The modeling characteristics and artistic language of Chinese folk paper-cut art
Chinese folk paper-cutting art has a long history, is extensive and profound, and contains rich accumulation and essence of people’s artistic wisdom.
Chinese folk paper-cut shapes are the result of folk paper-cut artists boldly imagining the prototype of things based on many aspects, and refining, processing and re-creating them with artistic techniques. In the teaching of design sketch graphic imagery, students are encouraged to re-understand and recreate folk paper-cut shapes, and to find visual elements from folk paper-cut art is to deepen and improve.
The basic visual language of Chinese paper-cutting is characterized by the unity of plane, realism and deformation. The basis of modeling is called positive and negative shapes, which are yang cutting, yin cutting, and yin and yang mixed cutting. The positive cutting method is to retain the useful patterns and cut off the unnecessary parts; the negative cutting method is to hollow out the patterns, leaving the parts other than the patterns, showing a hollow carving shape. "The hollow form of Minwen paper-cutting makes the work have a hollow shape. The twisted shape and the blank space form a complete work, and there are changes in positive and negative space. Use virtuality to replace reality, turn virtuality into reality, avoid The real becomes the virtual; or the real is used to write the virtual, turning the virtual into real; or the virtual and the real complement each other. When the cut and twisted shapes are put together, they can become a complete work, which is also one of the great charms of paper-cut art." The unity of flatness, realism and deformation in Chinese folk paper-cutting, and the visual language formed by yin and yang cutting methods can produce unexpected effects when applied in the teaching of graphic design and sketching.
