Research On The "Localization" Development Of Korean Cross Border Yazheng Art

The Ajaeng originated from the ancient traditional Chinese musical instrument,The Yazheng.According to historical research,The Yazheng was introduced into the Korean Peninsula in the Tang Dynasty.Due to the influence of the culture and folk customs of the Korean Peninsula,The Yazheng gradually evolved into a traditional musical instrument with Korean ethnic characteristics.".Due to historical reasons such as war,famine,and other historical reasons in modern times,the Yazheng art has also completed its localized development in China with the cross-border migration of Korean Peninsula residents to China.This article takes the Korean Yazheng as the research object,using the perspective of "localization" theory,combing the historical context of Yazheng art through literature review and first-hand information obtained by the author during field research,deeply exploring the impact of ethnic social and cultural structure on the "localization" development of Yazheng art through artistic representation,and reflecting on the causes of its decline in the "localization"development,To explore the dynamic mechanism of the development of the art of dental zither,and provide a constructive foundation for the dissemination and future development of the cross-border art of the Ajaeng among the Korean people.The full text is divided into four parts.The first part is about the origin and cross-border dissemination of the art of the Ajaeng.Taking the origin of the art of the Ajaeng in China as a starting point,it sorts out the historical context of the development of the art of the Ajaeng in China and North Korea;The second part is about the artistic characteristics and aesthetic style of the Ajaeng,analyzing the noumenon and aesthetic connotation of the Korean Ajaeng;The third part is about the socialization of ethnic cultural structure and the "localization" of the Ajaeng art.It analyzes the impact of ethnic social cultural structure on the development of the Ajaeng art from the perspective of immigration period,before and after the founding of the People’s Republic of China,and before and after the reform and opening up,as well as the reasons for the decline of the Ajaeng art in the "localization" development;The fourth part is about the "localization" return and reconstruction of the art of the Ajaeng,based on the localization theory,to explore the internal motivation and cultural support of the return and reconstruction of the Ajaeng art.On this basis,it provides methodological guidance for the localized development of art.