1. According to my personal observation, it can be simply summarized as: rough, strong line sense and light beige.

Baroque architecture can be traced back to Michelangelo's heroic style and bold design. 2. Folk art language Folk art is closely related to folk activities, such as New Year pictures, paper cuts, Spring Festival couplets, scenery, lanterns, paper sticks, symbols, costumes, dragon boat floats, moon cake patterns, clay sculptures, etc. Folk art is distributed all over the country, and has formed rich categories and styles due to differences in region, customs, feelings and temperament. But they all have the characteristics of unity of practical value and aesthetic value. In addition, their production materials are mostly ordinary wood, cloth, paper, bamboo and mud, but their production skills are superb, their ideas are ingenious, they are good at bold imagination and exaggeration, and they often use the familiar homophonic allegorical method to express their dreams and ideals for a better life, which is full of romanticism. 3. First, folk art is comprehensive and its content is idealized. Folk art mainly expresses people's life ideals and spiritual ideals. All idealistic arts have romantic elements. It can be said that folk art (especially local art) is not realistic and realistic art.

Second, the core value of folk art is harmony. Peace is a high realm between society and human beings. It includes harmony between people and "harmony between man and nature". Folk culture is inseparable from the idea of reunion, harmony, peace and prosperity, which is the ultimate pursuit of all folk customs and the eternal theme of folk art.

Thirdly, folk art has its own unique aesthetic system. This kind of idealistic art is emotional in expression, mainly adopts symbol, exaggeration and personification in artistic means, and holds its unique outlook on life and five elements in color. Because folk art is mostly used for life decoration, symbolism and patterning are one of its important characteristics. Then there is the widely used homophonic image related to language, which is the most cultural and aesthetic way of China folk art.

Fourthly, the regionality of China folk art reflects its incomparably rich diversity. Traditional folk art (especially local art) is gradually formed in their respective closed environments. Different nationalities and regions have different historical, cultural and natural conditions, which makes local art have its own theme, artistic style and aesthetic form. Today, in the era of globalization, this art with distinctive regional characteristics has become a unique cultural wealth.

Fifth, it is also very important: it is handmade. Handicraft is a kind of physical behavior, and handicraft is human emotion and life behavior. Handicraft art embodies the artist's life emotion everywhere, and machine making is not available. In the era of industrialization, handicraft skill itself is an important heritage.

The development of folk art does not mean entering the market in batches. Not all folk arts can be "bigger and stronger" like the automobile industry. Russian folk art has been industrialized, with only dolls and painted lacquer boxes, while Egypt has only papyrus paintings. Too much art has lost its charm. Therefore, the development of folk art should not be greedy.

First of all, folk art should serve the promotion of the whole folk culture. Many folk arts in our country are indispensable in folk life. For example, weddings, funerals and festivals, there are many folk arts that people like to see and hear. Because of the change of life and its way, it is no longer applicable. For example, due to the changes in modern home decoration, there is no open door, and the original door gods who exorcise evil spirits in pairs have nowhere to post; Moreover, the current doorframe is too narrow to paste couplets; Besides, handmade New Year pictures can't be pasted on the wall as before. Can you make some improvements? For example, change the door god as a traditional auspicious pattern into a small single picture and decorate it in the center of the door, okay? During the Spring Festival these two years, a kind of "Zodiac Paper-cut" appeared in some places, which was specially posted on the door. For example, this year is the Year of the Monkey. Carve a paper-cut of a clever and lively monkey and stick it on the door. Next year is the year of the rat, and then it will be changed into a clever mouse paper-cut. It changes every year, which makes people like it and is very popular. This paper-cut of the Chinese zodiac was not available in the past. But its appearance not only makes up for the lack of custom brought by the lack of door gods, but also finds a new "life station" for paper-cutting. Folk art is a kind of folk product and life culture. Leaving folk customs is like leaving the mother's body, and isolation is difficult to survive. Folk art should strive to enrich and strengthen folk life and find its own existence value again. In recent ten years, the paper-cut market in Tianjin (Tianhou Palace paper-cut) has flourished, mainly because paper-cut artists try their best to keep in close contact with the needs of life. For example, in the past two years, it has been very popular to have a blessing character of two or three centimeters square, which is specially posted on the top of the computer screen. Don't underestimate this little blessing, it can make thousands of years of feelings ignite contemporary life at once. It also makes us understand that in the transformation of the times, it is not that people are alienated from tradition, but that traditional emotions are helpless and lack carriers. Nowadays, traditional festivals will become legal holidays, and the revival of traditional festivals has made folk art widely used.

