Color culture reflected in Manchu folk paper-cut patterns
The ancestors’ color cognition began as early as the ancient barbaric era. The loess earth on which humans live, the red flame that brings warmth to humans, the blood that is the source of life, the blue sky and green water, and the alternation of day and night constitute the basic understanding of the entire natural world by primitive people. In the early human cognitive psychology of color, the feeling of color was only one of the primitive instincts of human beings. The Manchu ancestors' feeling of colors in nature gradually affected peoples color activities.
After the discovery, affirmation and worship of monochrome, color has a certain magical symbolic meaning and specific conceptual content. Ancestors dyed decorations red with iron oxide; sprinkled red powder next to corpses, etc. This means that red itself was endowed with a symbolic and conceptual meaning unique to humans in their imagination. In production practice, the ancestors consciously found the three most stable "eternal colors" of black, white, and red in the color family in nature, and knew how to use colors to decorate their daily utensils. In their ancestor worship activities, the ancestors developed gratitude and worship for the number "five". For example: five directions (east, south, west, north, middle), five elements (metal, wood, water, fire, earth), five internal organs, five grains, five beasts, five blessings, etc. The number "five" is auspicious and permeates all aspects of social life and ideology. The number "five" is used to construct the overall system of the order of the universe. This is the origin and prerequisite of the theory of five colors. The ancient number "five" is auspicious, and the worship of the five colors The color view is in line with the ancestors' psychology of seeking good luck. Historical records record: "The Sushen people (Sushen people - Jurchens - Manchus) specialize in divination of the colors of the sacrifices used in sacrifices, and are fond of the five colors of green, red, yellow, white and black."
In the process of using colors, the Manchu ancestors gradually discovered that it was impossible to get the colors cyan, red, yellow, white, and black by mixing any color, and they designated them as correct colors, symbolizing nobility and authority. The cross-mixing of two or more of the five colors can produce rich secondary colors. The cyan, red, and yellow in the five-color system are similar to the red, yellow, and blue in the modern color system.Three primary colors. The Manchu ancestors gradually formed the concept of worshiping five colors from the discovery of single colors, which influenced the direction of color culture in later generations. In ancient witchcraft and religious activities, peoples choice of colors is a kind of awe and piety, and it is also a symbolic form of the role of gods. With the penetration of the five-color view into the life of the Manchu people, the five-color aesthetic has also laid a certain psychological foundation for the development of the Manchu folk paper-cut art. People use romantic and unrestrained imagination, passionate colors, unique personalities, and natural pursuits to express real life, pursue harmony and satisfaction, and fully express praise and spiritual resistance.
As a physical phenomenon, the color of Manchu folk paper-cut art is also related to the concept of folk culture. It is described as a symbolic means and extends and expands its inner nature to connect with other things. Color is associated with specific concepts, and nature is also related in one way or another to human practical activities. The characteristics of the life cycle of the objective world are also reflected in the regular color changes in nature. The ancestors described and summarized the phenomena of nature. , and added to it, we came up with the "five-color system", which also implies the meaning of auspiciousness and auspiciousness.
Here, color has completely become a conceptual interpretation and symbolic comparison, rather than simply a visual and perceptual form of perception. The Manchu peoples use of color has become a subjective symbol and pattern. , and are endowed with special emotions and cultural concepts. In peoples traditional concepts, only those who conform to these traditional color concepts are auspicious and beautiful. Therefore, it is reflected in the aesthetic creation of folk art, especially paper-cut art, and it also shows a special appearance. In other words, the traditional symbolic and allegorical nature of color is one of the main basis for folk art creation. The traditional color concept, as a cognitive schema with special meaning, has influenced folk aesthetic creation, thus leading to the emergence of Manchu folk paper-cutting. The coloring of art is not purely visual, but a subjective, solipsistic and rational active participation.
In their long-term social life and artistic practice, the Manchu ancestors have conventionally endowed colors with unique symbolic meanings, and also provided a stylized style for the use of colors in folk paper-cutting art. For example, red symbolizes joy, auspiciousness and enthusiasm, etc., and is used for window decorations, birthday celebrations, wedding customs, etc.; yellow represents power, wealth and majesty, etc.; blue, white and black express more desolation, bleakness and grief. , mainly used for funeral flowers. Of course, in different categories, the meanings of the colors are not exactly the same, among which the door gods are the most vivid and prominent: for example, red symbolizes loyalty and bravery, such as Guan Gong; white symbolizes cunning and treachery, such as Cao Cao; black represents fortitude and integrity, such as Bao Gong; yellow symbolizes bravery and strength, such as Qin Qiong, etc. Although there are slight differences in the colors of folk paper-cut art in terms of symbolism and meaning, the symbolic and meaningful color habits have always been used throughout various art categories of folk art, reflecting the aesthetics and color views of the Manchu people.
