The commercialization of Chinese folk paper-cutting is reflected in folk life
Folk paper-cutting art serves the majority of working women in rural areas, who are the buyers of artists' works. Like other businesses, folk paper-cut artists also need to understand the needs of working women, their aesthetic habits and folk psychology, timely grasp their reactions to their own patterns, and continuously improve the practicality and artistry of their works. , until it became their most popular style. Regarding the efforts of folk paper-cutting artists, Shen Congwen said in "Tahu Paper-cutting Patterns": "After the pattern is cut, it will go through another processing procedure, using fine needles to carve some pinhole lines on the paper to indicate the embroidery method and The most important thing is the completion." Because the Tahu paper-cut patterns are particularly exquisite and can meet the requirements of the nühong craftsmanship, they have been popular for decades. Most of these folk paper-cutting artists maintain their traditional skills and artistic styles by passing them down from generation to generation. Nanjing folk paper-cutting artist Ma Lianxis grandmother Ma Laotai and father Ma Zhihong were both famous paper-cutting artists in the paper-cutting industry in Jiangsu, Anhui and Shanghai. my countrys famous folk paper-cut artist Zhang Yongshou has been engaged in the art of paper-cutting for six generations by her daughters generation.
Because folk paper-cutting artists are not divorced from the living environment of working people, they always aim at the needs of working people and make their works conform to the aesthetic habits of working people. Their paper-cutting art is still within the standards of Chinese folk paper-cutting art. They devote themselves wholeheartedly to the hand-made production of paper-cut art. In addition to carefully composing the picture, beautifying the image, and achieving the most perfect unity of cultural connotation and female red craftsmanship, they also pay more attention to the study of paper-cutting techniques and the training of basic scissoring skills, paying special attention to the smoothness and change of the cutting line and the complete collection of paper-cutting patterns. style. Cutting a sketch only requires one cutting thread. When the work is completed, it will present two works, Yin and Yang. When they train their apprentices, they have strict requirements. The flowers with five petals must be cut to equal sizes, the stamens must be aligned, the arcs must be regular, and the shape must be refined. Zhang Yongshou summarized his paper-cutting style in five points: sharp as a wheat awn, round as an autumn moon, square as a brick, and linear as a beard (the old man’s beard is naturally curved). These five points fully demonstrate the skills of folk paper-cutting artists in the art form of paper-cutting. persistent pursuit. This persistence coupled with their continuous tempering of their works and generation after generationAccording to legend, it has made many patterns and artistic processing techniques become stable patterns, strengthened stylized formal expressions, emphasized the contrasting rhythm of lines and surfaces, and made his works as a whole more craftsmanship and more refined and beautiful. The influence of the paper-cutting patterns of folk paper-cutting artists can be seen in folk paper-cutting in many places across the country.
