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Nowadays, the traditional handicrafts in folk art are gradually faded out in the memory of modern people in the development of digital age, since the Internet has made it possible for people to travel around the world without leaving home. As a unique expression of traditional handicrafts, folk art reflects the true portrayal and spiritual outlook of the laboring people in different ages under the social production environment. Folk art is an intangible cultural heritage, and its inheritance and development are the effective measure to protect regional culture and strengthen national confidence. With the rapid development of computers, the protection and inheritance of folk art not only lie in interview research and literature research, but also focus on digitized technology developed by scholars, which takes art ontology as the research object, and then combines the innovation of science and technology. Although exerting a certain effect on the protection of folk art, it is still based on the epistemology of the subject-object Dichotomy, lacking the aesthetic experience of the blending of sentiment and natural scenery. Therefore, it takes the craftsmanship of New Year’s Picture of Mianzhu as the research object in this paper, which on one hand recognized the guiding role of subjective images in the visual aesthetic appreciation of New Year’s Picture, and on the other hand supplements the imagery aesthetic among objective existences by the use of interactive design, so as to make New Year’s Picture and other folk arts accepted and loved by modern people.
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In-Text Citation: (Yuanyuan & Yahaya, 2023)
To Cite this Article: Yuanyuan, C., & Yahaya, W. A. W. (2023). Research on the Application of Interaction Design with Aesthetic Experience in Folk Art-Take the Craftsmanship of New Year’s Picture of Mianzhu of China as an Example. International Journal of Academic Research in Accounting Finance and Management Sciences, 13(2), 1128–1146.
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