[Ma Zhiyao] The demonstration of rescuing woodblock New Year paintings and the necessity of proposing "New Year paintings"
Abstract: It took ten years to make a full record of China's woodblock New Year paintings, from video to audio to pictures to text, with 3 million words and 10,000 pictures.
The completion of the integration of the 22-volume New Year paintings has set a model for the current rescue of China's intangible cultural heritage.
Cultural heritage protection cannot be achieved by seeking quick success and instant benefits.
The principle of prioritizing endangered products cannot be lost.
The results of rescue and protection are for the purpose of utilizing and promoting them.
Feng Jicai used a forward-looking perspective to see the beauty of folk culture and the priceless spiritual value of cultural heritage, and proposed the necessity of establishing a "New Year Painting Study".
Keywords: woodblock New Year paintings Intangible cultural heritage, rescuing New Year paintings
Ten years to make full records of China New Year paintings
It took ten years to rescue the entire woodblock New Year pictures in China.
She is only a very small part of China's intangible cultural heritage protection project, but this part has far-reaching academic value and demonstration significance.
As part of folk culture, China woodblock New Year paintings are closely connected to China's "New Year Culture", witnessing history and the changes of time.
The historical and cultural value contained in woodblock New Year paintings exceeds the imagination of most people.
New Year paintings, which seem to be about to retire from the historical stage, are actually the best "collectors" of China's history.
At the same time, New Year paintings from various places and periods vividly preserve China's traditional folk culture, involving daily life, festival customs, folk beliefs, folk literature, myths and anecdotes, historical stories and other aspects.
Moreover, the style and artistic characteristics of New Year paintings creation also have great inspiration to elite art.
It can be said that New Year paintings are extensive and profound, and it requires forward-looking vision and courage to rescue such an art variety that is on the verge of extinction.
It can be said that if extraordinary actions had not been taken ten years ago to rescue such a precious intangible cultural heritage, our nation's colorful New Year painting art would have been buried in rubble with the pace of economic development.
As early as 20 years ago, Feng Jicai loudly called for the protection of New Year paintings, because New Year paintings have extremely rich artistic value and are also extremely huge spiritual wealth.
[1] January 1995.
Feng Jicai inspected Yangliuqing, Wuqiang and Zhuxianzhen woodblock New Year paintings.
March 1996.
Feng Jicai inspected Dongfengtai woodblock New Year pictures.
Based on his long-term attention to New Year paintings and his regret for China's traditional culture, Feng Jicai sighed that New Year paintings were retiring.
He believes that the customs of New Year are a carrier of people's emotions about the New Year.
Especially when carriers such as firecrackers, ancestor worship, and painting New Year pictures are all withdrawn from the grand ceremony of the New Year, where will people's feelings for the New Year be placed? Who will make up for this year's loss-the cultural gap? His great sense of responsibility led Feng Jicai to put forward an "Appeal to Rescue Folk Cultural Heritage" at an academic conference of Beijing Normal University in December 2001.
Ji Xianlin, Qigong, Yu Guangyuan and others signed their support.
In March 2002, Feng Jicai proposed in the "Proposal No.
2543 of the Fifth Session of the Ninth National Committee of the Chinese People's Political Consultative Conference": Folk cultural heritage has the nature of primitive ecology and cannot be regenerated.
Therefore, it is urgent and urgent to save and protect national and folk cultural heritage.
Unlike many scholars who sat and discussed Tao, Feng Jicai realized the urgency of the problem, and he used his actions to start the rescue journey of woodblock New Year paintings.
The rescue work was carefully planned, and various methods such as video, photography, audio recording, and writing were used to collect and organize New Year paintings artists, New Year paintings tools, works, and local folk customs in the place where the woodblock New Year paintings were inherited.
In summary, it is census, registration, classification, collation and publication.
"In the article" Recording History for the Future-Summary of the Census of Woodblock New Year Pictures in China ", Feng Jicai said: The Outline of the Census of China Woodblock New Year Pictures lists the census content into ten aspects, including the history of origin, village humanities, representative paintings, classification of remains, posting customs, technological processes, tools and materials, genealogy, marketing scope and Related legends and stories, this inevitably transcends the scope of art, but is a comprehensive survey of multiple disciplines and angles such as anthropology, folklore, history, and fine arts." [2]It can be said that the census work has just been carried out and experience is being explored.
