The cultural characteristics of Shaanxi folk paper-cut modeling
Western perspective is the study of the subjective view of a person standing at a fixed location. The compositions of Shaanxi traditional folk paper-cutting and Han Dynasty stone portraits both present the visual method of "scattered multi-dimensional perspective". In fact, this is the long-standing "wandering" method in Chinese peoples modeling thinking, that is, moving from multiple angles in the flow. Observation ideas. The modeling form and composition form of both belong to the modal silhouette type: two-dimensional space outline modeling, or without the addition of a knife or pen, or only a simple carving shape, or a decorative treatment, but attaches great importance to the overall expression of the dynamic modality. Both of them also pay attention to the composition of lines, and perfectly handle the echoes and contrasts between points, lines, and surfaces. Since it is difficult to express the layers of three-dimensional space, scenes, and images, they focus on the proportion and perspective of objects. There are often breakthroughs in the relationship, and more combination techniques are used. The shapes are exaggerated and deformed, and some rules that make the pattern beautiful are processed continuously such as symmetry, uniformity, balance, and combination. Commonly used are "layers high" or used in combination. The form of "changing objects and changing scenery".
Although they express static images, they use a comprehensive and three-dimensional "tour" form of observation and expression. Artistic creators need to convey their "true feelings" through all aspects of everything. Expressed through observation. However, we found that in addition to the objects to be represented, the compositions of stone portraits in the Han Dynasty also used many decoration and filling techniques. Complex lines and patterns were painted around the main figures and animal images, or other smaller objects were added. Images related to this. The following is the pattern "Lucky Sheep" on the west wall of the front room of the Yanjiacha Han Tomb in Suide, Shaanxi. This image and the "auspicious deer" have been symbols of good luck and good luck in Shaanxi since ancient times. They often appear on tomb doors, often displayed in erect shapes, and the surrounding blank spaces are filled with complex arabesque patterns and various birds and beasts, tigers, cranes, feathered figures, etc. Such works are delicate and powerful because of their delicate beauty. The curves of force intersect and flow, forming wonderful patterns. The use of decorative patterns in this type of portrait is extremely prominent, and the area isIts so big that it almost overwhelms the guest. This kind of complicated flowing clouds and creeping grass is not only for decorative composition, but also indispensable in the fairy theme.
In terms of the complexity of the composition, Shaanxi traditional paper-cutting seems to be even more extensive. In addition to this method of surrounding embellishments, it also boldly uses this method to decorate the interior of its main body, making the extremely complex and dazzling interpretation even more brilliant. This can also be regarded as an inheritance and development of the Han Dynasty portrait stones. Judging from the two artistic forms, the whole has an airtight feeling, and the images in it are clear in priority, well-proportioned, and coherent. The expression techniques are obviously exaggerated and decorative. The overall momentum is full and unrestrained, broad and abundant, and artistic The image is magnificent, rich and vigorous, with romantic temperament. The expressions of "full", "dense" and "complete" are the formal similarities between these two plastic arts.
