The initiative of folk paper-cutting in Zhongyang and Luliang to take meaning from form
Folk art often truly reflects the simple aesthetic psychology and emotional temperament of the working people. The characteristics of simplicity, straightforwardness, confidence, and vividness are also reflected in Zhongyang folk paper-cutting. Paper-cutting art is created based on rational concepts and using intentional modeling methods. This makes the work appear unreasonable in the eyes of professionals in terms of accuracy of objects, time and space, anatomy and perspective. And perhaps it is precisely this so-called "unreasonableness" that contributes to the unique aesthetics and emotion of paper-cutting art.
Zhongyang paper-cutting artist Wang Jiru has a sketch of a liger and tiger composition, and the shapes are as desired. Some are majestic, some are handsome and delicate, some are smiling, and some are clumsy and curious. It is true that "the cutting is satisfying, and I am the master of creation." At the same time, the satisfying nature of this kind of tailoring also makes the same theme There are many styles and styles in different regions, different people and even the hands of the same person. In addition, the creative initiative of paper-cut artists is also reflected in their bold use of exaggeration and deformation techniques. This kind of application is not deliberately pursued, but stems from the paper-cut artists subjective understanding of objects and traditional aesthetic psychology. There are sayings: "A literati has a nail, a warrior has a bow", "Painters have no necks, painters should shave their shoulders", "Ten pounds of lions have nine pounds of heads, and one pound of tails are missing from the back of the head." This kind of empathic image construction makes people feel comfortable. The work enhances the strength of the shape, and also makes the folk paper-cutting art hide an eternal inner potential. Paper-cutting in the hands of skillful women is never limited by natural objects. In order to express an artistic conception, they will break through all kinds of constraints. , using extremely rich imagination and random decoration to shape objects in nature.
For example, "a mountain" is a commonly used theme in Zhongyang folk paper-cutting. It seems to show people a real scene in an era when humans and animals coexisted, and it also brings the human childhood situation in nature to us, forming a This is a very typical romantic work that replaces reason with emotion and imagination with necessity, and its evocative connotations stem from bold imagination and exaggeration. thisThis general characteristic of "sacrificing form and taking meaning" is also reflected in the authors use of direct methods to express invisible things. For example: In order to illustrate that "she" is a mother, a lively child image is cut out of "her" belly. This kind of modeling treatment, which looks like X-ray perspective, actually increases the interest in life and makes the picture vivid and touching. Similar dishes include flowers growing in the belly of fish, cutting five poisons out of chicken belly, and flowers from all four seasons arranged in an arbitrary manner, etc. Folk artists usually do not take shapes according to the draft, but first decide on the big shape based on their imagination, and then cut it straight from big to small, and grow it at will. This is deeply rooted in the profound philosophy of "big skill is as clumsy" in Zhuangzis thought.
In addition, the themes and formats of Zhongyang folk paper-cut patterns are adapted to local folk customs and practical needs. The most common one is window grilles, whose size and shape vary with the window. The smaller ones are delicate, clever and childish; the larger ones have four-cornered, hexagonal and octagonal "round flowers", which are elegant and generous, which fully reflects the Zhongyang folk paper-cutting meets the material and spiritual practical requirements of the common people in terms of shape. "The grass is green again in spring, and the apricot blossoms are still red for ten miles." Zhongyang folk paper-cutting uses concise generalizations and bold exaggerated deformations to express the characteristics of things. It has the legacy of the original painted pottery and the stone carvings of the Han Dynasty. It seeks truth through exaggeration and seeks for transformation through deformation. Spiritual resemblance, simplicity and richness, symbolism and interest. These modeling characteristics can be fully confirmed in the Han Dynasty tombs and portrait stone carvings excavated in this county.
