color theory is the foundation of the traditional color-favored culture. Xia, Shang and Zhou Dynasties are the forming stage of the color-favored culture. It is then evolved and improved in the dress color system for emperors of the past dynasties. The cultural foundation of the folk art color concept is explored through the wide survey on the theoretical literatures. Secondly, the spectrum of folk art color including the pure color and the binary color is explored according to the five-color theory, and the chromatographic characteristics of the wide-application traditional folk art is analyzed. And the physical attributes, mental attributes and cultural connotations of folk art color are clarified. It is analyzed from the source of symbolic concept and the system feature is summarized. The modeling concept of interpromoting relation and restriction in five colors is widely applied in folk art color, is gradually becoming lifestyle with the development of society, and is forming the color custom and belief. Finally, from the folk function of the folk art color, the practical, symbolic, subjective and decorative feature of the application of the folk art color is analyzed. Related to people’s life custom, the folk art color is the color symbol system embodying people’s conceptual evolution of collective consciousness, reflecting the most primitive worship of folk belief and emotion. The folk art color is the symbol of people’s aesthetic ideal closely connected to people’s life custom. Folk art is the result of the restricted folk art color by folk artistry. For example, paper-cut focuses on the morphogenetic pattern connotation of Yin and Yang, and its color is mainly the red and there is few dyeing. And based on the development of paper making and printing technology, the color application of woodcut New Year pictures shows "pit one against ten" characteristics, due to the technical limitation of a version with one color. Because of the diversity of pigment, the intermediate color system of weaving and embroidery color becomes richer and more varied. Chapter Shi of Sun Tzu proposed that there were five kinds of pigments, but blending them can produce thousands of different colors, which are too beautiful to be absorbed.,It can be found from this description that the intermediate color system of traditional color system is very powerful.The second chapter discusses the relationship between the folk art color and the folk life from the viewpoint of folk belief and folk custom.Firstly, from the material life, the relationship between Chinese life style and folk art color concept, and the influence of folk traditional season, etiquette, folk custom on folk art colors are explained. Secondly, from the spiritual life, the relationship between the folk ideal and the folk art color concept, and the formation process of the traditional color auspicious tendency thought and symbolic culture from the functional aspect of spiritual pursuit of the union of heaven and human, respecting nature, love of life, longing for freedom on the formation of folk art color are discussed. Thirdly, from the aspect of idea, the effect of the thoughts including the imitation of nature, thinking and walking, as well as the color being empty in traditional culture on the five colored symbol analogy is discussed. The theoretical source of the symbolic culture for folk art color and the forming track of the folk color psychological structure are revealed.The third chapter mainly discusses the skill, artistry and image structure of the folk art color from the viewpoint of the techniques.Firstly, the role of the folk skill in the formation of folk art color is researched. It is thought that the folk art color is affected by the technology, technique and material in the folk skill, and it is the material foundation for forming the folk art color. The color application approach of "pit one against ten" and the color visual style of "Full to the Brim" are formed. Secondly, the homophonic, metaphor, symbol and other color techniques of the folk art colors are explored. The function of folklore and cultural connotation of folk art color, and the relationship between Chinese traditional culture and folk art color are interpreted. During the long-term historical development of traditional five-color value, along with the changes of people the basic necessities of life behavior, the life etiquette and death is formed. The folk customs of weddings and funerals are accumulated into a unique aesthetic psychology and some habits, and the objects are endowed with an aesthetic image. Thirdly, the image structure of the folk art color is analyzed. It is thought that the folk art color is not only a kind of color visual impression, but also an unique image modeling method. The structure status of the form, image and meaning in Chinese traditional culture forms the rich connotation of the folk art color. The color principles of the lyric of the mail, symbolic color forms the image structure of the symbolic color semantics. Besides the concept of yin and yang of the folk art color represents the respect and application of black and white color, it also represents the usage of the color complementary color. The color match pattern such as red-green and yellow-purple is the extension of yin and yang concept. The relationship between the red-green match and yin-yang color concept is explained by the case of "Guys and Dolls". The folk art color is the symbolic sign of the emotion and the representation of the folk spiritual emotion. It stands for the yearning for the luck, the wealth, the long life and the happy as well as beautiful things, and it is the folk belief of the required color for satisfying the people pray for blessings and disaster relief.The fourth chapter mainly analyzes the image structure of the color of Yangjiabu woodcut New Year picture as an example from the viewpoint of the phenomenon.Firstly, the external "Form" of the color of Yangjiabu woodcut New Year picture is discussed from the aspects such as the history evolution, color technology and the typical color spectrum of Yangjiabu woodcut New Year picture. The effect of technical process and material characteristics on the color form is researched. Its concept, color spectrum system, color tactic and the technologies associated with the color are analyzed. The color ratio and chroma difference of the typical Yangjiabu picture is explained. The color modeling rules of the New Year picture are discussed. Secondly, the "image" of the image structure for Yangjiabu woodcut New Year picture is revealed. The implication and connotation of the "Line for Bone" in the woodcut lines is discussed. The color balance principle and spiritual image as well as the method "Line frame Color" in the woodcut New Year picture is analyzed. It deepens the understanding for the structure of folk art color. Thirdly, the image of the color of Yangjiabu woodcut New Year picture is discussed. The implication of color match, the color application concept, the color difference caused by different regions is analyzed. By the case of field research, and comparing the picture colors among Yangjiabu in Weifang, Taohuawu in Suzhou, Yangliuqing in Tianjin and Fengxiang in Xianxi, the causes of the color image for Yangjiabu New Year picture are summarized.The conclusion part summarizes the value and significance of the study on the folk art color. As the Chinese traditional cultural vein, the folk molding color is not only a sensory phenomenon, but also a social group consciousness and ideology being functional. And it contains the national emotion, culture beliefs and symbolic culture and ideology, reflecting the social structure, civil ideal and emotional pursuit of farming nations. China is a multi-ethnic agricultural country in history. The Chinese New Year is the concentration of the farming culture, and New Year picture is the most prominent color impression of Spring Festival culture. The color of Yangjiabu New Year picture is applied according to the seasonal solar term, the post position, the etiquette requirements, and the social customs and habits. The color is not only characterized by the local mental attitude, but also the popularity of the color application. The folk art color is always running through the life and of complete system. In the present dissertation, the approaches including the color chromatology, the folklore, the aesthetic sociology and the cultural anthropology are applied to research the history track, the folk life, the process attribute, the folk connotation and the emotion. The connotation of the image structure including the painting tactic, the color spectrum, the skill and the folk ideal is discussed by the case. The application of the folk art color is systematically researched. The approach on the basis of cultural ecology and field research has overcome the limitation of the fuzzy color in the post literatures and assured the objectivity and accuracy of research achievements. Through the diachronic and synchronic combing, the application of the folk art color will be systematically grasped. |
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