Eternal Child Interest

Infant plays are a common traditional theme in Chinese painting,usually based on the naive and lovely image of children’s play.As a special breed of traditional Chinese painting,the theme of the play is not only favored by painters in traditional meticulous portraits,but also sought after by painters of ceramic painting.Infant picture sprout in the Tang Dynasty,in the Ming and Qing dynasties,the drama theater was even more famous.It experienced a long history and there was prosperity and decline in the middle.However,there was a general trend of change in its development.Its occurrence,development and popularity reflect the great concern of Chinese society for the reproduction of human beings themselves.Just as Chinese tradition says no children do not want to be filial.This article will take the traditional baby pictures and the modern children’s theme strokes as the research object,on the basis of sorting out the development context,summarizes the similarities and differences between the two in terms of content,artistic features,expressions and techniques,and analyzes them At the same time,his theory of practice combined with his theory of spirit in different historical periods hopes to create works that can not only extend the artistic features of the traditional pastel baby pictures but also reflect the mental outlook of modern children.The essay is divided into five chapters,which summarize the reasons for the selection of the article,the significance of the research and the current research status of the subject at home and abroad in the introduction.The second chapter,based on the historical development of baby play,systematically clarifies the step by step evolvement from the Song,Yuan,Ming and Qing Dynasties to modern times,and analyzes the social humane background and ethical and cultural values.The third chapter will discuss the spread of porcelain baby drama in the folk,with the styling,folklore taste and the beautiful implication and support as the breakthrough point,to analyze its unique artistic interest.In the fourth chapter,the author explores the difference between traditional Chinese opera figures and decoration features and artistic styles in combination with the modern children’s theme,and specifically compares the performance techniques with the traditional performance of infant performances.In addition,the publicity of pastel baby pictures and the development of children’s subject matter strokes are also described.The fifth chapter,combined with my own creation,talks about feelings.On the one hand,I see the beautiful humanity contained in the traditional picture of the baby,and its meaningful meaning has attracted my choice of children’s theme when I graduated.On the other hand,I also let myself be infested with the rustic artistic expression of folk infants and let the creation abandon the complexity and strive to be simple.