Han portraits and Shaanxi folk paper-cutting have similar modeling techniques
When we study graphic art, the biggest and most direct impact on emotions is the lines used in modeling expression and the shapes formed by the lines. These two factors are also the most obvious and external manifestations of distinguishing the characteristics of the same art form. Shaanxi portrait stones and paper-cuts, one is a relic that has been silenced by history, and the other is a tradition that has been passed down to this day. Both are unique styling products of Shaanxi. In the numerous published studies on Han stone carvings and folk paper-cuts, we can find that the two styles of Shaanxi have consistent similarities. Because the stone carvings of the Han Dynasty have to express more content, they adopt a layered and divided arrangement method or a symmetrical composition technique. A paper-cut also has a full composition and emphasizes the decorative style. The outer ring is wide and simple, and the inner part is not hollowed out. Regardless of content or form, both are based on realism and boldly use exaggerated images and dynamics to convey the spirit, so as to achieve both form and spirit. For example, the following two paintings, one is a Han Dynasty stone portrait and the other is a Shaanxi paper-cut, both use layered expression techniques in their compositions, so that the pictures appear rich and substantial.
The stable development of the Han Dynasty was based on the long-term defense of the Xiongnu War and the civil war before and after the Xinmang Dynasty. So this is an era of martial arts, with a large number of dynamic, powerful and powerful shapes filling peoples vision. Perhaps due to the mastery of stone materials, people are better at using lines to show the important features of Han Dynasty graphic art. In the waving of lines, the images will have a "flowing" feeling. Some portrait stones in northern Shaanxi are good at using long lines to express the large outlines of reliefs. The line form itself also gives people an overwhelming impact, showing the heroic habits influenced by the nomadic people around the north. The Han Dynasty stone statues have an open and unrestrained image from the Central Plains to the surrounding areas, and the majestic and majestic main style has seriously affected the style and momentum of Shaanxi traditional paper-cutting in the future.
Although the medium of paper-cutting is paper, the traditional paper-cutting pattern does not abandon the momentum of the large outlines of lines, but instead performs it more smoothly. This momentum can be seen in numerous Shaanxi paper-cut works. The combination of lines and surfaces is mostly created on the basis of large outlines. From rough lines that are smooth, powerful, tense, and full of life, we create thickA heavy and majestic momentum. This is what distinguishes Shaanxi paper-cutting from other regions.
