To protect traditional Chinese folk paper-cutting, we need to promote the understanding and respect of the paper-cutting culture among the general public.
As modernization and urbanization continue to intensify, the distance between folk art such as folk paper-cutting and the general public is also increasing year by year. In rural areas, the folk customs that originally involved paper-cutting are disappearing; while in big cities, most people have very few opportunities to come into contact with paper-cutting. Although paper-cuts are also sold in small commodity markets and temple fairs in cities during every New Year and festival, due to their simple packaging and low price, many people only regard paper-cuts as one-time consumption gadgets, mostly for joy, not for An indispensable thing in the festival. In the minds of most paper-cut consumers, paper-cut is "traditional" and "local" and cannot be compared with Western oil paintings. Although during traditional festivals, consumers will buy paper-cuts as holiday decorations, they believe that hanging a Western oil painting at home is a symbol of taste. This is not only a continuation of China’s lack of emphasis on folk culture and traditional crafts, but also a manifestation of the impact of strong Western culture on Chinese social values ??in the new era.
Therefore, promoting the understanding and respect of paper-cutting culture among the general public is also a major issue in the development of paper-cutting. To create an environment that respects and loves paper-cutting art among the people, we must actively invest in publicity. The media, schools, and enterprises are the three key points. Through a large number of video programs on paper-cutting art and culture, or organizing students to visit and travel, For example, organize paper-cutting tours, use various advertisements and animations in the form of paper-cutting, sponsor local people to hold various paper-cutting competitions and performances, etc. Cooperate with local governments, civil society, museums and art galleries, art institutions, publishing houses, and industry organizations to promote the general public to actively participate in the protection of folk paper-cutting craftsmanship, so that they can consciously and spontaneously love this craft.
In the modern paper-cut market, consumers can be roughly divided into three categories based on their needs. The first type are mostly teaching practitioners, including early childhood education, parents, etc. Most of what they buy are paper-cuts that are simple in shape but helpful for childrens brain development, as reference materials for handicraft classes. They have little exposure to complex traditional pattern works.I only focus on the techniques of my works, and I prefer books on paper-cutting techniques. There are very few paper-cuts of this type, and few artists are willing to create specifically for this consumer group. The second type are collectors and admirers, some of whom are consumers of traditional paper-cutting, including fans of traditional culture and some foreign friends. Most of them pursue the artistry, collection value, fame of the author, and room for appreciation of most of their art works. When purchasing, handmade works by artists that do not "imitation" according to the patterns are their first choice. Themes that reflect the civilization of Yigeng are valued by them. These people understand the art of paper cutting and still maintain an appreciation for the true original art. However, since they have always purchased or received gifts from artists at low prices in the past, they often do not accept the market price of paper-cuttings.
There are also some fans who may not fully understand the art of paper-cutting itself, but they believe that paper-cut window grilles are cheap and easy to bring as tourist souvenirs, and they are full of Chinese national characteristics. Especially foreign tourists, they are their first choice. It has an oriental taste and ideographic pattern. With the improvement of paper-cut packaging in recent years, paper-cut gifts have also been favored by more and more foreign tourists. Although these foreign admirers do not fully understand the connotation of paper-cutting, they all respect the art of paper-cutting and regard it as a symbol and expression of Chinese culture. There are also some consumers with traditional complexes and high understanding who are not satisfied with simple paper-cut works, but hope to buy some high-quality paper-cuts with individual styles and ethnic characteristics as home decorations. They are not satisfied with the color, quality and performance of paper-cut products. The content has higher requirements. With the return of traditional culture, this group is steadily expanding. The third type is ordinary consumers. They have no clear purchase content and simply pursue good looks and fun. They pay more attention to price, and most think that the more complex the pattern, the more valuable it is. Buy it if you think its a good deal. Spending money is more emotional and random. This also includes consumers with traditional New Year folk customs. They pursue festive effects and spend money on traditional concepts and New Year customs. This group can be said to be the largest group that needs to fight for the art of paper-cutting. Although the general products in the paper-cutting market can also satisfy them, due to their lack of understanding of the art of paper-cutting, they often cannot see the cultural value carried by paper-cutting. If things go on like this, it will be detrimental to the development of paper-cutting. At the same time, these consumers will gradually become bored with the same paper-cuts. If we do not increase the promotion of paper-cutting culture to consumers in this area, it will easily lead to the loss of these consumers.
