Study on the Innovative Path and Value Implications of Integrated Material Art Based on the Historical Background of the Northeast Resistance League

The Northeast Anti-Japanese Allied Forces, or the Northeast Anti-Japanese Forces for short, is a heroic people’s armed force created and led by the Communist Party of China in the northeast region. During the 14 years of hardship, they resolutely fought against the aggression of Japanese imperialism, opposed the puppet rule of the pseudo-Manchukuo, and waged an indomitable struggle to defend the territory of the motherland and the dignity of the nation in the form of guerrilla war. The timeline of important events in the context of the Northeast Resistance League is shown in Figure 1. In this paper, “Northeast Resistance League Historical Materials” is defined as the written records, pictures and images, recollections and historical objects left behind by the Northeast Anti-Japanese Allied Forces and its predecessors in the course of their survival and development and fighting against the Japanese army from 1931 to 1945.

Figure 1.

The time line of important events in the northeast

Applying the historical materials of the Northeast Anti-Japanese War to the comprehensive material art innovation is undoubtedly an all-round artistic expression of historical literacy as well as social value.

Specifically, based on the background of the Northeast Anti-Japanese Alliance, the first comprehensive material art creation is conducive to the propagation of the materialistic concept of history, in the history of the anti-war in the northeast, the Communist Party of China led the Northeast Anti-Japanese Allied Forces to carry out the arduous post-enemy anti-war activities with the support of the masses of the Chinese people. At the same time, comprehensive material art expression, based on artistic value, helps to disseminate the position, viewpoints and methods of materialistic view of history, and realize that the aggression of Japanese imperialism is evil, and the counterattack of the Chinese people is patriotic and righteous through the complicated appearances of history.

Secondly, it helps the artistic connotation to walk into the historical situation and realize the real history. Shaping art works in the context of the Northeast Resistance League can provide viewers with an immersive experience, thus deepening their understanding of historical events and culture, and integrating history and culture while expressing artistic connotations, which enriches the value and meaning of comprehensive material art creation.

Third, it supplements the historical content of art creation and promotes the effective combination of art creation and history. The supplementation of the history of the Northeast Resistance League to the comprehensive material art creation is reflected in the fact that historical materials can provide richer and more specific historical details. At the same time, historical spirit and culture are given to art creation, providing creators with more direct and vivid historical information and helping them to express the cultural value and connotation of art creation more fully. On the other hand, art creation based on the background of the Northeast Resistance League can trigger the viewers’ thinking, guide them to read, analyze and discuss historical materials, and help them understand history more deeply.

Fourthly, the historical materials of the Northeast Resistance League are rich, and its geographical coverage is extensive, including the provinces of Heilongjiang, Jilin and Liaoning. As an important area of anti-League activities, each province possesses numerous historical materials of the anti-League, which are valuable historical witnesses and provide rich materials and diverse inspirations for the creation of comprehensive material art.

The spirit of the Northeast AntiJapanese Resistance League is the excellent red gene of the Chinese nation, showing the spirit of the Northeast AntiJapanese Allied Forces in the battlefield of the heroic struggle, the spirit of charging into battle. To explore the creative value of the Northeast Resistance League, the premise is to clarify the historical background of the spirit of the Northeast Resistance League, the reasons for its formation in the Northeast battlefield, as well as the specific circumstances of its formation, which is a prerequisite for further analysis and research of the creative value of the Northeast Resistance League.

The spirit of the Northeast Resistance League was formed during the Revolutionary War, and the Northeast Anti-Japanese Allied Army was formed under the leadership of the Communist Party of China. The spirit of the Northeast Resistance League was formed in the historical background of the Northeast Resistance League’s defense against the aggression of Japanese imperialism, and it stood firm for fourteen years with the spirit of the Northeast Resistance League, which includes the spirit of loyalty, patriotism, bravery, selflessness, and commitment, and finally won the victory of the Anti-Japanese War.

The spirit of the Northeast Resistance League is a concrete demonstration of the spirit of patriotism, the spirit of courage and the spirit of struggle and other outstanding spiritual culture of the Chinese nation. At the same time, it was also created on the battlefield of Northeast China, and formed in the vivid practice of the unity of the people and the army in resisting the aggression of foreign enemies with blood and life. The spirit of the Northeast Resistance League, as a symbol of the spirit of an era and a region, is an example of the bravery of the righteous people who go through fire and water for the righteous cause without fear of sacrifices, and it is a great spiritual style and ideological character of the Chinese Communist Party, which was nurtured and developed under the leadership of the Northeast Resistance League fighters and the people of the northeast of China of all classes and nationalities in the 14-year long and difficult struggle against the Japanese invaders in the trial and tribulation of life, death, and blood and fire. Spiritual style and ideological character. Inheriting and promoting the spirit of the Northeast Antifront in the new era, it is necessary to correctly understand and comprehend the core essence of the spirit of the Northeast Antifront and realize the organic combination of the spirit of the Northeast Antifront and the comprehensive material art creation, so as to make it an effective resource for art creation.

