| The selected field point in this paper is Zhulute in Tongliao City,which is located in the east of Mongolia.The local Zhulute woodcut is called "the flower of grassland on woodcut".Zhalute woodcut and Keerqin woodcut are the representatives of Inner Mongolia woodcut and one of the large-scale regional group printmaking in China.Zhalute woodcut is not only an artistic form of materialization of northern grassland culture,but also an important genetic gene of grassland culture.Through the study of regional art,the relationship between Zhalute woodcut and cultural identity of grassland regional cultural groups is analyzed.Cultural identity is the consensus and recognition of a region or an ethnic group’s natural and cultural tendencies,and the core of cultural identity is value identity.Value identity is often manifested by using common cultural symbols,abiding by the same cultural concepts,adhering to shared values and the spiritual world,which respectively provide symbolic meaning,the legitimacy of cultural identity and the concept norms of cultural identity.Therefore,the focus of this paper is to analyze the overall background of the development of regional art,including the history of Zhalute woodcut,the geographical and cultural environment generated,and to interpret the relationship between color,graphics,themes,regional environment and common culture.The second,third and fourth chapters of this paper respectively correspond to the core of cultural identity-three conditions of value identity:the surface identity of symbolic expression,the legitimacy of cultural identity established by historical narrative,and the common religious beliefs and values sublimated on this basis.From these three aspects,they are promoted from the outside to the inside,layer by layer.This paper consists of three parts:introduction,body and conclusion.The introduction includes research origin,research significance,literature review and research methods.The first chapter introduces the geographical and cultural landscape of Zhalute woodcut in the field,briefly discusses the natural conditions and regional cultural background of Zhalute woodcut,combs the history of Zhalute woodcut at home and abroad,and finally introduces the materials,tools and creative process used in Zhalute woodcut;The second chapter discusses the internal and external causes of this cultural identity.The main line is the aesthetic identity of the regional symbolic symbols(colors,patterns,themes)of Zhalute woodcut,which extends to the cultural identity of regional cultural groups;Chapter Three This chapter mainly discusses the research of cultural identity from the perspective of historical narrative,including the discussion of the inheritance history of the print artist group and the cultural history carried by the print itself.The former dimension discusses the importance of collective memory in the inheritance of Zarut prints to the construction of cultural identity,which maintains the existence and development of Zhalute woodcut.The second dimension discusses that the selection of historical themes of Zhalute woodcut reflects the common cultural memory of Zhalute woodcut culture;The fourth chapter is an analysis of the cultural community from the spiritual level reflected in Zhalute woodcut,including the expression of ethnic group spirit,religious beliefs and "Homesickness".The final conclusion is that as a painting form of art in the northern prairie region,Zhalute woodcut show the understanding and reflection of the local regional cultural community on cultural identity,while the spread and inheritance of Zhalute woodcut promote the local people’s cultural identity. |
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