However, there are currently few experts and scholars in China who study folk art, and there is also a shortage of people with organizational capabilities and conscious sense of responsibility among intellectuals.
Feng Jicai personally took the lead in drafting the outline of the census of woodblock New Year paintings and formulated census plans and specifications.
These tasks will prove to be effective guidance in the future.
From the perspective of a writer and a painter, he consciously completed the transformation of his identity as a folklorist.
He used his responsibility as a writer and his expert vision of folk art to provide professional guidance for protection work.
It also draws a clear path for protection work.
"We have achieved the predetermined goal-that is, we have completed the summary of the final ceremony of China New Year paintings in the Nonggeng era.
Consisting of 3 million words, 10,000 pictures, a large number of precious New Year paintings discoveries and comprehensive cultural excavations, this 22-volume giant integrated collection of pictures and texts has finally organized the majestic historical heritage of my country's New Year paintings into an orderly manner.
It has become an important cultural archive of the country and the nation." [3]In an unusual ten years, Feng Jicai and his team have used unremitting efforts to provide a model for the protection of intangible cultural heritage.
The goal was achieved.
Ten years later, in April 2011, the 22-volume "Integration of China Woodblock New Year Pictures", the result of the rescue of China Woodblock New Year Pictures, and the 14 series of "Oral History of the Inheritors of China Woodblock New Year Pictures" were all released.
This brings together all the materials from 20 major New Year paintings producing areas in China, and also brings together representative works from more than 40 small producing areas.
This is the complete set of woodblock New Year paintings in China, and it is also a complete record of the ten years of rescue of woodblock New Year paintings in China.
The national census has turned over the production areas of New Year paintings across the country, including almost all the family resources of China New Year paintings.
There is no need to say much about the hardships of these tasks, and their value is also presented to people.
The census and rescue of New Year paintings is a model of intangible cultural heritage
"In 2011, the nearly nine years of integrated census, compilation and publication of China's woodblock New Year paintings was finally completed, with 22 volumes produced.
It includes the existing production areas and categories of famous New Year paintings in my country that still have living styles.
It also partially compiles the historical data of New Year paintings that were once glorious in history but have no living inheritance.
At the same time, in the form of foreign volumes, it integrates the spread and collection of Chinese woodblock New Year paintings in Russia, Japan and other countries, forming the first comprehensive census of New Year paintings in my country.
This is the first time that the cultural achievement of New Year paintings has been presented in a large volume.
This is another major initiative and great achievement in the protection of cultural heritage in my country." [4]It can be said that the team of China folk literature and art workers under the leadership of Mr Feng Jicai has retained the disappearing cultural heritage in ten years.
The experience gained in this decade has also left an example for the ongoing national cultural heritage protection.
"① Select pilot projects to conduct case surveys of folk culture; ② compile the" China Folk Cultural Heritage Survey Manual "to guide the national implementation of the project; ③ Determine the China woodblock New Year painting integration project as the leading project and demonstration project of the entire project, take the lead in implementing it and promptly promote experience to drive the comprehensive development of each project." [5]From the very beginning of the rescue of woodblock New Year paintings, we can find that Feng Jicai had thought of the demonstration issue of cultural heritage protection from the beginning.
Given the lack of experience in cultural heritage protection in China, how to base itself on the actual situation of the country and learn from foreign cultural heritage protection is what Feng Jicai thinks.
The particularity of the leading woodblock New Year pictures determines that the protectors themselves need high artistic cultivation and deep emotion for folk culture.
If one is missing, the rescue work of woodblock New Year paintings cannot be truly implemented.
Feng Jicai's specific approach was to personally write the "Integrated Compilation Style, Plan, and Specifications of China New Year Woodblock", which clearly put forward the classification principles, integrated style and structure, etc.
"Among the pioneering practices are: ① All localities must conduct a comprehensive census of the origin of New Year paintings; ② It must be a comprehensive three-dimensional record of words, pictures, and images, presented in a panoramic manner, and published in a unified manner; ③ It is necessary to comprehensively summarize the origin of New Year paintings.
History, development, characteristics, current status, etc.; ④ The content must include: Representative works, classification, New Year customs, artists, skills, posting methods and folk functions, New Year painting artists and their inheritance pedigree, New Year painting shops and marketing communication scope, New Year painting legends, songs, proverbs and stories, painting customs, etc." [6]This approach obviously softens the characteristics of multiple disciplines such as anthropology, folklore, history, and fine arts as well as the methods of fieldwork, and creatively applies them to practice.
