Shaanxi folk paper-cutting and modern paper-cutting
From the mid-to-late 1980s to the present, Mr. Lu Shengzhong of the Central Academy of Fine Arts has done extensive and in-depth investigation, collection, organization and research on paper-cut window grilles in Shaanxi, especially paper-cut in northern Shaanxi. His major works include "Life - Moment and Eternity", "Red Train" in Germany in 1992, "Monument of the Soul" in Australia in 1993, "Peace in the Age of Peace" in Fukuoka, Japan in 1994, "Sacrifice of the Soul" in Fukuoka, Japan in 1995, "Stand-in" in Tokyo, Japan, "Where 1+)) in Wuppertal, Germany in 1995, "First Meeting" in New York, USA in 2000, "Goodbye Witch" in Equator Township, Xunyi, Shaanxi in 2000, "Origin" in Grenoble, France in 2002 ”, “Red Soul Form and Shadow” in Guangzhou in 2002, “The End” in Wenrui Mental Hospital in the Netherlands in 2002, and “Book of Heaven” in New York, USA in 2005. His main works include “The Story of the Little Red Man” and “Goodbye Tradition” 1", "Goodbye Tradition 2)), "Goodbye Tradition 3)), "Goodbye Tradition 4)), "Chinese Folk Paper-cutting", "We'll See", etc.
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In 2003, Mr. Liang Changsheng published "The Variation of Modern Paper-cut Language", which mainly created modern paper-cuts about Buddhism ((x world)).
In August 2004, Mr. Jin Hui from the School of Art, Hubei University for Nationalities published "Paper-cut Art: From Tradition to Contemporary Context" in the Journal of South China Normal University (Social Science Edition). The article points out: The art of paper-cutting has a long history and is an integral part of Chinese traditional culture. In ancient times, the social function of paper-cutting art was mainly used in folk customs: in contemporary times, paper-cutting art continues to develop with the times, and in the wave of economic and cultural globalization, new concepts and new ways of thinking are injected into it, making the art of paper-cutting more popular. Personality changes in time and space, forming the contemporary language environment of paper-cut art works.
In the 5th issue of 2005, Wang Lidan from Harbin College published "The Beauty of Phonology in the Art of Paper-cutting". The article points out: Through the visual experience of paper-cutting art, the musical background of paper-cutting works is integrated with each other through sensory transformation, highlighting the special beauty of paper-cutting art exuded by music. The art of paper-cutting is connected with vocal music, making people feel the infinite phonological beauty of vocal art beyond the picture.; Paper-cutting art is closely connected with drama, allowing people to feel the phonological beauty of language art outside the picture; Paper-cutting art closely links instrumental music and dance, allowing people to feel the physical beauty and phonological beauty of melody outside the picture . Through the appreciation and thinking of paper-cutting art, she believes that art, music, drama, literature and other art categories are closely connected with each other, and should be analyzed and understood from multiple perspectives during appreciation. You can feel the beauty of phonology from the art of paper-cutting. As a music teaching job, I have to learn and experience music more from other artistic fields. It is not advisable for some people to isolate the art of paper-cutting, painting, singing, instrumental music, drama, etc. to appreciate them. They have a close inner connection with each other. Some people call them "sister" arts. She doesn't think it makes sense. She felt the infinite beauty of "silent phonology" from appreciating "paper-cut art".
