Chinese folk traditional paper-cut pattern combination shape
Folk paper-cut works are the result of folk artists' emotional feelings for objects. Therefore, the creation process of paper-cut art embodies a high degree of harmony between "objects" and "I".
First, the harmony of art forms. First of all, from the color system of folk paper-cutting, ordinary people believe that "bright" is yang and "dark" is yin. In terms of color aesthetics, they reject the use of black in festive activities. Folk paper-cutting is mainly used in folk life to express positive emotions and wishes in a warm and festive atmosphere. Even some funeral paper-cutting does not need to be black, so when folk talk about paper-cutting, there is no "black and white contrast". In similar terms, ordinary people only talk about yin and yang. This is a reflection of the concept of yin and yang harmony in the thinking and understanding of working people. Secondly, in terms of the external form of folk paper-cutting, the engraving technology itself distinguishes yin and yang. In traditional folk paper-cutting, the protrusions are yang and the concave parts are yin; the patterned parts are yang and the hollowed parts are yin; the main object is yang and the supporting object is yin. This is another symbol of the harmony of yin and yang in the understanding of working people. A form of expression. The concept of yin and yang harmony has a great influence on the artistic expression of Chinese folk paper-cutting.
Second, the harmony of the creative state. In paper-cut works, subjective emotions are expressed through the blending of emotions and objects. This blend of love and objects is a natural blend between things and ourselves. Folk proverb says: "Giving birth to a girl requires skill, pomegranates and peonies are born with splendor." The so-called maojiao means that you can follow your heart and create your own interest. The traditional folk paper-cut art comes from ancient art and inherits the original rough and bold, vigorous and fierce primitive temperament of human beings. They create without drawing or tracing, and the natural forms have already been transformed into the patterns in their hearts. They pick up the scissors and complete the work in one go, with freehand brushwork and style. They cut with emotion and carve lines with intention. Wherever the heart goes, the form will follow.
The harmony of internal tension in paper-cut shapes. The combined shapes in traditional folk paper-cut patterns not only simulate the external natural forms, but also achieve the harmony of internal tension in the interplay of movement and stillness, virtuality and reality. In terms of materials, paper-cutting belongs to theStatic art can only capture momentary images for two-dimensional artistic expression. However, folk artists have their own clever ways to overcome the limitations of materials in their creations. In a group of traditional paper-cut pictures from the western Henan region, we found dynamic pictures that reflect the theme of human marriage, love and reproduction. The first paper-cut is our common happy flower "Hehe Button Bowl", which highlights the happy love between the two sexes; and in the second and third paper we see the "flowering" button bowl and the "fruiting" button bowl, The theme of having children and progeny is very obvious. In the eyes of folk artists, the world around them is active and flowing, and static is not enough to describe the whole picture of life, nor is it enough to fully express their inner wishes. Therefore, under the influence of imagery thinking, they naturally choose to use The way to express it is through serial patterns. Each single page of paper-cutting is a dynamic story, and when combined together, it is a dynamic process. Marriage, love, and reproduction in human society are fully reflected here. In addition, the way of thinking in imagery can also create visual symbols for concepts, social phenomena or events that have no specific images, and make folk paper-cutting produce the effect of complementing virtuality and reality. In traditional rural folk paper-cutting, tangible paper-cutting and intangible folk custom concepts are harmoniously and skillfully integrated to give it imagery content. For example, the good wishes of "marriage, love, reproduction" and "blessings and blessings" are expressed in "Fish Play" Patterns such as "Lotus", "Buckle Bowl and Harmony", "Lotus Gives Birth to a Noble Son", "Five Blessings Holding Longevity", "Deer and Crane Spring Together" make folk paper-cutting become a "meaningful form". Intangible meanings arise from tangible pictures, infinity arises from the finite, and limited forms have infinite capacity. These are all the results of the interplay of virtuality and reality. The interplay of movement and stillness and the interplay of virtuality and reality in folk art weaves into the harmonious rhythm of life of the work.