The spirit of the Northeast Resistance League belongs to the national voice and direction of struggle during the revolutionary war period, and it still has the educational significance of sharpening people’s hearts. Integrating the spirit of the Northeast Resistance League into ideological and political education can, on the one hand, highlight the charm of the spirit of the Northeast Resistance League and, on the other hand, provide spiritual impetus for the realization of the great rejuvenation of the Chinese nation.

The value implication of the Northeast Resistance League for art creation is shown in Figure 2, and the value implication of comprehensive art creation based on the background of the Northeast Resistance League is studied in the new era for carrying forward the spirit of patriotism, inspiring the spirit of struggle, and enhancing the historical initiative.

Figure 2.

The value of the northeast anti-association to artistic creation is reflected

The creation of art works is ultimately oriented to the majority of viewers, so by revealing the impact of art creation on the sensory, emotional, action, association and thinking experience of the viewer, it can provide theoretical support for the creation of mixed-material art based on the Northeast Resistance, and help to enhance the attractiveness and competitiveness of art works, so as to achieve better results in the creation of mixed-material art in the Northeast Resistance.

Based on the S-O-R theoretical model, this paper takes the five dimensions of viewers’ experience as positive stimuli from the external environment (S), which affects viewers’ cognitive and affective attitudes (O) and thus positively influences their revisit willingness (R). Taking the five dimensions of art creation experience as S (stimulus), the five dimensions of experience are sensory experience, emotional experience, thinking experience, and associative experience, respectively.

Sensory experience refers to the pleasurable sensory experience provided to the viewer through vision, hearing and smell.

Emotional experience is to create a variety of emotional experiences for the viewers through artworks, performances and interactions.

Reflective experience is that the creation of artworks can stimulate the viewers to think and guide them to think about the values conveyed by the artworks.

Associative experience as the creation of artworks is closely linked to culture, society and individuals through artworks, cultural and art exhibitions, and thematic activities, thus increasing the sense of value and identity.

The questionnaire used in this study was assessed using a 5-point Likert scale, in which respondents were asked to rate a series of statements or questions. A total of 680 questionnaires were distributed after passing the reliability test and the number of valid questionnaires recovered was 675, the recovery rate of the questionnaires was 99% and the validity rate of the recovered questionnaires was 100%.

The correlation analysis of viewers’ willingness to revisit artworks is shown in Table 1, which shows that sensory experience, emotional experience, thinking experience, action experience, and association experience have a certain correlation with viewers’ cognitive attitude and emotional attitude (P<0.01), implying that the better the viewers’ perception of the experience of the creation of the artworks is, the more positive their attitudes will be. On the other hand, the viewer’s sensory experience, emotional experience, thinking experience, action experience, and association experience of the artwork also have a certain correlation with revisit intention. In addition, the viewer’s cognitive attitude and emotional attitude toward the creation of the art work have a certain correlation with revisit intention, with correlation coefficients of 0.338 and 0.410, respectively, and P is less than 0.01, i.e., the better the viewer’s experience of the work of art, the more positive his or her attitude is, the more it can stimulate his or her tendency to behavior, i.e., the higher the revisit intention is.

In this study, multiple stepwise regression analysis was used as a way to verify the causal relationship between consumption experience, attitude and consumer revisit intention under art intervention.

The regression analysis of viewer experience and cognitive attitude is shown in Table 2, and the R² value of the cognitive attitude model is 0.325, which means that the consumption experience can explain 32.5% of the change in cognitive attitude. The five dimensions of experience have a significant positive influence on cognitive attitudes, of which the sensory experience has the most significant influence, with a regression coefficient of 0.297. This suggests that the addition of cultural and spiritual connotations to the artistic elements has more emotional and aesthetic value, thus stimulating the viewer’s experience of sensation, emotion, thinking, action and association.

The regression analysis of viewers’ experiences and affective attitudes is shown in Table 3, and the R² value of the regression model of experiences and affective attitudes is 0.333, which means that viewing explains 33.3% of the change in affective attitudes. The regression coefficients for all five experiences are positive and significant, meaning that when viewers get a good sensory experience, emotional experience, thinking experience, action experience, and associative experience, they are more likely to hold a positive affective attitude toward that artistic creation.

The regression analysis of viewers’ attitude and revisit willingness is shown in Table 4, the R² value of the regression model of viewers’ attitude and revisit willingness is 0.238, which means that cognitive attitudes, affective attitudes can explain the reason for 23.8% change in revisit willingness. In the analysis of specific regression coefficients, it can be seen that the regression coefficient of cognitive attitude is 0.315, which means that the improvement of cognitive attitude will significantly increase the willingness to revisit, i.e., there is a positive correlation between cognitive attitude and willingness to revisit. And the regression coefficient of affective attitude is 0.428, which indicates that the improvement of affective attitude will also significantly increase the willingness to revisit, i.e., affective attitude and willingness to revisit are also positively correlated. Therefore, it can be concluded that improving viewers’ cognitive attitude and emotional attitude toward artworks in the comprehensive material art creation based on the background of the Northeast Resistance League can effectively promote their willingness to revisit.

