Research On The Creation And Reproduction Of “Farmer Painter” From Tengchong

Creation and reproduction was originally a pair of contradicted artistic words.Now,it was glued together by “farmer painter”,which changed the long-standing artistic cognition habits.The “farmer painter” who is engaged in the art practice of “farmer painting” has been continuously completed artistic production through creating and reproducing in large quantities.The act of creation and reproduction not only embodies their artistic experience or wisdom,but also gives a new life to the painting.This problem comes from the art field survey that “I” who participating in the practice,who combines case studies and comparative analysis methods and is based on the creation and reproduction of farmer painters under the guidance of the theory of the related theories of Art Anthropology,which describes the occurrence,relationship and artistic construction of the farmer painters in Tengchong,and explores the application,value and reasons of the behavior pattern of creation and reproduction in the Dai and Lisu ethnic group.As a result of the discovery of the reproduction of Tengchong farmer painters,and the reflection on their creation,then the two kinds of artistic behaviors have undoubtedly become the focus of research,and also have the following research thinking:First of all,creation and reproduction have always existed in the life field of farmer painters.The regional culture of Tengchong has shaped the changes,behavioral characteristics and artistic forms of Dai and Lisu farmer painters.Creation and reproduction are the results of the interaction between the social age,the interests of the main body,the government,the mainstream,showing a passive and conscious intertwined art.Secondly,because of the two-way mixing of modern and civil attributes,the relationship of creation and reproduction has both independent quality and mutual blending among the farmer painters in Tengchong.It presents the existence of reproduction in the creation and the existence of the creative artistic “dual” traits in the reproduction.The problem of artistic reproduction involves complex historical and cultural relationships between the picture book and the graphic book,even the value of creation depending more on the value-added in reproduction which makes the meaning of creation continue to deepen the process of sublimation.Tengchong farmer painting which through the experiencing creation and reproduction has creates a kind of living art ontology in the behavioral relationship and a modified creative concept that is integrated into daily life.The interaction between creation and reproduction continues its new life,constantly adds and shapes new functions and values,and constantly meeting the needs of the times.Thirdly,the creation and reproduction under the overall vision of the farmer paintings shows the function of being connected.This is both a behavior at the realistic level and artistic local behavior.Both they are interactively connected to construct a new look of farmer painting.The “creation-reproduction” of farmer painters is not only a compromise of wisdom,but also a blend of experience,which promotes the acculturation of art and the representation of ethnic groups.In a long period,it constantly gets a ever-growing life in common order.Thus,starting from the creation and reproduction of the farmer painters in Tengchong,it is nothing more than a dynamic perspective on the art of farmer painting and related matters.From a broad perspective,the “creation-reproduction” experience includes thoughts and feelings,artistic concepts,cultural accomplishments,and management of art,which is not only found in farmer paintings.It seems to have been accepted as a creative behavioral paradigm by the entire folk artist.The farmer painter in Tengchong only provided a case for the study of this artistic behavior.