Current status of research on Shaanxi folk paper-cut patterns and meanings in recent years
In 1992, Mr. Wang Xiaoshi published "Characteristics of Ansai Folk Paper-cutting" in the Journal of Hangzhou Normal University. Point out: Ansai is located on the Loess Plateau where the culture of the Huang clan, the ancestor of China, originated. A popular folk song goes: "The concubine of Han Dynasty plays with her baby in front of the door, and you cut the tung leaves and shine on the window screen." This sings the idea of ??window flowers decorating life. Vivid picture. From the Qin and Han Dynasties to the Tang and Song Dynasties, the imperial capitals of several dynasties were built in Chang'an, which is now Shaanxi, and this land became a cultural center in history. The people here are nourished by a rich cultural soil. To this day, some ancient traditional arts that have been nearly lost in other areas are still intact there, displayed to people in a full manner, and become living fossils of history and culture. . Its cultural connotation is the five thousand years of historical and cultural accumulation of our nation from primitive society to the present, and its value even exceeds the art of paper-cutting itself.
In 1999, "Ansai Folk Paper-cuttings" was compiled by Yang Hongming, Chen Shanqiao, Xie Niya, and Ansai Cultural Relics Bureau and published by Shaanxi Peoples Publishing House. Attached is a large number of pictures that specifically introduce the paper-cutting of the Ansai area in northern Shaanxi, integrating traditional Chinese cultural thinking, shapes, techniques, and colors. Not limited to the simulation of objective images, not constrained by various theoretical laws, understanding nature and life from a broad, deep, and all-round perspective, using bold imagination and fiction, intuitive and perceptual expression, and random transplantation techniques to create. The extremely complex contents, images, and colors in real life are expressed with great charm and emotion in a vivid, harmonious, and interesting artistic conception, with freehand brushwork and decorative magnificence. The lines, patterns, patterns, and polka dots in the modeling are controlled by techniques such as metaphor, suggestion, darkening, and exaggeration. The works show a combination of hardness and softness, a vigorous and thick texture, a rough and delicate style, and are simple and steady. The freshness and richness attract the attention of the art world, all of which will make the flower of folk paper-cutting art bloom more brilliantly. Such as Xihua "Passing the Incense", "Eagle Stepping on the Rabbit", "Lady Cutting Flowers" and so on.
In 2001, Song Ruxin wrote "Shaanxi Folk Paper-cutting Explanation" published by Shaanxi Peoples Education Press. It describes in detail the symbolic meaning and connotation of paper-cutting in Shaanxi, with a large number of pictures. CutThe paper emphasizes that "exports must be auspicious to be popular with people; characters must be handsome to be liked by people." Geely has an important relationship with peoples practice, which is permeated with peoples best wishes and has been affirmed by the group, and has a certain influence If you break away from or rebel against the collective consciousness, you will not be welcomed or rejected by the people. This collective will is transformed into an aesthetic ideal and aesthetic standard here. Only by following this standard can the aesthetic taste of paper-cut art be in line with the publics aesthetic concepts. Therefore, active choices must be made in paper-cut modeling.
In 2002, Fei Xiaoqi and Qiao Zhengdong from the Northern Shaanxi Culture Institute of Yan'an University in Shaanxi published "The Cultural Origin and Composition of Paper-cutting in Northern Shaanxi" in "Folk Culture". The article pointed out: People in northern Shaanxi have always lived on a vast and majestic land, where there are still many relics of the Yangshao Culture and Longshan Culture of the Neolithic Age. In folk paper-cutting, the dragon and snake patterns cut by many old artists are all The body is short and honest, and there are many paper-cuts that are half human and half animal, such as: human head and snake body, human head and fish body, human head and frog body, bull head and human body, etc. Xuanyuan Huangdi, the legendary ancestor of the Chinese nation, once lived in northern Shaanxi, which is the birthplace of Chinese civilization. Northern Shaanxi has limited transportation and underdeveloped economy, and is rarely affected by the impact of foreign culture. Therefore, in many remote mountain valleys, chaotic ways of thinking, ancient folk customs and traditional cultural awareness can be relatively completely preserved. Northern Shaanxi paper-cutting adopts a horizontal view composition method, paying attention to the spiritual resemblance of the external outline, just like the freehand brushwork in traditional Chinese painting. In terms of modeling (except Nansan County in Yan'an City and Sanbian area in Yulin City), they mainly inherit the artistic characteristics of Han Dynasty stone sculptures, which are vigorous, simple, concise and integrated. For example, the paper-cut works "Picture of Cows Plowing", "Crane", "Eagle Stepping on Rabbit", "Reverse Deer", etc. all invariably inherited the modeling techniques of Han stone portraits.
"Yanwei Taichun" published in 2003 by Mr. Zhang Daoyi details the occurrence and development history of folk paper-cutting as well as the stories of several old artists.
In 2003, Mr. He Wenbin published an article "First Introduction to the Folk Paper-cutting Art of Northern Shaanxi" in the Journal of Suzhou Vocational University, pointing out that my countrys folk paper-cutting art has always been in a non-mainstream position in the field of art, but it has a unique influence in the realm of art. It has a very deep connotation and has characteristics in expression language that other art categories cannot match. Through the research and understanding of paper-cutting art in northern Shaanxi, the article also provides a deeper understanding of the relationship between human beings and nature. Discuss the paper-cutting art of northern Shaanxi from three aspects: its status in the field of Chinese folk paper-cutting art, the aesthetic orientation of northern Shaanxi paper-cutting art, the artistic characteristics and unique modeling techniques of northern Shaanxi paper-cutting.
In August 2004, "Chinese Folk Art" was written by Jin Zhilin and published by Wuzhou Communication Publishing House.
