An overview of folk paper-cutting in various parts of China
Shaanxi: Shaanxi folk paper-cutting mainly includes Dingbian, Jingbian, Wubao, Yulin, Yili!, Mizhi, Yan'an in northern Shaanxi, Fengxiang, Fuping, Sanyuan, Xunyi in Guanzhong, and southern Shaanxi. Near Hanzhong and other places, they often appear in the form of window grilles. The paper-cutting style of Guanzhong and northern Shaanxi is ancient, simple, vigorous and bold, which is in line with the "deep and majestic" artistic style of the Qin and Han Dynasties. The paper-cuts in the Guanzhong Plain area are sophisticated yet simple, bold yet beautiful, revealing the charming characteristics of Tang Dynasty art.
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Here we mainly talk about folk paper-cutting in northern Shaanxi.
Northern Shaanxi folk paper-cutting has a certain folk practicality. Because it is very regional, it has a great connection with the local history and cultural traditions, and is deeply nurtured by the local ancient culture. It inherits the artistic style of the Han Dynasty, which is simple, solemn, concise and general, and retains the vigorous vitality of the art of the Han Dynasty. The integrity and momentum are quite outstanding, and it has distinctive artistic characteristics.
Because it is located in the interior of the Loess Plateau, the folk paper-cutting art of northern Shaanxi is less affected by foreign influences. It has ancient national traditional characteristics and rich local flavor in both content and form. The strong colors, bold and stretched lines, and exaggerated and romantic shapes are all intrinsically related to the temperament and aesthetic taste of the people of the Loess Plateau, and form a strong contrast with the skin color, cave dwellings, earthen walls, and furniture of the people of the Loess Plateau. The folk paper-cutting here is still native to the people. All kinds of works are made by local farmers. They are scattered and freely produced. There is no special person to design, no special production organization, no professional "director", but A “side job” for farmers. Therefore, the works are not restricted by any form, there is no trace of professional processing, and there is little craftsmanship. They appear diverse, romantic, strong, extensive, natural, and full of the earthy flavor of life. Since folk paper-cutting in northern Shaanxi is a folk art form, it is responsible for the continuation of folk customs. The basic patterns and stylized techniques of his works are the same and fixed, and the way of inheritance is passed down from generation to generation with little change.
Hebei: A folk paper-cutting artist from Yu County, Hebei Province.The work absorbs the creative methods of woodblock New Year pictures and woodblock watermark window grilles, mainly using Yang carving, and adding color rendering. Its composition is full, the shape is vivid, the color is bright, and it is full of decorative meaning. It is said that in the Qing Dynasty, there was a Taoist Zhang and Mr. Wang in the city who invented new techniques of paper engraving and dyeing that were different from other places and provinces. Their works were mostly flowers, birds, fish and insects, with the characteristic of "color can be seen when carving in the shade, and color can be seen in the carving in the Yang". "Knife" techniques. The contents of Hebei paper-cutting include historical stories, folklore, dramatic characters, flowers, birds, dragons and phoenixes, auspicious patterns, etc. The shapes include rectangle, square, circle, angle, etc. The colors include bright red, bright green, rhubarb, rose red, purple, blue, etc. It is festive and warm, with colorful colors, fine lines and beautiful patterns.
Jiangsu: Jiangsu paper-cutting is mainly produced in Yangzhou, Qiuzhou and Nanjing, each with its own characteristics. Yangzhou paper-cutting is delicate and delicate. It is good at using extremely fine lines to organize the picture, and pays attention to the combination of cutting and carving. Qiuzhou (formerly Qiu County) combines paper cutting and engraving, with a rough and bold style, bold and bold style, general and exaggerated shapes, vivid and expressive, and has the artistic characteristics of simplicity, simplicity, simplicity and nature. The black and white distribution of the picture and the layout of points, lines and surfaces are all unique. The styles include shoe flowers, hat flowers, sleeve flowers, boutonnieres, apron flowers, trouser leg flowers, pillow flowers, kang flowers, door curtain flowers, window flowers, basket flowers, lamp flowers, wedding flowers, elder flowers, sacrificial flowers, etc. Nanjing paper-cutting is "beautiful but not frivolous, elegant but not solemn," and has no greasy or greasy air. The themes are mostly traditional mascots, and the presentation method adopts the format of "flowers within flowers", which is very distinctive.
Guangzhou: Guangzhou paper-cutting is mostly used for festive festivals, for decoration of gifts, and some are also used as embroidery manuscripts. Guangzhou Chaozhou paper-cutting is characterized by exquisiteness, meticulousness, and elegant taste, such as "Kite Flying", "Twin Guns Playing with Guns" and other works. The thin, silk-like lines are neither sparse nor dense, forming a formal beauty beyond the image. Guangzhou Foshan paper-cutting has the characteristics of splendor and splendor. There are five special production methods: copper lining, copper writing material, paper writing material, gold flower and silver writing material. They have different color effects, making them excellent decorations for residential buildings, sacrifices, crafts, and packaging.
Heilongjiang: Before paper became popular, the Mongolian, Manchu, Sauron and Han people living in Heilongjiang had already used thin sheets of metal, silk, fish and animal skins, birch bark, etc. to cut and carve various patterns and patterns. Image. Over the years, the fusion of various cultures has formed the distinctive characteristics of Heilongjiangs traditional paper-cutting. It mostly uses the method of "silhouette flowering" (intaglio) to cut out the image, and then blackens it with pine smoke. The back of the hollow part of the picture is lined with colorful paper, which has the strong contrast, hearty and rich feeling of the northeastern snowy areas of white mountains and black water. This style of paper-cutting generally has thick and powerful lines, and the division of shapes is relatively integrated, so that the black linear weight is sufficient to suppress the interference of colorful colors on the shapes.
