Research status and related literature on Chinese folk paper-cutting
In the first few decades of the 20th century, there were almost no articles on the study of paper-cutting. Most of the articles related to paper-cutting were introductory, and most of their authors were folklorists. In 1942, Comrade Mao Zedong delivered his "Speech at the Yan'an Forum on Literature and Art", calling on writers and artists in the liberated areas to go out of the "small Lu art" and go to the "big Lu art" and among the people to learn from the people and outstanding artists. The study of folk cultural traditions has made considerable achievements. In the 1950s, folk art exhibitions of varying scales were held under the organization of local government cultural departments. While many artists and arts and crafts artists actively participated in the activities, they also had heated discussions on theoretical issues of paper-cutting. . In 1954, Jiangsu Peoples Publishing House published Mr. Zhang Yongshous "Zhang Yongshou Paper-cut Collection", which included a total of 89 paper-cut works. In the same year, Chaohua Art Publishing House published Cong Lins "Cong Lin Window Flower Collection", which included 26 works. In 1955, Rui Jinfu published "Rui Jinfus Paper Engraving Collection", which contains a total of 35 paper engravings. In 1960, the Light Industry Publishing House published "Folk Paper-cutting" by Mr. Wang Zifu.
In the early 1980s, with the in-depth development of socialist cultural construction, many experts and scholars, out of the desire to promote national culture and advocate patriotism, investigated, collected, and sorted out paper-cuts. Fruitful results have been achieved in research in this field, especially in-depth research on the craftsmanship, content, form, aesthetics, and folk customs of paper-cutting. For example, Mr. Zhang Daoyi compiled the book "Chinese Folk Paper-cutting---Introduction and Appreciation" in 1980. In 1982, the Shanghai Peoples Publishing House published the "Paper-cutting Pattern Collection". This book contains 104 sketches of paper-cutting created by Cai Qianyin and Xiong Chongrong. .
In 1984, Professor Yang Xianrang of the Central Academy of Fine Arts called for: Folk art is a huge stream of national cultural tradition and the mother art. It should keep pace with Chinese and Western traditional arts. But the real beginning of the study of Chinese culture from a deep perspective came from Mr. Teng Fengqians "Folk Paper-cut Traditional Main Pages" in 1985.Afterwards, Mr. Jin Zhilin put forward the third modeling system theory of folk art in the article "Patterns and 'Phenological Calendar'", which brought Northern Shaanxi paper-cutting to a focus. In 1985, "Selected Paper-cuttings of Wang Zifu" was edited and published by Shanghai Peoples Fine Arts Publishing House. A total of 67 works were included. In the same year, "Shen Peinongs Paper-cutting Art" was published by Huaxia Publishing House. This book is a collection of Shen Peinongs paper-cutting works. From the perspective of academic research in China, in 1986, the China Academy of Art established the Department of Folk Art and invited six folk paper-cutting artists from northern Shaanxi to teach and teach, thus marking the beginning of the inclusion of rural art in the formal teaching and research of higher education institutions.
In 1988, the Ministry of Culture hosted the National Folk Art Working Conference and established the Chinese Folk Art Society. In the same year, Lu Shengzhong, my countrys first graduate student majoring in folk art, successfully held the "Paper-cut Art Exhibition" at the National Art Museum of China, integrating traditional paper-cut with modern art. At the same time, a strong "folk style" emerged in various parts of China, especially in the southwest, which shows that some artists are trying to find a convergence between rural art and modern art. In this general atmosphere, many academic studies on paper-cut patterns have emerged. Works have appeared one after another. Among these works, some tend to use pictures and texts, some tend to use pictures to explain, and some even incorporate paper-cutting into a subject system for analysis and research. Many experts and scholars have made great contributions to this Such as Zhang Daoyi, Lu Shengzhong, Zuo Hanzhong, Pan Lusheng, etc. Some works have made in-depth research on the paper-cut art system, such as "Collected Works of Zhang Daoyi" by Mr. Zhang Daoyi, "Chinese Folk Paper-cut" by Lu Shengzhong, "Chinese Folk Art Modeling" by Zuo Hanzhong, "Introduction to Chinese Folk Art" by Deng Fuxing, etc. , relatively speaking, the research on the subject system of paper-cutting has been relatively in-depth. While the large-scale discipline system has begun to take shape, many literary and art workers have also conducted detailed discussions on certain areas of paper-cutting, such as the aesthetics, shape, craftsmanship, cultural connotation, regional characteristics, national characteristics, etc. of paper-cutting. From the perspective of research, the symbolic nature of paper-cutting has been mentioned in many books and magazines. However, there are not many articles that comprehensively analyze it from a deeper symbolic thinking and connotation.
