Rural Landscape And Rural Media From The Perspective Of Social Change

Peasant paintings were born in the Chinese countryside in the 1950 s.Farmers’ paintings in huxian county of shanxi province,like those in shulu county of hebei province and API county of jiangsu province,were the product of the "great leap forward" movement in 1958.At that time,farmers’ paintings were flourishing all over the country,and most of them became stagnant with the end of the "great leap forward" movement.However,farmers’ paintings in huxian county developed with the changes of The Times.The peasant paintings in huxian county experienced the change from the great leap forward to the agricultural modernization,which lasted for more than half a century.The rise of peasant painting is no accident.Under the influence of many factors such as rural system economy,folk traditional culture,the party’s rural development policy and the mass literary and artistic line,the peasant paintings in huxian county developed into an organized and targeted mass cultural form.Farmers’ paintings are rooted in the countryside,created by farmers,and exist in a popular form of visual art.In each specific historical period of the republic,farmers’ paintings also served as a unique medium to publicize various policies to farmers,encouraging their enthusiasm for production and cultivating their pursuit of spiritual culture.In this paper,in-depth interviews,literature analysis,discourse analysis and other methods,huxian farmers painting research.The structure of the paper is divided into two parts.First,from the inside of the farmer’s painting image,the visual discourse analysis is carried out through the rural landscape constructed by the farmer’s painting;second,from the outside of the farmer’s painting image,that is,the farmer’s painting of hu-county as a specific rural medium,the production organization,training mechanism and media communication channels are analyzed.The analysis of visual images is carried out from three aspects: the social context of visual image production,the discourse construction of rural image and the image discourse productivity.According to the historical logical order,the paper sorts out the influence of social context in different periods on the visual communication content and effect of farmers’ paintings in huxian county.Then in the part of organization and discipline analysis,it mainly explains the organizational structure,function and mechanism of farmer paintings.This paper explores the roles of different subjects in the creation and production of peasant paintings,how to regulate the cultural identity of peasant painters,and the influence of peasant paintings on rural political life and social life.Finally,it analyzes the role of various mainstream communication channels in promoting farmers’ paintings in huxian county in different periods,how to define and publicize the value and significance of farmers’ paintings,and how to construct ideology through the form of farmers’ paintings.Through the analysis of the internal and external two aspects in this paper,the following conclusions: first,different periods of being one farmer paints to construct different country image,mainly has great leap forward "utopia" type of country image,the cultural revolution of the true and distort the mixture of country image,to reform and opening up "the idyll" type of country image.It is not difficult to find that the dominant force of political ideology is weakened by the process.Second,in terms of constructing the visual discourse of the rural landscape,the peasant painting,the subject it represents and the main audience reflect the consistency of the fate track.Before the reform and opening up,the farmers’ painting in huxian county is a blueprint for the revolutionary and idealized socialist rural construction.After the reform and opening up,the scene depicted in the farmer’s paintings returned to the rural expectations of generations of farmers;With the advance of urbanization,people are tired of their busy urban life and look forward to the idyllic rural image in farmer’s paintings.Third,being one farmer paints as the medium of countryside in organizing production,the government held a dominant position/official discourse,by being cultural center(organization),the farmer paints mentee(broker),the author of the farmer paints,(producers),the farmer paints audience vehicle(receiver),and country(country exhibition,blackboard,the village head walls)and so on five parts of the overall layout,to achieve the control of the farmer paints organize production.Beforethe reform and opening up,political discourse played a dominant role in disciplining peasant painters.After the reform and opening up,peasant paintings became a special cultural commodity,and the cultural economy dominated the discipline of peasant painters.As a rural medium,farmer’s painting establishes an organizational production mechanism through the mutual coordination among the participants and the coordination of the discipline mechanism.Fourth,farmers’ paintings in huxian county are deeply embedded in the mass communication channels,including the press,publishing,radio and television,exhibition halls and digital communication platforms on the Internet.The mass media vigorously propagandisses the peasant paintings in huxian county as a communication strategy of image construction and ideology construction in the construction of new socialist countryside.The combination of cultural economy and Internet new media technology has pushed farmers’ paintings in huxian county to the cultural market.The application of mobile terminals,exhibition hall VR technology and digital navigation technology has become an important way to spread farmers’ paintings in huxian county.The research of this paper reveals the essence and evolution law of rural folk paintings in huxian county,which is a typical rural visual cultural representation of the development of the People’s Republic of China.