The Study On Qian Huian’s New Year Paintings Of The Yangliuqing Area

This paper takes the New Year paintings of the Yangliuqing area by Qian Huian as the research center,on the basis of in-depth analysis of its related documents and image materials,summarizing its artistic characteristics.It also discusses the causes of Qian Huian’s New Year paintings,and its significance and influence in the development of the New Year paintings of the Yangliuqing area,as well as some existing problems.Qian Huian lived in Tianjin for ten years.During these ten years,although most of Qian Huian’s New Year paintings have not been printed,this experience has laid a solid foundation for his new year painting creation in the future.1889-1891 was a stable period of economic development in Tianjin.During this period,Qian Huian created a large number of popular New Year paintings entrusted by the new year painting shop in Tianjin.Qian Huian combines his traditional figure paintings with New Year paintings.His new year paintings have novel themes and unique styles.His works also contain poems and signatures,which are very different from the traditional New Year paintings of the Yangliuqing area.Its emergence has brought many influences to the New Year paintings of the Yangliuqing area from theme,style to aesthetic taste.Its far-reaching degree and wide range have deeply influenced Gao tongxuan,another great New Year painting master.The influence and significance of Qian Huian’s New Year paintings are manifold.This artistic style of enjoying both refined and popular tastes and the creative method of the integration of literati painting and folk art actually represent a path of self-improvement and self evolution of Chinese folk art under the background of major social and cultural changes.For Qian Huian’s other forms of artistic creation,folk art also enlightens him.Qian Huian’s New Year paintings of the Yangliuqing area gives a revelation to folk art: the development of art does not rely on complacency,but takes the initiative to break the traditional barriers and absorb and integrate more diverse cultures.If folk art wants to develop and continue at present,it must find a common path belonging to itself and the times.