The Research And Recreation About The Door Paintings Of Qin Qiong And Yuchi Gong In The Folk Implication

As one of China’s traditional folk art forms,woodcut New Year pictures have a long history and profound culture.It is not only a decoration for celebrating the New Year,but also an important component of China’s intangible cultural heritage.Among them,Qin Qiong’s and Yu Chi Gong’s door paintings,as an important category of woodcut New Year paintings,combine three processes of painting,carving,and printing,and are one of the unique New Year cultures.The Qin Qiong and Yuchi Gong door paintings in the Qin,Jin,and Yu regions have many shapes,abundant output,and exquisite production.They have become important representatives of Chinese woodcut New Year paintings,providing us with a large amount of image data to understand folk culture,and also becoming a window for the world to understand Chinese New Year paintings.Based on the paintings of Qin Qiong and Yuchi Gong in Shaanxi,Shanxi,and Henan regions in the middle reaches of the Yellow River,this article conducts field investigations and collects relevant literature and photo materials,systematically combs the origin and evolution of Qin Qiong and Yuchi Gong’s door gods,and deeply analyzes 90 groups of Qin Qiong and Yuchi Gong’s door paintings from the perspectives of origin,ruler,painting shop,collectors,and the modeling performance and color matching of each group of works.Starting from folklore,In-depth exploration of the production,sales,and posting of Qin Qiong and Yuchi Gong door paintings in the Qin,Jin,and Yu regions provides an important theoretical basis for the study of folk art and culture in the Qin,Jin,and Yu regions.Among them,the rich modeling and unique color culture in Qin Qiong’s and Yu Chi Gong’s paintings are also the focus of this paper.Through the study of Qin Qiong and Yuchi Gong’s door paintings in the Qin,Jin,and Yu regions,this article explores the common and individual cultures of Qin Qiong and Yuchi Gong’s door paintings in the middle reaches of the Yellow River,providing a solid theoretical basis and creative inspiration for subsequent creation,and also providing valuable information for more New Year picture door god enthusiasts to study Chinese door paintings.In the subsequent creation of Qin Qiong and Yuchi Gong’s door paintings,the author inherited the cultural ideas and artistic expression techniques from previous works,striving to combine traditional culture with modern elements,and striving to create new works of Qin Qiong and Yuchi Gong’s door paintings that can not only display traditional culture but also meet the aesthetic needs of modern people.