Mianzhu woodblock New Year paintings: Designs of Cultural and Creative Products for the Inheritance and Development of Cultural Heritage

Abstract

The reseatch purposes of this article are: (1) To explore the historical development of Mianzhu Woodblock New Year Paintings. (2) To examine the current semiotic situation and cultural challenges of Mianzhu Woodblock New Year Paintings. (3) To study the design of cultural and creative products based on Mianzhu Woodblock New Year Paintings to facilitate the inheritance and development of cultural heritage. This study employs a mixed-methods research approach to investigate the design of cultural creative products in the context of the inheritance and development of Mianzhu Woodblock New Year Paintings as part of cultural heritage. The researcher has collected data from related literature and research papers. Data and information were gathered through field research methods, including survey, observation, focus group discussions and interviews. Data analysis was conducted using research concepts, theories, literature, and related studies, with a descriptive analysis method applied to the data based on the research objectives.

Mianzhu Woodblock New Year Paintings, a popular traditional woodblock print, originated during the Song Dynasty and flourished in the Ming and Qing Dynasties. However, political turmoil and wars during the Republic of China era led to a decline in production. After the People's Republic of China's founding, the government prioritized their protection and revitalization. Currently, Mianzhu Woodblock New Year Paintings face challenges such as market pressures, insufficient cultural and creative content, and inability to meet modern consumer needs. Researchers have proposed preservation measures to address these issues. Incorporating traditional patterns and design elements of Mianzhu Woodblock New Year Paintings into everyday life settings enhances their cultural and artistic depth. This interdisciplinary artistic integration not only breathes new life into traditional paintings but also introduces innovative expressions to other art forms. As consumer demand for cultural and artistic products grows, combining New Year painting elements with modern lifestyle products not only satisfies the market's pursuit of personalization and cultural uniqueness but also imbues everyday items with deeper cultural significance.

In conclusion, this study provides valuable insights into the inheritance and development of Mianzhu Woodblock New Year Paintings. It aims to enrich the local cultural and creative product market, enhance the visibility of New Year paintings, and promote the protection and sustainable development of cultural heritage. Additionally, the findings offer a reference for fostering regional economic growth and strengthening the cultural and creative industries.

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