Stylization and flexibility in Chinese folk paper-cutting
The program is a stable format. Originally a term for Chinese performing arts, it refers to normative and rhythmic movements such as performance, dance, and martial arts in opera stage art. Later, people referred to similar expressions in other national art forms in our country as stylization. The formal expression of Chinese folk paper-cut art also has stylized characteristics. The versatile patterns discussed earlier are stylized expressions. Since they play an important role in folk paper-cutting language, they are not discussed here. In addition, there are the following main performances.
In the past, working people in rural areas lived in hardship. Even in the new society, due to various reasons, they still could not escape poverty with their limited labor force and rudimentary means of production. They yearn for a long and healthy life, plenty of food and clothing, and even more prosperity. When they express these feelings and wishes, they select the popular traditional styles that suit the purpose and use them in their paper-cuts. For example: "more than a year (fish)", "good flowers and a full moon", "abundance of grains", "jin (chicken) - icing on the cake", which reflect family happiness and the desire to produce a good harvest, etc.; "more pomegranates" which reflect reproduction and prosperity of the population. "Songs and cranes prolong life", "Peach birthday wishes", "Danfeng Chaoyang", "Fish playing with lotus", "Butterflies playing with peonies" reflecting life and love. "etc. These art forms have many different appearances in folk paper-cutting across the country. This type of stylized art form expression is refined through the unremitting efforts of many generations of rural women and folk artists, through continuous practice and repeated choices of layout structure and formal expression. Because these art forms are beautiful in expression and harmonious in content, they comply with the survival requirements of the people and are generally welcomed from generation to generation, such as "Huituan Luma (Lu)"In Meng Yuanlaos (Tokyo Menghua Lu), there is a record of its use. In modern folk paper-cutting, there are Yinshan rock paintings from the period of the "Huitou Luma (Lu)" clan commune. This type of stylized expression is distinguished by the subject matter. There are unit monologue and multiple compound. The unit monologue only uses one program, and the multiple compound uses two or more programs. It consists of "Songhe Yannian" and "Returning Deer Horse (Lu)". This type The program only provides a framework specification. Users can recreate the space combination and beautification indoors according to their own wishes, habits and aesthetic methods, just like decorating a house. They have greater flexibility in the use of the program. Therefore, a The program will have various forms of expression. It expresses the theme of life and reproduction, but it is different in terms of composition form, image expression and selection of related themes. In the process of "Gua Devaluation Mian Mian", there are three image elements: Gua, Demotion (Xiao Gua) ) and the butterfly that expresses the endless vines. Among these three images, the butterfly is the nameplate of this program. The other images can be replaced with related objects, except "butterfly". Without "butterfly", this program will not be established. The upper flower is represented by "Frog" (baby) replaces "melon" (seeds), and "flowing water" replaces "vine". Let the mother order melons (to express the joy of harvest). Despite these changes, people can still tell the difference at a glance. Connotative meaning.
The second category is the stylized form expression formed by the paper-cut tutorial techniques and techniques, such as the symmetrical effect produced by "double cutting", the multiple repeated images produced by "folding and cutting", "shape-breaking method", "following shape" "Fa" etc. all have stylized formal expression characteristics. From the Tuanhua paper-cuts from the Southern and Northern Dynasties unearthed in Xinjiang, we can know that this technique existed more than a thousand years ago. Judging from the effects of the works, this technique has become mature. When a technology or technique reaches maturity, its initial time limit should far exceed the maturity time limit. This technique not only enriches the expressive power of paper-cutting art, but also enhances the formal beauty, making the decorative style of paper-cutting more distinctive and having its own characteristics, making it different and independent from other carving arts. Later, when people needed to strengthen their expressive power and highlight a certain intention, they used this procedure to enhance the visual impact and artistic appeal by repeating images. For example, the handle dolls, through the continuous repetition of a "person", express a kind of collective power of "number of people". From its function, we know that it is a relic of primitive witchcraft. The "collective power" displayed by the handle dolls It has the shadow of a clan society. Many places in the Yellow River Basin haveThere are "handle dolls" in the form of expression. Comparing the "handle dolls" from various places, the stylized characteristics formed by "folding and shearing" will be highlighted from the commonality of the many "handle dolls" form expressions. Because the stylized expression of paper-cut art has great relative flexibility, some stylized features will be obscured by other features, resulting in the phenomenon of invisibility. For example, the stylized features of “folding and shearing” are also covered up by the decorative nature. "Conformable modeling" also has stylized characteristics. The stable shearing process of "conforming modeling" is a kind of stylization. This stylization also brings stylized characteristics to the modeling, and plays a role in the stylized characteristics of paper-cut art
