Characteristics and content of modern She paper-cutting
1. Show scenes of production and life. In the early years, most of the She people lived in the mountains. She women often carried pine rakes up the mountains to collect pine needles in order to make fires for cooking. The work "Snap" reproduces the beautiful moment of She family women collecting pine needles and taking a rest. The characters in the work are wearing phoenix costumes, phoenix buns, leggings, and straw sandals. They hold pine rakes horizontally with both hands. The unique layout of the characters and working tools highlights the scene of taking a nap during work. In addition, because the She people live in scattered places, they do not have their own national market or independent industry and commerce. The exchange of daily necessities must be carried out in Han towns or villages. Lin Chunyings work "Aunt and Sister-in-law Go to the Market" vividly depicts the scene of the two sisters going to the county town and passing the Fengyu Bridge to rest. In the work, the two characters have their own charms, graceful postures, and tell each other their inner secrets. In addition, the She people are industrious and simple, and their main feature is that men and women work together. Zhu Xuesuns paper-cut work "Four Seasons of the She Family" shows scenes of spring farming, summer fishing, autumn harvest, and winter entertainment.
2. Show the traditional festivals and folk customs of the She people. For example, Zhu Xuesuns work "Spring in the She Family" shows the scene of the traditional festival of the She people on March 3rd, reflecting that the She people are a nation that loves folk songs. Men and women fall in love through antiphonal songs and get married. This is also the traditional marriage and love of the She people. feature. Another example is in Yu Youqins work "Come Big Hair", the sister-in-law is combing the hair of the bride of the She family who is about to get married, which is called "Combing Big Hair". The work adopts a traditional circular structure, with the figure in the middle and red flowers surrounding it. The petals curl freely and the flowers are intertwined, implying that life is as beautiful as flowers. It perfectly incorporates the shy scene of a She ethnic girl dressing up when she gets married. Another example is "She Family New Year", including adding new clothes, making glutinous rice cakes, steaming rice cakes, brewing new year wine, eating longevity noodles, singing ancestral songs, having a New Years Eve dinner, cleaning the hall and posting couplets, buying new year goods, shaking bamboos to drive away the plague god, and paying homage to ancestors. Pictures such as ancestral pictures show the annual customs of the She people. Each scene is also accompanied by a poem, such as "It is difficult to start a business, and it is a new chapter every year. Exhibit the picture to worship the ancestors and inspire future generations.
Fourth, the change of shape. The traditional paper-cutting of the She people mainly focuses on individual, continuous and suitable patterns. Simple patterns are the basic forms in She paper-cutting. There are two main new modeling methods in processing simple patterns.Category: First, highlight the main part after superposition. Simple scenes often have local spatial superposition problems. For example, in Xue Jinjins "The Return of the Shepherd", the young man touches the back of the cow with his left hand, the treatment of the arms; the girl riding the bull, the treatment of the feet, etc. These superimposed parts can be cut out by cutting, which often chooses to highlight the main part. The second is that the superimposed part moves outward. For example, in Yu Youqins "Mother and Child", the mother bends her back and holds the child on her back with both hands. It is difficult to handle the crossed arms and legs of the child and the mother. The artist moves the child slightly outward, but because the mother and child are connected, The content of the pattern can be known through peoples inherent understanding.
The complex patterns that appear in the flow are another form of creative paper-cutting. Compared with simple patterns, complex patterns express large scenes or scenes with many contents. For example, Zhu Xuesuns "Spring in the She Family", "Wedding Customs of the She Family", etc. The creator handles numerous characters, storylines, and spaces before and after expression on large paper, which has become a new breakthrough in creative paper-cut modeling and techniques.
Regarding the creation of complex patterns, Zhu Xuesun said: "The works I create are all relatively large-scale, usually panoramic and large-scale paper-cuts, with dozens or hundreds of people. This style is developed in a long-term creative process It was slowly formed with the development of the times. Of course, it was relatively small at the beginning, such as the girls of the She ethnic group delivering public food and learning culture. As society continues to develop, there are more and more new things, and the scenes reflected in it are small and relatively small. It is difficult to express, and just cutting out one or two people is not enough, so I turned it into a panoramic paper-cut, which reflects different scenes and expresses a happy and peaceful atmosphere (on the whole)." For example, in the work "Wedding Customs of the She Family", the characters' The quantity and storyline are fixed. In order to solve the styling problem, the creator used comic book-style paper-cutting. He formed a flat formal language through small segmentation, reproducing more than 20 scenes of the wedding customs of the She people, mainly including "visiting the house", "engagement", "dividing family property", "crying for marriage", "embarrassment" "brother-in-law", "welcome the bride", "pay a visit to the church", "antiphon", etc. The works are rich in composition and full of interest. Among them, the most characteristic scenes of the She people are scenes such as crying for marriage, being embarrassed to be an in-laws uncle, making a fuss about the house, making poems, and worshiping in the church. For example, in "Crying to Marry", on the day of the wedding, married women of the She ethnic group cry songs to bid farewell to their parents and relatives; in "Worship Hall", "men kneel and women do not kneel." According to legend, women of the She ethnic group are the princesses of Emperor Gaoxin, so they are not allowed to kneel. . During the "bridal party", men and women sang in the circle, which was civilized yet humorous, lively yet elegant. In short, life is fluid, and She paper-cutting is constantly changing. After the reform and opening up, society developed rapidly
Exhibition, the creative paper-cutting based on the She people has undergone changes in terms of creative subjects, uses, themes and shapes. The work artistically reproduces the production customs, marriage customs, seasonal bathing habits and belief customs of the She people, and has distinctive national characteristics, local characteristics and era characteristics. Studying the evolution of paper-cutting can enable us to pay more attention to how to preserve the stability of customs and the space where paper-cutting exists, and to pay more attention to the new changes in its creators, users and social context, and to make more reasonable judgments. its direction of change.
