Chen Zhengfu, Yang Jing
Accepted: 2026-04-09
Situated at the intersection of Geography of Art and the anthropology of painting, this study explores the dynamic development and cultural logic of Shuicheng peasant paintings in Guizhou, focusing on local inscription, landscape storytelling, and the reproduction of cultur-al space. This article based on the deep interview and participatory observations, it analyzes how Shuicheng peasant painting constructs place sense, reconstitutes aesthetic values and turns cultural meanings to economic capital under modernization and marketization pressure through the analysis of drawing and visual symbol, and finds that, first, Shuicheng peasant paintings mainly depict local life, ethnic customs and agricultural labor, condensing the characteristics of regional into special flat and symbolically visual form. Second, by using stylization of colors and composition of pictures, Shuicheng peasant paintings strengthen rural memories and local identifications, build an ideal image of home and thus express a sense of place, and show emo-tional attachment. Third, the creation of Shuicheng peasant paintings is influenced by the inter-play of personal emotions, the market and dominant ideologies, reflecting the network of power relations among the artists, the policymakers and market intermediaries. Fourth, in the context of commodification, the cultural symbols of Shuicheng peasant paintings are also converted in-to economic value, promoting the development of local cultural industries, but also leading to the tension between artistic originality and commercial adaptation. It argues that Shuicheng peasant paintings are not merely a picture copy of the rural landscape and the folk life, but a culture area where emotion, memory and social interaction coexist. It is theoretically, extend-ing the analytical framework of art geography by incorporating sense of place and production of space, showing how art practices participate in the reconstitution of local identity and the cre-ation of cultural capital. In terms of empirical example, the Shuicheng case shows how vernacu-lar art operates as a repository of cultural memory and a medium of local self-expression under a globalized situation. In sum, Shuicheng peasant paintings are an example of the spatial logic of contemporary Chinese rural art: They make lived experiences into visual stories of place-making, negotiate local-rootedness and external-consumption, and contribute to rearticulating regional identity in a changing cultural landscape. This study provides new insights on the spa-tial production and cultural-geographic meanings of vernacular art, enriching the understanding of the localization and globalization of Chinese rural creativity.