The aesthetic tendency of the viewers is an important basis for influencing the viewers’ cognition and attitude towards the art works, so this paper, according to the aesthetic demand of the mixed-materials art creation, through understanding the aesthetic tendency of the viewers for the mixed-materials art creation, in order to satisfy the aesthetic demand of the viewers as the main purpose, 675 questionnaires were issued to the majority of the art enthusiasts to carry out the research, and the recovery rate and the effective rate of the questionnaires were both 100%.

This paper divides the viewers according to their age, and divides the comprehensive material art styles into five categories: realism (A1), impressionism (A2), fauvism (A3), art nouveau (A4), and no stylistic tendency (A5). The aesthetic tendency of art styles for different ages was analyzed, and the aesthetic tendency of viewers towards art styles is shown in Figure 3. It can be seen that the younger groups under 18 and 18-30 years old both have higher aesthetic tendency to new art styles, with tendency weights of 53.45% and 28.44% respectively. The group of viewers older than 30 years old has a better preference for the impressionist style, with the proportion of style inclination above 35%, especially the group of viewers aged 31-50 years old, with the proportion of impressionist style inclination as high as 40.75%.

Figure 3.

The viewer’s aesthetic tendency to artistic style

In order to further analyze the influence of the viewers’ aesthetic tendency, the viewers’ aesthetic tendency was analyzed by stratified regression, and the results of the regression analysis are shown in Table 5. It can be seen that when the viewers’ aesthetic tendency is analyzed by linear regression, the viewing willingness is set as the dependent variable, and the rest of the variables are taken as independent variables, and it can be seen that the model R-square value is 0.121, which means that the viewers’ aesthetic tendency can explain the reason for the 12.1% change in the viewing willingness.

On this basis, the effect of spiritual and cultural elements integration on viewers’ willingness was regression analyzed, and the results of the regression analysis are shown in Table 6. As can be seen from the table, the R-square value of the model is 0.140, which means that the integration of spiritual and cultural elements can explain the reason for the 14.0% change in viewing willingness. The comprehensive analysis shows that while the aesthetic tendency affects the viewing willingness in the comprehensive material art creation, the integration of the spiritual and cultural elements of the Northeast Resistance League can bring higher viewing willingness to the viewers. Moreover, the integration of the spirit and culture of the Northeast Resistance League can also bring strong design inspiration to the creators.

There are many definitions of mixed-material art, and the most popular interpretation is that mixed-material art is actually a form of artistic expression of non-traditional material paintings in modern painting. With the advancement of science and technology and the versatility of creative means, artists began to utilize a variety of real materials that can be touched to express their artistic concepts. After the Industrial Revolution, artists began to artfully and effectively utilize, transform, and combine the consumed or unconsumed physical materials of human daily life in a specific space-time environment, expressing the material reality state of new culture and art. The artistic practice of composite materials contains the characteristics of the times and traditional humanistic care. On the contrary, these characteristics make the art works extremely visually infectious, and there exists a great contrast between them and the traditional artistic expression, breaking the traditional single and inherent plane mode, and converting the works from the initial two-dimensional mode to a three-dimensional mode, which is the spatial expression of material art.

The historical roots of mixed-material painting can be traced back to the early days of human artistic creation, when artists already began to experiment with the use of a variety of natural materials (e.g., mineral pigments, vegetable dyes) for painting. As time progressed, artists began to explore more diverse materials, including but not limited to metal, paper, fabric, and even digital media, in order to enrich the expressive power and connotation of their artworks.

The innovation path of comprehensive material art is shown in Figure 4, based on the integration of comprehensive material art creation in the context of the Northeast Resistance League is realized by means of modern technology, which is an effective path to promote artistic innovation. In today’s era, the rise of new media art is accompanied by the development of electronic technology and digital technology in the mid-20th century. With the popularization of computers and the Internet, the scope of new media art has further expanded to include digital art, interactive art, virtual reality and other areas. With the advancement of technology, the traditional cultural media image is transforming towards visualization. Especially in terms of digital technology, the boundaries between mixed media painting and new media art are gradually blurred. Artists have begun to use new media such as computer software, digital projection and virtual reality technology to combine with traditional painting materials (e.g., oil, watercolor, paper, etc.) to create unique visual effects and artistic experiences.

Figure 4.

Innovative path of synthetic material art

This paper takes the analysis of the viewer’s will as the theoretical basis, introduces digital technology, and analyzes the multi-level interaction to promote the multi-level experience, the demand for experience to promote the development of experience, and the “cross-border” application of experience, and takes it as the endogenous driving force to help the innovation of art design. In the process of cyclic feedback of innovation information, the relationship between functional innovation, content innovation and technological innovation in art is explored, and a comprehensive material art innovation model is constructed.