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Folk art is an important part of the art of Chinese national art (Zhao & Yang, 2014). It was created by the Chinese people to beautify the environment and enrich folk customs and activities (Liu et al., 2016). It is a popular art form that people use in their daily lives. It is also an important factor in the artistic tradition of every nation and the source of all artistic forms. Its mainstream is practicality, and then on the basis of practicality, aesthetics was gradually developed, which not only meets material practicality but also provides spiritual enjoyment. In the background of vigorously inheriting intangible cultural heritage, the in-depth investigation of the cultural connotation and artistic inheritance of folk art will help to dig deeper into the cultural charm of folk art and thus gain a more open road of cultural development. Through a long history of development, China has precipitated a lot of high-quality traditional culture, which promotes the birth of folk art through continuous inheritance and development in folklore (Sándor, 2023). By folk art, we mean art forms created by workers rather than by professional artists so they can be widely circulated among the people. By studying folk art, it helps to understand the ethnic characteristics and customs of each place, and different forms of art have their own development history and cultural background. Folk art has accumulated the essence of excellent traditional culture and has formed unique artistic characteristics and aesthetic features (Boltaboeva, 2019).
Folk art patterns have a rich cultural connotation, and behind their appearance lies the process of people’s understanding of life, as well as the law of the ancestors’ understanding of beauty modeling (Chen et al., 2013). The totemic characteristics of primitive art patterns in cultural anthropology show the rich content of primitive modeling concepts and symbols in folk art patterns (Jiang, 2017). The folk art images reflect the production and lifestyle of the ancestors and their sense of creation and inherit the important memory of the history of their own people. Most folk art creators are working people at the bottom of society, and the wise working people gradually distilled many art forms with aesthetic and practical values in the course of life and practice. Folk art is relative to court art, literati art, and other art forms that exist, but it is the primary art form directly from the masses of the people. In fact, as an integral part of Chinese folk culture, folk art has far more artistic value than folk art itself and has extremely rich philosophical, aesthetic, and human cultural connotations. It is the condensation and crystallization of Chinese national culture (Shao, 2017).
The living space of folk art is closely related to its production mode and lifestyle (Zhu, 2017). With the rapid development of industrialization and urbanization, folk art has been greatly impacted (Zhang, 2014). In the 1980s, China’s folk art boom was partly accompanied by commercial interests. After the Industrial Revolution, Western developed countries began to turn their eyes to the East, which was impacted by industrial civilization later. If we do not pay attention to strengthening the protection and research of Chinese folk articles, maybe in a few years, scholars studying Chinese production, lifestyle, and folk customs will have to go abroad to obtain material materials, bringing losses that cannot be measured by money. From the perspective of academic research, Chinese folk art, as a part of culture, is of great significance to the study of Chinese traditional production, lifestyle, and folklore. Under the current background, the sustainable development of folk art and modern multimedia technology should be studied (Gao, 2017). There is great cultural and visual value hidden in folk art. Designers should learn from and innovate from folk art from the perspective of modern design, to give new connotations to modern design (S. Wang, 2022).