The images evoluation of Yangliuqing new year painting under the influence of painters and audience from 1620 to 1920

Yangliuqing New Year Painting serves as a symbolic artistic model for the Chinese people. Having evolved over 300 years, its emergence and development remain significant with its image evolution frequently discussed in historical contexts. However, Yangliuqing New Year Painting struggles to attract younger generations, who prefer digital art, reflecting a decline in the appreciation of traditional art. The purpose of this study is to explore how painters and audiences have historically shaped the evolution of images influenced by life experiences and practices. The objectives are to analyze the selection of painters and audiences, examine the influence of national development trends. It is explaining the principles governing the evolution of images and develop a new framework for their development. This study employs a descriptive qualitative method with content analysis, incorporating both text and image data. Text data were obtained from interviews with 10 individuals and analyzed using a content analysis approach. The study also collected 83 sets of image data through photographic procedures supervised by museums, collectors and publication units. Image analysis applies Panofsky_s iconology, stylistics and folkloristics as supplementary approaches. Meanwhile, text analysis and historical documents serve as supporting evidence. The findings reveal that image evolution arises from the interaction between the painter_s cultural ideology and the audience_s general ideology. Additionally, the nation_s political ideology as an external factor as influences public preferences. The conclusion demonstrates that culture, customs and political ideology interact to shape the evolution of Yangliuqing New Year Paintings. This study contributes to filling the gap in understanding the internal driving forces behind image evolution by applying the triple helix concept and developing a new framework for the evolution of the painting. This provides a theoretical foundation for contemporary heirs to continue the creative legacy. As an implication, future research can further explore the development of intangible cultural heritage in different social environments. The new framework proposed in this study providing valuable insights for its protection and continuation.