Themes in Fujian folk paper-cutting
Zhangpu paper-cutting artists mostly live in coastal towns and rural areas. In front of their door is the blue sea and white sandy beach. They are familiar with the fishy sea breeze and the passing fishing boats. They watch The rafters outside the window are netting seawater or fish and shrimp. They rush to each returning fishing boat to bring back joy or sorrow. So they cut the sea, the boats on the sea, and the fish, shrimps and crabs on the sea.
Restricted by geographical location, Zherong’s folk paper-cut works lack boats and shrimps, which is in sharp contrast with the seaside theme. With his experience of life and bold and rich imagination, he expresses his thoughts and feelings Reproduced with paper cutting, it inherits the simple and rough style. However, the exaggerated, sketchy, and deformed birds, beasts, insects, and fish are simple and cute, full of humor, and overflowing with emotion. Daily necessities, such as pottery pots, have random shapes and no symmetry. The yin and yang changes in the hollow parts inside are different in size. They are transparent and clear, and the beauty of the transition is obvious. Some shapes are not as realistic as the images in front of you. The overall picture is complex but not chaotic, giving people a sense of joy. (Reference reading: Detailed description of Fujian folk paper-cutting art)
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Looking back at the characteristics of Pucheng paper-cutting, one is that paintings are composed of words, with words in the paintings and paintings within the words; secondly, there are mostly single patterns, which is related to the fact that paper-cutting is mostly used to embellish and decorate festive events; thirdly, It is a homophonic meaning, because the carrier is mostly folklore activities, and people often pour their best wishes into it; fourthly, the imprint of traditional culture is obvious, and folklore and mythological stories occupy a certain number of patterns; fifthly, the patterns are passed down from generation to generation, and most of the patterns are passed down in their original form. Pucheng folk paper-cutting has rich themes, diverse forms, exquisite compositions, rough or delicate techniques, presenting a simple and vivid charm. Patterns are mainly divided into theme patterns and group character patterns. The theme patterns include: fish and lotus pattern, chicken and bird pattern, pomegranate and peony pattern, mouse melon and fruit pattern, gourd pattern, lion and tiger pattern, etc., which are mainly based on farming culture.
Southern Fujian paper-cutting, represented by Quanzhou, has something in common with Pucheng paper-cutting in the combination of calligraphy and painting. But the difference is that the marine life is often picturesque. For example, Quanzhou has the custom of carving "red paper" during the Spring Festival, which is steeped in the legacy of the Tang and Song Dynasties. The paper-cuts are engraved with the words "Qilin", "Carp Jumping over the Dragon Gate" or "Fu" and "Longevity", and are surrounded by pictures of ancient coins.case; "Changjin" is two inches wide and six inches long. It is engraved with magpies climbing plum blossoms, grain harvests, etc., and is usually posted on the lintel of the door. Every household will paste the carved paper on the lintel or the top of the Spring Festival couplets and spread it in the wind to increase the festive joy.