This approach also resulted in the integration and oral history of millions of words ten years later, a large number of rich video materials and picture materials, as well as rich field recording materials.
Such inspections provide fresh first-hand materials for future academic research on New Year paintings.
According to Feng Jicai's ideas, publishing is one of the achievements.
There are also large-scale achievement exhibitions, New Year paintings museums, New Year paintings databases, oral history and oral history methodological research.
These ideas have been implemented one by one.
Mr.
Xiang Yunju's evaluation of this project is very appropriate.
He can be said to have directly pointed out the importance and value of the rescue of ten-year woodblock New Year paintings.
"We must realize that in our ancient land, old things have the direction of new things.
Old traditions must have their eternal value before they become old.
The ancient ones must have contemporary and historical characteristics, and the folk ones must have the deep roots of the nation." [7]From a theoretical perspective, China woodblock New Year paintings are permeated with important content of traditional culture and are a kind of visual folk record.
Through the perspective of folk artists, they clearly record and depict the style of the times, people's spiritual pursuits and beautiful yearning, and at the same time, they also have long-term local cultural characteristics, which have formed the various New Year paintings creations we have seen.
New Year paintings in various places are on the verge of extinction because of their ancient age.
Also because of the regional nature of New Year paintings, they still preserve the intact local New Year paintings characteristics.
The cultural diversity can be seen most clearly in the creation of New Year paintings.
Whether it is meticulously crafted or rough and free, the Chinese nation's spirit of self-improvement, optimism, and pursuit of beauty presented in New Year paintings in various places are truly conveyed and spread through New Year paintings.
As New Year paintings, due to the particularity and ancient nature of their woodblock engraving, they have begun to be limited and excluded in contemporary life.
However, they cannot be voluntarily abandoned and abandoned because of the ancient way of operation, because as an ancient New Year painting closely connected with New Year culture, once abandoned by modern life, it is likely to disappear.
The value of New Year paintings needs to be further understood
New Year pictures are an important basis for studying New Year culture.
"The value of New Year paintings is first determined by the value of New Year's culture.
Annual culture has a history of thousands of years in China.
It is an ancient tradition of China people's view of astronomy and seasons.
Annual culture reflects the science of calendar and the rhythm of production and life in China.
New Year culture has a huge cultural system, covering everything from food, clothing, use, housing, play, music, entertainment, art, family, ethnic groups, country, beliefs, education, etc.
It is also a big stage for the concentrated display of various folk art.
It is a national and carnival festival." [8]By closely following the function of New Year paintings, we can discover the inseparable relationship between New Year paintings and New Year culture.
During the Spring Festival, a traditional festival in China, pasting New Year pictures has become almost a must-have ritual every year.
People realize the arrival of the New Year by replacing new paintings with old ones, and the posting of new New Year pictures expresses a beautiful yearning for the future.
From the annual New Year pictures, we can see the concepts or inner worlds projected in their spiritual mirror images: seeking children, seeking happiness, seeking wealth, seeking peace, seeking health, seeking longevity and harmony.
All opinions related to family members are covered in New Year pictures.
It is also in the colorful New Year pictures that everyone is looking for sustenance for their souls.
Moreover, in past New Year pictures, worship of the gods of heaven and earth was indispensable.
Door god paintings, various door gods appear, and different places have different demands.
The posting of the light door god and the image and artistic form of the door god are a knowledge.
New Year pictures are an important basis for studying the psychology of Chinese people.
"The New Year has made mankind look forward to new production, labor, harvest and storage, and look forward to good weather.
Therefore, all New Year pictures drawn by China express people's blessings for production and life in the coming year.
This is why New Year pictures are posted once a year, and new peaches are exchanged for old symbols every year." [9]Every culture must be closely linked to its national character.
We understand New Year paintings from New Year customs, and we can also gain an understanding of the hearts of people everywhere from the New Year paintings.
In fact, the custom of New Year paintings expresses the greatest possibility that people's desire to bid farewell to the past and gain a new life; they hope to gain greater gains and the blessings of gods in the coming year.
I also believe that the old will not go and the new will not come.
The mentality of seeking good fortune and avoiding harm has been greatly satisfied.
