Illustration: my primary school third grade is read there, today the situation like this, my three children, all here at school. The three officer temple called the temple, only one hall, was brigade CMC as office. The South Temple Temple became a medical station. In 1976, the village built stage, is located in the central village. Shadow play, drama are here to sing, a few dial, how to restore some of the atmosphere. In section third, the memory of childhood around Fengxiang has passed a "small village doll a Tintin, who painted keeper; Shen Cun doll a little, with a steel drill eye; Macun doll was strange, not drove vegetables" ballad. Macun, Shanghai Village two village and our small village next to it, the word spread has been here, is enough to prove that when the New Year paintings are drawn by hand. Later, more and more people need door painting, light relies on pen drawing production is too slow, in short supply, to experiment with wood engraving ink door painting. Hand dyed with pen fill color, increased the yield of New Year paintings. This ballad should is a microcosm of our Tai Jia Mu version New Year paintings from painting to seal evolution, but also on the Fengxiang New Year paintings of the earliest folk basis, the dolls are aware of this ballad. 1952 I was born in Fengxiang County, Beiguan, and his family has been living in Fengxiang County, 5 years old father and I returned to the village, but I grew up doesn't like to stay in the town, and the like to go home. Home lively, play more things. When I was a boy I love playing and the uncle's cousin Tai Anping, he will do the New Year paintings, sculpture, the person is also very good, give others help is help, never to return. But his condition is not very good, difficult economic. When I was small, and he is to go home, to see version, their old books read. My family had a towers, the towers are three layers, the top layer is only a roof, filled with full Diaolou long 5 meters wide, two layer on the remaining are version, middle gap can only last one. I was three or four years old, the family are not up, because it was dark inside, just on the wall left several holes to light, then the version to our old house (the yard I live upstairs, putting) is that a house building a vestibule, move over I seen, because the floor is relatively stable, so they are not afraid of the child fall down, also let go. At that time the three rooms one by one man can go up eaves, in the innermostAll rooms upstairs is on the outs and thread bound book, this is all I saw. When the separation, the property is divided into 5 parts, the old house has a majority in the house, this is my impression of the most hours of age. As for the other home, is also estimated to have a version, but is zero zero pieces, the number will not be too much. A child's life, Grandpa gave me the deepest impression. My grandpa will block, he made a lifetime of New Year paintings, although at that time of nearly seventy years, but he still does not idle down, making New Year paintings for him, has become a habit. My grandfather is very bumpy life. He is very dedicated to art, he worked as a farmer, a rural folk painter, idle not want a root, is to make a wood carving, or carved a version. He always has the interest, not going to the work, the past is such. I saw a small table to my grandfather, often placed in the room, he did not work to put on the table, he went to a spare moment.
At the beginning of twenty-first Century, the social public to the heritage protection China intangible cultural attention, to participate in the protection of enthusiasm, and promote the China non-material cultural heritage protection work, become an important event China cultural circles and even Chinese society. About the connotation of "intangible cultural heritage" is a word from the majority of the people, to the "intangible cultural heritageProduction of "become make known to every family of vocabulary, it is generally the representational form a certain cognitive, and support or to actively participate in the protection work, that people in the background of modernization, have seen, due to changes in the improvement of living standards and way of life, as the traditional social environment in people's way of life and production the intangible cultural heritage is rapidly disappearing reality, this reality, will be on the sustainable development of human society and the prospect of irreparable. Therefore, the comprehensive protection of intangible cultural heritage has become the consensus of the whole society.
