Painting Life:The Production Of Painting Of Dali Bai People's Dwellings

Considering the relationship between formal style and cultural environment is the tradition of artistic anthropology research,but after the academic world transcends the static thinking of combining art with structuralism and semiotics,art begins to be regarded as a special behavior system,which is embedded in concrete The aggregation of social relations in social situations,and interaction and reproduction with society and culture in the process of intervention.It can be said that the study of the social and cultural content of art is equally important.In the field of traditional aesthetics and art,the discussion of "what is beauty and what is art" has become the aesthetic utopia that was constructed in the past and is separated from life.Now the boundary between art and life has been broken,and "art return to life" has been become one of the important topics in the discussion of disciplines such as art anthropology,art sociology,and art philosophy.Based on this,this paper selects the Dali Bai folk dwelling painting art,and attempts to conduct an artistic anthropological investigation of its own production and reproduction from the social production,cultural expression and meaning construction of the art form.The painting of Dali Bai people's dwellings has been deeply integrated into the daily life of local people through the different parts,different forms and different contents of residential buildings.It is not only a pure decoration,but also a symbolic expression.It has a subtle influence on people's ideas,emotions,behaviors,etc.It has become an important way to produce and express multiple values and meanings of local life.At the same time,the painting of Dali Bai people's dwellings is a skill,and it is also the livelihood of artists.As the main producer of painting,artists in the specific production process continue to change and shape specific social relationships due to different division of labor,cooperation,trading and distribution.On the contrary,social relations,social structure,and social life also affect the production,performance,and change of painted art at a deeper level.Therefore,in order to truly understand the painting of Dali Bai people's dwellings,it is necessary to return to the local life and return to the painting artists and local people who are always connected with the painting art.This paper takes Changyu village,Shuanglang town,Dali city,Dali bai autonomous as a field case,and focuses on the artistic practice of painted artists going out to do work,and uses the method of field investigation combining single point and multiple points to explain the production of painting art of Dali Bai people's dwellings.First of all,it pays attention to the materials,techniques,forms and contents of the painting of Dali Bai people's dwellings,who influences its form and content,and also examines the various social relations processes related to it through the practice of artistic artists.Secondly,not only regard the painting of Dali Bai people's dwellings as a passive material culture,but also pay attention to the cultural interpretation in the sense of semiotics,and regard it as an indispensable part of the development of social relations and emotional relations with social initiative.The component explains how art affects people's problems through the understanding of the actual process of painting the folk art of the Bai people in social life.Thirdly,after the tourism and "non-legacy" intervened in the local life,analyze the various forces to use the painting of Dali Bai people's dwellings,and how to use it to express their respective recognition of the culture,from the meaning to the power perspective,to see the Bai people's residence painted in the current language.The problem of cultural reproduction in the environment.In addition,the painting of Dali Bai people's dwellings as a kind of painting art,is not only is the value,the emotion and the idea of local people,but also it reflects the unique craftsmanship,aesthetic standards and value connotation of the painted artists and other factors related to personal characteristics.This kind of artistic practice similars to "non-creative creation" has become a part of the dynamics of artists in practical theory.Therefore,the paper tries to through the concentrated display of the artist's individual initiative in artistic practice and the relevance of specific historical traditions,social situations and national policies,to interpret the subjectivity of folk artists,as well as provide the analysis of anthropological perspective about the relationship between politic,economic,society,culture and inheritance,innovation,and transmission of folk art.