Diversified Development Of Prehistoric Fine Arts In Yunnan

Throughout Yunnan’s history,migration and merger of tribes have continued unabated since the late Paleolithic epoch.There are two ways of tribal integration,one is the lateral interaction and integration between Yunnan aboriginal and indigenous people;the other is the integration between Yunnan aboriginal and nomadic tribes.There are two forms of fusion: natural fusion and unnatural fusion.The interaction and penetration of art and culture in material,spirit,production,and art creation are accomplished in a variety of ways across tribes,and it continues throughout the whole process of art development in Yunnan’s prehistoric time.To varying degrees,the two often "exist at the same time and intertwined" in a manner that promotes the process of ancient art production in Yunnan in the direction of diversity.The discovery of archaeological sites in Yunnan since the twentieth century has resulted in the discovery of a full evolutionary chain of paleontology and ancient people.Among of it,from Cambrian explosion to Lufengpithecus in Post Cenozoic,and then from Lufengpithecus to the evolution of Yuanmou people 1.7 million years ago are most closed to this topics.Since Homo erectus yuanmouensis created chipped tools and grasped fire skills,the creation of pre-historic art in Yunnan province,China has been opened up and at the same time aesthetics has emerged.In the "art before art" stage,pre-historic Yunnan together with chipped tools forged by yuanmou men went through the prolonged Paleolithic Age.After the early and middle periods,the descendants of the Yuanmou people have evolved through more than one million years,from the evolution of early Homo sapiens to the evolution and reproduction of late Homo sapiens tribal groups throughout Yunnan.Among them are the Lijiang people,the Xichou people,the Kunming people,the Mengzi people,and the Yaoguan people.It is estimated that the tribes produced art remnants that span almost the whole central and western Yunnan,northwestern Yunnan,southern Yunnan,southeastern Yunnan,and other regions.Stone tools from the late Homo sapiens stage have achieved a relatively full level in Yunnan,where they have surpassed the preceding generation in terms of technical sophistication and resulting in a fusion of tribal mobility and integration.There are three various sorts of civilizations,as well as five different art treasures,each with its own unique qualities.These art remnants,which were mostly formed by stone tools,have evolved into the artistic features of human activity throughout that period of history.The development of eight Neolithic cultural kinds was heralded by the changeover of the "little stone tools" art goods of the Mesolithic Age,and architectural types such as the semi-cave,flat-ground hut,and ganlan-styled hut were developed;the creation of pottery is found all over Yunnan;Three river basins,Twenty-threecounties,thirty-four rock art sites,and more than one hundredrock art remains are scattered throughout the five river systems,which include the Nujiang,the Lancang,the Pearl,the Honghe,and the Jinsha rivers.In recent yearsthe Jinsha River petroglyphs,which were dated by high-precision uranium dating,have pushed the creation of the existing painted petroglyphs in China to more than 13,000 years ago.Related studies show that these petroglyphs were created by prehistoric people who were engaged in hunting and gathering during the Paleolithic period in the region.The aforementioned archaeological finds provide the groundwork for the establishment of Yunnan’s indigenous peoples and the features of art production,as well as study into the diverse growth of art creation in the context of tribal movement.Yunnan’s prehistoric ancestors’ aesthetic consciousness emerged through the conception of the beauty of pragmatism and renewal of the art of milled stone tools;Art forms such as the conception of ground stone tools,the creation of pottery art,the construction of houses according to local conditions,and the advancement of decorative arts are all examples of art forms that contribute to the extension the aesthetic function of Yunnan’s prehistoric ancestors during the Neolithic Age.The formation of the practical function of the prehistoric rock paintings in Yunnan with the function of knowledge dissemination;The fulfillment of many of the prerequisites listed above is a critical aspect in the law of diversification and extension of fine arts in Yunnan,which was enacted as a result of the migration and integration of prehistoric tribes into the country.This paper intends to use traditional Chinese painting theory as a starting point,relying on the method of iconographic research,and focusing on relevant research fields such as history,anthropology,and ethnology,particularly the collection of archaeological materials and the investigation of fine arts theory,among other things.The emphasis is on the artifacts and picture data discovered during archaeological digs,and the mystery is explored through the eyes of artists.As an art educator who has worked in ethnic minority border areas for a long period of time,rooting in local culture and promoting the creative spirit of ethnic art within one’s ability is not only necessary for completing one’s own work,but also for improving one’s own cultural literacy,theoretical level,and ability to create artistic works.For this reason,this essay concentrates on the emoticons of classic instances in archaeological artifacts and completely describes the aesthetic trend of the diverse evolution of art production in Yunnan as a result of ancient tribes’ movement and absorption into the local society.