Suzhou Taohuawu New Year Painting : Cultural Identity and Commoditization in the Context of Cultural Tourism

Abstract

The objectives of this qualitative research were: 1) To study the historical development of Suzhou Taohuawu New Year Prints; 2) To study and analyze the cultural identity and aesthetics of Suzhou Taohuawu New Year Prints; 3) To study the changes in the production process of Suzhou Taohuawu New Year Prints; 4) To study the commoditization process of Suzhou Taohuawu New Year Prints: unit analysis of “Qiao Mai Taohuawu New Year Prints Brand Studio.”

It uses literature research, field research, in-depth interviews, and participatory observation. The descriptive analysis method summarizes and discusses the results. The results were revealed as follows:

1) The survival and development of Taohuawu New Year Prints are closely related to Suzhou's unique natural and cultural environment. Its development is synchronized with China's social transformation. In different historical periods, its changes in subject matter, style, process, and commoditization methods reflect the social transformation and cultural changes at that time. Suzhou's prosperous social economy provides Taohuawu New Year Prints with a broad market survival space and advanced production process support. In contrast, different consumer groups' profound cultural accumulation and consumption needs provide a solid guarantee for survival. These factors have jointly promoted the growth of Taohuawu New Year Prints in Suzhou.

2) In the late Ming Dynasty, Suzhou had a developed handicraft industry, apparent characteristics of civic culture, a large number of literati and poets, and a prosperous calligraphy and painting market. As the largest metropolis in the southeast and a vital transportation hub, Suzhou quickly absorbs foreign culture. The mutual influence and penetration of Suzhou's literati and folk paintings make Taohuawu New Year Prints unique among the New Year Prints of many production areas, which tend to be elegant, showing the characteristics of integrating literati aesthetics and civic aesthetics. In different development periods, Taohuawu New Year Prints were influenced by the social economy, customs, humanities and history, aesthetic tastes, materials, and tools, and the personal style of the creators of New Year Prints, forming distinct usage methods, regional characteristics of production techniques, and different artistic characteristics.

3) The changes of the times have almost caused the application scenarios of traditional Taohuawu New Year Prints to disappear, and the continuous emergence of new materials and new technologies has significantly impacted New Year Prints. The traditional Taohuawu New Year Prints production process is entirely based on profound manual skills and artistic charm. At the same time, modern development has introduced new tools, materials, and technologies, which have significantly changed production methods. This transformation has brought about efficiency improvements, enriched forms, and triggered thinking about the balance between tradition and modernity.

4) In cultural tourism, commoditization of modern Taohuawu New Year Prints is essential for integrating them into contemporary humanistic life and achieving inheritance and continuation. However, commoditization needs to fully recognize and utilize the cultural identity of New Year Prints, maintain cultural authenticity, and ensure the continuation of artistic authenticity. Cultural commoditization involves interactions between tradition and modernity, market and culture, and art and business. The "Qiao Mai Model" of the Qiao Mai New Year Prints brand has made a helpful attempt in this regard and is worthy of reference and promotion by related intangible cultural heritage industries.

This study defines the artistic characteristics of Taohuawu New Year Prints, sets standards for modern creation, and points out their contemporary commoditization path. Thus, it facilitates their better development and inheritance while preserving their "original flavor."

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