Then there is a more important question. Today, does traditional folk art have other functions and values besides its use function and aesthetic function? In fact, when the traditional folk art gradually transforms from the applied culture in life to the historical culture, it has undergone a qualitative change, a qualitative change in culture. It has quietly changed from ordinary objects used in daily life to a historical memorial, symbol, symbol, memory and even a classic. Just like the pottery in Majiayao, it used to be just an ordinary container for water, but now it is regarded as noble and needs to be protected by an alarm in a glass cabinet in a museum. Isn't someone already putting the old shadow play, hand-carved prints, the embroidery of ancient female workers, and the flower plates carved by Zhu Jin in elegant frames to decorate luxurious hotels? It is said that most people interested in this ancient art are foreign guests. They regard these works of art as some beautiful details of ancient oriental civilization. But why don't we look at these yesterday's folk arts like this? Maybe these things haven't left our lives for a long time, and we can't look at them "historically". But as time goes on, we will cherish them gradually. In other words, traditional folk art will no longer be used tomorrow, but will be transformed into historical memories and cultural classics. Can our folk artists walk in front of the times, treat these traditional cultures with new perspectives and concepts of the times, and let these ancient folk arts return to our life in another form-inheritance. This is a positive way to adapt to the transformation of the times, and it is also a concept that we must change. Cultural transformation and cultural concept transformation should be synchronized. The ideal is leading, and the worst is falling behind. When the concept changes, the road ahead will be extremely broad and the transformation will be much easier.

Another problem is to combine folk art with tourism culture. At present, the similarity of tourist souvenirs in China has become a major problem in the tourism industry. The greatest feature and value of tourist souvenirs is that they can only be bought locally, but absolutely not in other places; On the other hand, even if it can be bought, no one will buy it. For example, in the former residences of Ovi and Van Gogh near Paris, you can buy a special kind of dried flower-the sunflower painted by Van Gogh, which Notre Dame de Paris does not have. If there are sunflowers for sale in Notre Dame, no one will buy them, because sunflowers have no commemorative significance in Notre Dame. From this point of view, folk art can best become a tourist souvenir-this is determined by the regionality of folk art, especially local art. Nowadays, local art in some places in China has become a famous tourist souvenir and is very popular. For example, paper-cut in Yuxian, cloth art in Longdong, Shaanxi, mud dog in Nanyang, Wuqiang New Year pictures, Suzhou embroidery and so on. However, the number is small, mainly because the "development" of these folk arts is rarely considered from the perspective of tourism culture and tourists' psychological needs. People have not realized the special value of local art in tourism culture, or do not know how to make local art a part of local tourism culture. This is also an important topic in cultural transformation. We will hold a special meeting to discuss the work.

There are several ideas mentioned above. Here is a key question. Who will do it? Of course, folk artists are the protagonists. The creator of folk art is an artist, and art is, of course, an artist's business first. Folk art originates from the hearts of folk artists.

However, it is impossible to put all the problems on artists. He is an expert and scholar in cultural research, folk art and art design, including students studying these majors, who actively open their minds, solve problems and make suggestions.

This is because folk artists are handed down from generation to generation in a long-term closed corner of the world. They have limited knowledge of external information and are not very clear about the value of their own art. The impact of modern civilization faced by today's folk art is unprecedented and unpredictable, and the commercial "discourse hegemony" is irresistible. I'm afraid local artists from other places have been stunned by the storm in civilization revolution before they can understand it. If we rely entirely on their personal strength, it is difficult to complete this epoch-making transformation. Comparatively speaking, there is still a market for urban traditional crafts, because it already exists in the market, relying on precious materials and exquisite craftsmanship. Who can see the cultural value and inheritance value of local art with grass, wood, brick and stone as materials? This must be assisted by contemporary experts and scholars-experts and scholars in culturology, fine arts, folklore and tourism. This is also the deepest reason why we have repeatedly called on experts and scholars to move their desks to the fields.

China's folk art is profound and brilliant, but this is the past. Today, our folk art is climbing mountains, transforming and transforming in all directions. It is not only the change of life and society on which folk art depends, but also the change of its application mode and existence nature. But in the face of this mountain, none of us can be absent, and Qi Xin must work together to climb it. Climbing a mountain is not easy at all. How to solve the problem between traditional aesthetics and contemporary aesthetics alone is not a trivial matter. However, if we cross this mountain, there are few folk arts and few folk artists left, and future generations will certainly blame us and our incompetence. We can't wait for the criticism of future generations, but should meet them, help our folk art cross the mountain of transformation in this era, and let the flowers of history bloom in the future. 4. Michelangelo Buonarroti (1475- 1564), a great Italian painter, sculptor, architect and poet in the Renaissance, is the representative of the highest peak of sculpture art in the Renaissance. At the same time, he is also the leader of artists all over the world.