In addition, New Year paintings often convey people's innermost wisdom.
For example, the pictures of "Rats Marries Their Daughters" in various places express their good wishes to eliminate disasters in a festive way precisely through their helpless fear of rat harm.
Among them, the mentality of "turning danger into safety" actually reflects collective unconsciousness.
New Year pictures can provide basis for cultural archaeology.
The earliest visible New Year pictures should be the Song Dynasty.
The "Picture of the Year" by Li Song, a native of the Song Dynasty, depicts the scene of the New Year at that time.
The house painted has a martial door god at the door and a martial door god at the inner door.
The "Simei Picture" and "Guanyu Statue" in the Jin Dynasty, with the words "Pingyang Ji Jia Carved Seal", are considered to be the earliest New Year pictures because they were confirmed to be used in woodblock carving and hanging at home.
The Jin Dynasty printmaking "Dongfang Shuo Stealing Peach" unearthed in Xi'an uses light green and light ink to overprint, and is considered to be the originator of color plate painting.
A large number of opera New Year paintings allow us to discover the similarities and differences with documentary dramas when analyzing the characters and plots in the pictures, and discover what values and outlook on life New Year paintings artists promoted through the pictures of popular dramas at that time.
New Year paintings are closely related to novels and operas.
Li Fuqing believes that "the relationship between novels and paintings in the same year is far more complicated than its relationship with oral legends, because the painter relies not only on the descriptions of novels, but also on folk storytelling, the plots of similar operas, and even folklore." [10]Therefore, some scholars have consciously compared the content of New Year paintings with traditional novels and folk operas, and discovered the content and functions expressed in New Year paintings.
"The person who bought the New Year painting and posted it on the wall was familiar with the experiences of the protagonists of" Water Margin "from operas and storytelling since he was a child.
The New Year painting uses unique picture hints to activate his memory of these familiar plots.
In ancient China folk songs, we can encounter things similar to New Year pictures.
Sometimes each line sings a famous hero.
It can be concluded that every listener knows the story behind it.
New Year pictures, whether they are Russian New Year pictures or China New Year pictures, are not drawn for one-time enjoyment, but for long-term viewing." [11]It can be said that researchers have discovered the role of New Year paintings in inner healing of China people.
By describing a drama or traditional novel story, people use this to retain memories and awaken memories of time.
Moreover, it is precisely because the spread of the familiar New Year pictures of "Water Margin" allows people to awaken the life related to them.
The more familiar they are, the more they can assist in the expression of emotions.
"The creation of New Year paintings is influenced by the plot of Tanci, a popular rap literature in Suzhou.
However, this situation is much more complicated for New Year paintings in the north.
Sometimes it's difficult to determine whether a painting was created under the influence of drum words or oral stories, or whether it depicts a scene in a novel." [12]Li Fuqing even found the mutual influence between various art styles through the study of New Year paintings.
Folk culture has more or less influence on elite culture, which in turn will affect the spread of folk culture.
Their mutual influence has been found in folk New Year paintings."We found that novels, dramas and folk art all influence and blend with each other, and the content of these themed New Year paintings is based on them." [13]
It can be said that from the woodblock New Year pictures, we can find many conclusive evidence of cultural archaeology.
Based on the history of New Year paintings and the content of New Year paintings, it should be possible to make New Year paintings another kind of evidence for historical and artistic research.
The necessity of establishing "New Year Painting Studies"
The birth of a knowledge is by no means groundless.
There is a necessary basis for the establishment of "New Year Painting Studies".
First, the New Year pictures are extensive and profound, involve many disciplines, and contain resources needed by many disciplines.
Second, New Year paintings are closely connected to the most important New Year culture in China and have rich information on New Year culture and national cultural connotations.
Third, New Year paintings are widely distributed and have huge stock, making them rich academic resources.
Fourth, New Year pictures are unique folk art in China, with the wisdom and artistic charm of the Eastern nation.
Fifth, New Year paintings have great connections with printing, folk customs, social fashion, history, and folk literature, and constitute an important material for the study of these disciplines.
Therefore,"New Year pictures are a model of China's folk plastic art, aesthetic taste, aesthetic ideals, and visual image.
If you don't understand New Year paintings, you can't understand China New Year culture, and you can't understand China culture." [14]
In his article "Cultural Symbols in China New Year paintings", Mr.
