Female Peasant Painters And Their Artistic Practice In Xiuzhou

In contemporary society,with the continuous change of social structure,the overflow of modernization and individualization is becoming stronger and stronger.From the research object to the research angle of view,the research context of folklore is also changing constantly,and presents the multi-dimensional research paradigm day by day.Among them,in the context of intangible cultural heritage,folk art has attracted much academic attention,but the practice of women’s lack of attention.Whether in the inheritance or reproduction of folk art,women have a significant proportion,and their artistic practice should not be overlooked.From the perspective of Folklore and from the perspective of the subject of practice,we can study peasant painting by taking the artistic practice of female peasant painters as an object and presenting their artistic behaviors and concepts.Through the field survey,the author puts the individual into the group to observe his emotion and interaction,and then understands how the female subjects understand and practice the peasant painting,and what are the characteristics of their peasant painting,and then understands how women affect the peasant painting art.Through the observation and interview of female painter in Xiuzhou,it is found that women’s art practice is closely related to their daily life,including language,folk tradition of aesthetic cognition,and individual identity construction and behavior practice.Women express themselves and practice daily life through the language of their paintings.The aesthetic appreciation of female painters in peasant paintings is inherited from the local tradition.The orientation of self-identity is based on the artistic exchange within a small group.Female peasant painters interact with each other and enter the public field through peasant painting.Their artistic practice goes from daily life and individuality to daily life and individualization,and thus influences the overall style of Xiuzhou peasant painting,thus promoting Xiuzhou peasant painting to form artistic characteristics close to life and full of individuality.The significance of the study of Xiuzhou female peasant painters lies in the opening up of thinking:folk art in practice can not be separated from women’s daily life,emotional experience and other micro-factors,in the process of non-material cultural heritage such as peasant painting increasingly involved in the construction of modern villages,women’s art practice is of great importance.This also reminds us to reflect on how to stand in the position of the public to examine the characteristics of the art practice of different genders and their impact on local folk art and even the whole folk culture.