Aquatic embroidery paper-cutting and folk paper-cutting patterns
Folk paper-cutting, which is widely popular in Shui nationality areas, is mainly used for embroidery patterns, lanterns for decorative lanterns, paper flowers for "memorials" in folk activities, wedding flowers for weddings, and "paper-cut flowers" for funerals. "Movement level" (paper umbrella) and so on. Shuis embroidery base patterns include suspender flowers, apron flowers, hat flowers, shoe flowers, purse flowers, pillow flowers, insole flowers, etc. The main paper-cut themes include magpies, eagles, golden pheasants, dragonflies, butterflies, bees, dragons, fish, shrimps, crabs, frogs, chickens, rabbits, cows, pigs, tigers, lions, rats, humans, flowers, vines, leaves, etc. The modeling methods include displaying certain images of animals and plants individually or displaying animals and plants in combination. No matter which display method is used, the animals and plants are depicted in a lifelike, friendly and lovely way. The animal and plant patterns selected in aquarium folk paper-cutting are first determined by whether they can bless people or have auspicious and happy meanings: for example, fish and shrimp represent abundant food, frogs and toads are related to grain harvests, tigers are brave, lions are lively, and oxen are powerful. They can endure hardships, cats and mice are clever, rabbits and deer are docile, butterflies are beautiful, etc. Secondly, there are those imaginary images with the nature of totem worship: people imagine that they have the advantages of various animals and have vast magical powers without being bound by nature, such as the human-headed dragon in the paper-cut, or the person with wings flying, etc., the most direct It clearly expresses the meaning of peoples yearning, wishes, expectations, appreciation and praise for a better life, and is a simple expression of good wishes. Folk artists use their extremely rich imagination and strong romanticism to integrate various beautiful objects in nature with peoples aesthetic ideas, creating an interesting, moving and strange artistic world.
The way of thinking of Shui folk paper-cutting artists complements the original aesthetic ideals of pursuit of completeness, even symmetry, and beauty of size, resulting in modeling rules that emphasize expression and free and flexible expression techniques. Paper-cutting tutorials and techniques were created by the working people of Shui Nationality to meet the needs of their own spiritual life. They exist in the deep soil of workers' lives and have perfected this art form through long-term art and life practice.
Women of the Shui tribe start by copying simpler traditional patterns from childhood, and then gradually practice organizing large-scale pictures, and finallyTo achieve the level of ease. With the development and changes of life, new themes, new plots, and new artistic concepts are gradually added to reveal profound meanings in daily life. For example, Duyun City Wei Bangfen’s paper-cut art work combines bird wings with tree leaves, and pomegranate fruits with fish and shrimp in the water... These patterns, the whole structure is harmonious and novel, appear to be integrated, and some They look like leaves, but they are actually bird wings. Some of them look like budding flower bones at first glance, but they look like the beaks of birds when you look closely. Some look like fish from a distance, but look like pomegranate fruits up close. There are birds in the trees and flowers in the flowers. There are butterflies that appear and disappear, very imaginative.
In addition to being used as embroidery patterns, the folk paper-cut window grilles of the Shui people can also be used as decorations to beautify life, add to the joyful atmosphere of peoples festivals, and reflect the psychology, wishes, temperament and emotions of the working people. In terms of inheritance, in addition to inheriting certain unique techniques passed down from ancestors or teachers, they also have different artistic accomplishments and personal styles, injecting the commonality of national folk culture and the individuality of local art into their works. This popular form in folk culture has an irreplaceable charm that other art forms cannot replace.
