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中华人民共和国成立初期政府尝试以艺术为宣传工具来巩固政权的文化进程及其受到的来自“草根”的抵制,表现出国家、艺术以及农民三者之间的相互关系。由此可以看出,普通大众并不是被动的接受者,他们会发挥自主性,在官方下达的“菜单”上有选择地进行消费,并不时通过“有声的”抵制来回应政府自上而下的改革。因此,年画运动其实成了一场官方与大众、生产者与消费者之间的文化之争,一场新政权的理想与中国本土民俗传统之间的意识形态较量。
At the very beginning of the People’s Republic of China, the government attempted to use art as a propaganda tool to consolidate the cultural process of power and its resistance from “grassroots” and showed the interrelationship among the state, the arts and the peasants. From this it can be seen that the general public is not a passive recipient, they are autonomous, selectively consuming on the official “menu”, and from time to time responding to the government through “voiced” boycotts Top-down reforms. Therefore, the New Year movement actually became a cultural struggle between the government and the general public, between producers and consumers, and the ideological struggle between the ideal of a new regime and the tradition of Chinese native folk customs.