Wang Wenzhang, male, born in March 1951, Yamato Hisakohito. Professor, tutor of doctoral students. Vice Minister of the Ministry of culture, Dean of faculty, Chinese art institute director of China intangible cultural heritage protection center. Has published more than 60 words of art theory, review articles, editor of "Chinese scholars in the eyes of the science and the humanities", "the Peking Opera master Cheng Yanqiu", "Mei Lanfang's visit to Beijing Opera", "non @##@ Atlas At the beginning of twenty-first Century, the social public to the heritage protection China intangible cultural attention, to participate in the protection of enthusiasm, and promote the China non-material cultural heritage protection work, become an important event China cultural circles and even Chinese society. About the connotation of "intangible cultural heritage" is a word from the majority of the people, to the "intangible cultural heritage" become make known to every family of vocabulary, it is generally the representational form a certain cognitive, and support or to actively participate in the protection work, shows that people have seen in the modernization process in the background,, because of the change of the improvement of living standards and way of life are disappearing rapidly, as the traditional social environment people's way of life and production of the intangible cultural heritage of the reality, and the reality, will the human society sustainable development prospect irreparable. Therefore, the comprehensive protection of intangible cultural heritage has become the consensus of the whole society. However, the protection of intangible cultural heritage that the subject of the times should be how to answer, the answer is not the same. The reason of the inconsistent, mainly is the contradiction between economic development and from the protection of intangible cultural heritage. The intangible cultural heritage as simple economic resources, over exploitation of distorting its essential characteristics in the protection under the name, such as the original ecology dance folk change for superficial fashion stereotype performance service to tourist sites, or the traditional handicrafts as does not have the economic potential of the project and its type, etc.. In recent years, a phenomenon we are common in the city especially in rural construction, with the new building or new environment form will be carrying a specific area of the people from generation to generation material carrier of culture and art (such as certain cultural space) completely change. This can not correctly grasp and deal with the social development and the protection of intangible cultural heritage relation, has been and still the protection of intangible cultural heritage harm. We should face up to and change the phenomenon. No doubt, the protection of intangible cultural heritage is a dynamic process. The right protection is not it solidified and stop the development. In October 17, 2003 UNESCO by the "protection of Intangible Cultural Heritage Convention" pointed out: "this intangible cultural heritage from generation to generation, adapt to the surrounding environment and interaction with nature and their history is constantly re creation in various communities and groups, provide ongoing sense of identity for the community and the community, so as to enhance the cultural diversity and creative human respect." Effective protection of intangible cultural heritage, fundamentally speaking, is to guarantee its own rules of natural evolution, phase parallel in sustainable development of natural evolution and human society, we can not artificially to interrupt the natural evolution process, also not to artificially make it mutation. I think, this should be the most fundamental significance of protection work, but also protect the most difficult, the most core force.
The general ordered
oral MAN TAI Liping introduction
Tai Ping Li, 1952 was born in November in Fengxiang County of Shaanxi Province, 6 years old with his parents back to South Fengxiang County small village school, the age of 9 with his grandfather and father Tai Yi Tai 世勤 learning New Year paintings coloring and carved window version. In 1965, helping his father to design and make "the door core New Year paintings", to 1977, Tai Ping Li and his father to create new goalkeeper painting is amounted to 50 a variety of, the Tai family became the only family workshops New Year paintings creation.
the first chapter of Fengxiang place my home
my father as "county" on the "Fengxiang eight" had a "Fengxiang eight" of the New Year paintings, ink version made by hand, fill color, this is my father in 1979 after the restoration work in the arts and crafts company creation, edition the format is taken as the following form. Then we consider this not good, the engraving into incised form, the word above is Fangsong words, this document still. Memory
second chapters around the
the first section the culture here is thick
second day here custom and festival custom
third childhood New Year paintings of mill and the Tai family New Year paintings lineage
in our family tree there is name are the records of my previous 5 generations, the first name of Tai Shun, from the Qing Emperor Qianlong fifty-five years (1790), according to Tai Shun genealogy records, Tai Shun inherited forefathers the painting industry, engaged in Wanshun draw Bureau, later renamed Shun Hing painting Bureau; Qing Daoguang fifteen years (1835), Tai Shun son Tai Zhengrong to honor draw Bureau, engaged in wood New Year paintings. People in this period the South small, about 10 households. Tai Shun grandson Tai run without a name, continue to use the Wing Hing painting Bureau; my grandfather Tai 世勤 has 5 brothers, they are "world" Zi, so later established the world painting bureau.
the first day we village and the surrounding New Year paintings workshop
second section we Tai Home New Year paintings pedigree and size
third day our family Shi Xing painting Bureau
third chapter grandpa is a "full type
in addition to design in New Year paintings and engraving, he is also longer than the temple mural painting, with fifth Cun Lao Su division together in Qi (mountain) Po (chicken) Feng (Cheung) nearly a hundred temples in three county and the surrounding area to draw the temple murals, he is good at design, film and scene shadow carving. Personally design carved Shaanxi West shadow self styled film, only there are more than 700 pieces, together with the background decoration, first batch of a total of more than 1300 pieces, also can hit 3 shadow play there is a surplus. He also and long drawn local facial make-up, "painted face." by the three counties as a hobby, and brick carving, stone carving, is in west area known as the type of "folk painter".