Liu Xicheng proposed: "Judging from the social functions of New Year paintings, New Year paintings can be roughly divided into two types: belief and art.
The so-called beliefs, such as stove head paintings, the god of wealth axis, and paper horses with certain gods printed on them, are pasted or hung on fixed parts such as stove head and central hall in order to meet people's needs for belief in gods such as the stove god and the god of wealth to varying degrees, and some are accompanied by certain sacrificial rituals; The so-called artistic ones are generally used to meet people's festive psychological needs and artistic appreciation requirements, and to enhance the joyful atmosphere of the festival.
These New Year pictures generally have no ritual accompanying them, but are just used to entertain people, or they have evolved from entertaining both gods and people to entertaining people." [15]In fact, scholars here have consciously realized that New Year pictures, which exist as functionalism, have a special relationship with folk customs.
If we delve into the content, themes and posting methods of New Year paintings, we will inevitably find the intrinsic connection between folk customs and New Year paintings and then analyze and study the psychology of national folk customs.
The multidisciplinary nature of New Year paintings is also reflected in the literary nature contained in New Year paintings.
Many New Year paintings are narrative, expressing poetic pursuits of life through the absorption of folklore, novels and operas.
New Year pictures have diverse humanistic feelings, expression of reality and artistic techniques.
We can see very realistic expressions and extremely exaggerated abstract romantic expressions such as Yunnan Jiama symbols.
The study of New Year paintings requires the use of anthropological and folklore fieldwork methods, the application of archaeological knowledge to trace the origin, and the analysis of different styles and different regional characteristics through the study of modeling colors, so it is inseparable from the addition of art.
New problems have emerged in the current rescue of woodblock New Year paintings.
How to preserve paper New Year paintings for a long time and how to scientifically date woodblock New Year paintings have raised challenges for the high-tech application of woodblock New Year paintings.
Therefore, the future research on woodblock New Year paintings will inevitably involve the participation of software and information analysis technology, and multi-disciplinary or interdisciplinary cooperation will become a feature of woodblock New Year paintings research.
Mr.
Feng Jicai talked about using and promoting it in his article "What We Do in the Era of Post-Intangible Cultural Heritage".
He proposed how to integrate the essence of the heritage with contemporary life and culture after the rescue work.
Continue the historical context and enrich contemporary culture.
Historical civilization is the foundation of a big cultural country and the foundation of a country's cultural confidence.
The ultimate purpose of our utilization and promotion is mainly spiritual and cultural.
In fact, how to promote China's woodblock New Year paintings after protection also involves the issue of how to effectively preserve and disseminate them through high-tech means.
That is to say, cross-border research is not only in rescue work but also in inheritance work.
In his article, Feng Jicai also raised the issue of academic research after cultural heritage protection.
He believes that this is a key issue in the post-intangible cultural heritage era.
"It must be emphasized that intangible cultural heritage is a contemporary concept.
In this field, theory lags far behind practice and fields.
For example, what we call intangible cultural heritage is not the same as folk culture.
For example, the survey of New Year pictures, the past survey is basically art survey, but as intangible cultural heritage is far from art survey, but cultural survey, even including historical and anthropological survey.
Theory and academic construction are tasks that are forced upon us.
Without theory, we will fall into blindness or confusion." [16]Therefore, in Feng Jicai's view, it is sooner or later to propose the establishment of "New Year Painting".
The establishment of a discipline has its important theoretical support.
However, the research on New Year paintings is currently in the ascendant, the team of New Year paintings research is still in the training stage, and a large number of New Year paintings resources have yet to be discovered and academically utilized.
However, it is necessary and possible to proactively propose that New Year paintings become a "study".
If we define the future study of New Year paintings, it will be based on New Year paintings in China's 22 large New Year paintings producing areas and more than 40 small New Year paintings producing areas as the main research body, as well as the history of New Year paintings and the customs of the origin, folk aesthetics, production skills, and related folk literature.
It is a comprehensive discipline that studies, excavates, organizes and protects cultural relics and documents of China woodblock New Year paintings.
It should have the same spiritual and cultural value as Dunhuang Studies.
Specifically, it should include four branch areas: 1.
Archaeology of woodblock New Year paintings.
It mainly examines New Year paintings and woodcuts in different periods and regions.
Carry out chronological research on it.
2.
Research on the art of woodblock New Year paintings.
