Current status of traditional folk paper-cutting in Shaanxi
Now in Shaanxi, Shaanxi’s traditional folk paper-cutting art has received strong support from the government. Various regions and cultural departments have begun to organize and exhibit works. Many works have appeared in northern Shaanxi, southern Shaanxi and Guanzhong areas. He is a representative master of folk paper-cutting craftsmanship. At present, many well-known folklore researchers, experts, and professors in China are also working on collecting folk paper-cutting works to promote Shaanxi. They have traveled across mountains and rivers to collect the works and published them in books, which provides us with information about Shaanxi folk paper-cutting and subsequent research. Lots of picture material. For example, "Fourteen Walks of the Yellow River" by Yang Xianrang, "Goodbye Tradition" by Lu Shengzhong, "Chinese Folk Art" by Jin Zhilin, etc. As part of the "intangible cultural heritage", Shaanxis traditional paper-cut art has entered the world stage and been recorded in history. Many folk art groups and companies have also begun to turn their attention to the research and development of Shaanxi folk paper-cutting. When I was studying in Shaanxi, I saw a tourism company in the antique street coming to investigate whether Shaanxi paper-cutting was suitable as a tourist souvenir. To carry out development, they conducted a questionnaire survey on out-of-town tourists, especially foreign tourists. I also asked them about their research at the scene and learned that they had reached an agreement with the famous local paper-cut artist Guo Rulin to jointly develop the style of tourist products. Initially, I want to use paper-cut modeling styles to develop decorative fabric products. From this point of view, the strong appeal of Shaanxi traditional paper-cutting art as a basic folk shape has attracted a lot of favor.
It is understandable that our predecessors have left us many valuable treasures. However, judging from the large number of research results and published books and materials, they still stay on the surface of the regional characteristics and cultural attributes of paper-cutting. In terms of analysis, there is no in-depth exploration of the causes of paper-cutting shapes, so that when we face it, we can only superficially see its gorgeous appearance, and have no ability to come up with our own methods from our own academic weapons. Weapons, let alone using them flexibly. Therefore, only by having a comprehensive and in-depth understanding of Shaanxi traditional folk paper-cutting can we make it play a wonderful role in our future designs. Otherwise, traditional art in the United States can only stay in the past.
Don't care nowAll folk traditions have been labeled as "art" and have been promoted to the elegant hall. If it is out of emphasis on folk art, there is nothing wrong with it, but if it is just a utilitarian mentality that abandons the roots of the ancestors, it would be too pitiful. We should understand and develop traditional art with a calm mind. We cannot just stop our research on its decorative appearance. Only by stepping down and truly integrating into it can we have a real feeling for traditional folk art. Only then can we really see it clearly.
