Traditional paper-cut shapes integrate original fine arts
In the childhood stage of human beings, the original intention and original intention of the birth of art was mainly for practical purposes such as sacrificial activities and witchcraft activities of primitive beliefs. To be precise, it is to express a certain spiritual meaning. Therefore, primitive art belongs to the category of image aesthetics. According to visual theory expert R.H. McKim, imagery should include the interaction of several aspects: first, the objectively visible part, that is, Vision; second, the imaginary and virtual part, that is, Imagination; and finally, the expression of composition. Part, namely Composition. Wang Bis "Book of Changes: Ming Xiang" says: "The husband is the one who conveys the meaning, and the speaker is the one who understands the image." Xiang originally refers to the hexagrams in the "Book of Changes", and its meaning has been specific from the beginning. . The "meaning" of the image is contained in the "image", which is the salt melted into the water, invisible but tasteful. In an image, what we see is the "image" and what we taste is the "meaning".
Folk art is the direct inheritance of primitive art. Therefore, the shapes of folk art also inherit the characteristics of imagery composition. As the basic shape of folk art, folk paper-cutting has gradually accumulated its own complete aesthetic perspective and modeling rules through the generations. It not only retains some functional characteristics of the original culture, but also condensed into the underlying culture in the long history. Or the materialized form of local culture, expressing certain cognitive concepts, ideology, value standards and aesthetic tastes of the people. Mr. Jin Zhilin once proposed that folk paper-cutting is a third plastic art system independent of traditional Western modeling concepts and traditional Chinese line modeling concepts. It is a subjective image modeling concept. The combination of imagistic paper-cut patterns is very common in the modeling system of traditional folk paper-cutting. The content and shape further complement the imagistic characteristics, forming a new characteristic structure in which humans and nature interact and blend with each other.