fourth chapter father New Year paintings the rough life of
Tai Ping Li's father Tai Yi made a great contribution to the inheritance of a Fengxiang New Year paintings and Renaissance man, his lifetime frustrations, but he is a stubborn man, in the harsh environment to survive New Year paintings innovation, risk and data collection New Year paintings, engraved version of the old, write articles, do ", exhibitions, shows that he is tenacious personality, at the same time, because of his good nature, heart selfless, often with interest just miss the person or opportunity. He is a pen, his words is beautiful, seriously, as the integrity of his life. In Fengxiang New Year paintings recovery, he paid the price of life. .
the first father's fate is too rough
second develops in the cracks of the door core "
third difficult New Year paintings and rejuvenation of the
fourth day father's Fengxiang New Year paintings
fifth chapter of my career New Year paintings
Tai Ping Li's New Year paintings career is bitter half, with in his own words, this life before life destiny not good, always in adversity, after the reform and opening up have opportunity, is often good luck to patronize. This chapter, from he tells the stories of New Year paintings, he vowed to block, alone with the whole of Fengxiang New Year paintings copy, collection, collation, and out of Fengxiang, Fengxiang New Year paintings to the world, we see his love and lonely walking in the footsteps of two people. We can see a modern master of Arts and crafts growth experience, can see his life New Year paintings.
the first day on the road New Year paintings
second day wash version and collection of painting like days.
third carved six years three hundred & multicolour
Fourth out of Fengxiang
sixth chapter family trade
the first section Tai Home New Year paintings craft
second section of the Fengxiang special New Year paintings the theme and content of the
third section of the Fengxiang New Year paintings using custom
Fourth Tai Jia New Year paintings style and features of
seventh chapter Fengxiang New Year paintings the way in the future
by Tai Liping's growth path, we can see that an ordinary folk artists is how to continuously enterprising, continuous improvement, improve their the quality and cultivation and become the master of a generation of Arts and crafts. The first is a conscious awareness, is a highly conscious culture inheritance. The second is to undertake training successor, the dissemination of culture responsibility. Tai Liping did, that he really a good time to catch up, catch a good policy. At the back of his simple emotion, is a master and heritage recognition of their own social roles, and this knowledge, he was in the South small block of time was not.
the first day I love folk art world
second festival "New Year paintings election" volume third is a knot
third day my apprentice and training disciples
appendix Tai Li Nian table
20 years ago I wrote the thesis, on the choice of the New Year paintings of this Chinese folk art is one the largest as the research object, when my teacher Mr. Wang Shucun said to me: "in the folk art, New Year paintings because of the story, plot, characters, painting style, layout, colour collocation all the characters, scenes, objects, Xingyi color has a 'formula', so it is also the most abundant, the most artistic expressive force and ornamental appeal." I love to New Year paintings and research interest since then more strongly. This set of oral history books New Year paintings Vol. oral people chose Tai Liping as the guardian of the Northwest New Year paintings, is a few points based on such considerations: first of all, Shaanxi is an important birthplace of the Shang culture, China Guanzhong area, cultural heritage is rich, has the important status in the history of China culture. Fengxiang is located in traffic thoroughfare, is a famous historical and cultural city, is the source of Zhou culture, Qin culture in the New Year paintings, here and here, with a strong Chinese tradition. Fengxiang New Year paintings from the Ming Dynasty so far, 500 years of history, preserved only New Year paintings roots in Northwest China, become the cultural heritage. Study of Fengxiang New Year paintings, is necessary to reach the source of things China culture, this is the cultural origin of its ancient, mysterious and classical traits. Fengxiang New Year paintings is a local genre unique Chinese North New Year paintings, themes and shapes are one's own knack in, there are many local unique theme and content, is a typical representative of northern folk New Year paintings, it is the farmer's art, but also has the "farming and schooling" and "Qin legacy" the Literati Spirit, this is not some other places New Year paintings. Secondly, the production process New Year paintings, mostly as a draft, engraving, printing, mounting separation, one all bear the "work" type of production, does not see more. This point, was named master of Arts and crafts Chinese Tai Ping Li is one of the best. The refining process description and skill, he is one of the folk artists have the right to speak. Furthermore, and more importantly, because he has New Year paintings family inheritance vein clearly, in Tai Jia, China folk art handed down from father to son, inherited from generation to generation, the family workshop style production, intangible cultural characteristic technology inheritance, all throughout the growth process in the Tai Ping Li.
"New Year paintings family: China heritage Tai Ping Li Oral History:" series Chinese folk art heritage of oral history
Culture @ 2017