Investigate and study the dance, calligraphy, folk customs, architectural art, opera, novels, etc.
in New Year paintings.
3.
Protection of woodblock New Year pictures and woodblocks.
How to continue the vitality of New Year paintings, protect the engraving, and at the same time achieve the purpose of maintaining the original appearance.
4.
Theory of woodblock New Year paintings.
It mainly includes the study of the concept, scope, characteristics and laws of New Year painting, the value of New Year painting in human culture and academic history, the practical significance of studying New Year painting, etc.
After ten years of rescue and protection, the most precious features of China's woodblock New Year paintings have been faithfully preserved in large quantities and abundantly, which will become an important asset for the inheritance and academic research of woodblock New Year paintings in the future.
The current database construction and the ensuing oral history work of inheritors are both a continuation and academic in-depth of the protection of woodblock New Year paintings, and all of this requires the efforts of academic circles and experts.
Academic promotion after rescue and protection has become another responsibility.
This article was published in the 2nd issue of "Central Plains Culture Research" in 2013
※ This is one of the early achievements of the National Social Science Fund's major project "Construction of China Woodblock New Year Painting Database and Re-study of Oral History Methodology" project number: 11&ZD064).
※ Ma Zhiyao 1971-) Director of the Cultural Heritage Center of Feng Jicai Institute of Literature and Art, Tianjin University, Doctor of Literature, and postdoctoral fellow in cultural heritage protection.
[1]From January 27 to 29, 1992, Feng Jicai said in his "Speech at the Tianjin Yangliuqing International New Year Picture Festival": New Year pictures are not only extremely rich artistic heritage, but also extremely huge spiritual and cultural heritage.
Perhaps this was just what he was laying the groundwork for the nationwide rescue project of woodblock New Year paintings launched 10 years later.
At that time, he had already seen the fate of woodblock New Year paintings, and he was worried about it.
[2]Feng Jicai, editor-in-chief: The Value of New Year paintings-Proceedings of the International Forum on China Woodblock New Year paintings, December 2012, Tianjin: Tianjin University Press, page 9
[3]Feng Jicai, editor-in-chief: The Value of New Year Pictures--Proceedings of the International Forum on China Woodblock New Year Pictures, December 2012, Tianjin: Tianjin University Press, page 11.
[4]Xiang Yunju: Ten years of hard work is unusual--A brief account of Feng Jicai and the "Integration of China Woodblock New Year Pictures" project,"Research on New Year Pictures", Autumn 2011
[5]Xiang Yunju: Ten years of hard work is unusual--A brief account of Feng Jicai and the "Integration of China Woodblock New Year Pictures" project,"Research on New Year Pictures", Autumn 2011
[6]Xiang Yunju: Ten years of hard work is unusual--A brief account of Feng Jicai and the "Integration of China Woodblock New Year Pictures" project,"Research on New Year Pictures", Autumn 2011
[7]Xiang Yunju: On the reconfirmation of the value of woodblock New Year paintings in China, Xinhua Digest, No.
3, 2011
[8]Xiang Yunju: On the reconfirmation of the value of woodblock New Year paintings in China, Xinhua Digest, No.
3, 2011
[9]Xiang Yunju: On the reconfirmation of the value of woodblock New Year paintings in China, Xinhua Digest, No.
3, 2011
[10]Feng Jicai: Li Fuqing's Essay on China Folk New Year paintings, China Drama Press, November 2012, p.
257.
[11]Feng Jicai: Li Fuqing's Essay on China Folk New Year paintings, China Drama Press, November 2012, p.
439.
[12]Feng Jicai: Li Fuqing's Essay on China Folk New Year paintings, China Drama Press, November 2012, p.
439.
[13]Feng Jicai: Li Fuqing's Essay on China Folk New Year paintings, China Drama Press, November 2012, p.
444.
[14]Xiang Yunju: On the reconfirmation of the value of woodblock New Year paintings in China, Xinhua Digest, No.
3, 2011
[15]Liu Xicheng: Cultural symbols in China New Year paintings, edited by Feng Jicai: The Value of New Year paintings-Proceedings of the International Forum on China Woodblock New Year paintings, December 2012, Tianjin: Tianjin University Press, page 33.
[16]"What Do We Do in the Era of Post-Intangible Cultural Heritage" by Feng Jicai was published in the "China Art News" on November 18, 2011, and later included in the book "The Value of New Year Pictures."