Linear comparison method of Chinese folk paper-cutting
When facing Chinese folk paper-cutting, admiring and studying the creators use of modeling lines, I mentioned a passage in "The Question of Style": "These works of art undoubtedly want to capture people and animals as much as possible with outlines. The actual appearance. People and animals were originally consciously transformed into stylized linear patterns, just as geometric decoration was consciously composed of lines according to the principles of rhythm and symmetry." Use lines to capture the appearance of objects. The use of lines should be based on the principles of rhythm and symmetry. It also has a certain summary significance for the Chinese folk paper-cutting art. Combined with Chinese folk paper-cutting, compare the works of Zhang Linzhao from Fuxian County, Shaanxi Province, and the works of Wang Guiying from Jiangsu Province. When these two works are put together, you will immediately feel the different principles based on their use of lines. Zhang Linzhao has experienced ups and downs, and her lines visually give people a short and jagged impression, showing a kind of bitterness of fate. Appreciating her works gives you a feeling of remembering the sweetness and remembering the bitterness. Wang Guiyings work was cut out during a meeting in the county based on the advanced deeds of her roommates representatives. The lines are stretched and smooth, and the hearty style ripples with beautiful melody, giving people passion and care. Of course, the principles mentioned here are different from those in "The Question of Style". The principles he mentioned only refer to form.
There are many differences between the line modeling of paper cutting and the line modeling of Chinese painting. In Chinese painting, a vivid and rhythmic line can be drawn with one stroke. In paper-cutting, you may not be able to cut a shape line once you cut it. If you cut straight on the paper, you won't be able to cut the shape line. You can only leave a cutting line on the paper where the scissors run. A single-direction straight cutting line is meaningless to the art of paper-cutting. It is an invisible line from the perspective of perspective and cannot create impact. If you cut it, make the cutting line wrap around a slender square, willow leaf shape or circle on the paper, that is, connect the end of the cutting line to the end, and a negative line (a) that can be used for modeling will be cut out of the paper. point). Leave this negative line and cut another same cutting line with a gap next to it, so that you can cut out a negative line for modeling on the paper. This kind of negative thread is the main thread used in paper-cutting, and the negative thread is mostly used in paper engraving by folk artists. From the above cutting process of Yin and Yang lines, the following summary can be made: In the depiction of paper-cut patterns, the modeling lines, whether they are Yin lines or Yang lines, are produced with the cutting., the former changes with the change of the latter. Thread trimming has the following characteristics: 1. Thread trimming is roundabout and continuous, and negative images appear on the paper. 2. The cutting lines are not connected, and no graphics appear on the paper. If the cutting lines break through two points on the edge of the paper, the paper is broken. 3. When one trimming line has two intersections with another trimming line, the paper between the two trimming lines will fall off. Therefore, unless there is a special need, avoid crossing between the trimming lines. If any cutting line in the scissors is connected end to end, some parts of the paper-cut pattern will fall off, making the work incomplete. Therefore, the line-to-line connection feature of paper threads in paper-cutting is guaranteed by the continuous and non-crossing of the cutting lines. This kind of line cutting is abstract. The creators of paper-cut art transform it from a potential existence in nature into an independent existence in art, and separate the parts that need to be cut out from the paper-cut pattern. Without this kind of cutting line, no matter how good the pattern is, it is just a painting pattern, and there is no attribute of paper-cutting art at all. Therefore, line cutting is the defining feature of paper-cutting art. The wider the paper line, the more obvious it is. The narrower the paper line, the easier it is to ignore the trimming line. This is because the trimming lines are always distributed along both sides of the paper line. They hold the paper line out and give the paper line rhythm. , rhythm, vitality, while hiding itself behind it. In turn, if we look at the works of Zhang Linzhao and Wang Guiying, we can see that the line appeal and rhythm of their works are conveyed by the cutting lines next to the paper lines. The so-called frustration of the line is actually shown by the twists and turns of the trimming line, and the shape of the paper line only strengthens this expression. Regarding the line cutting in paper-cutting, should we also pay attention to the beauty of line cutting in the same way that Chinese painting attaches importance to the beauty of line itself? In fact, the emphasis on the beauty of line cutting is just like Chinese painting pursuing the beauty of lines; oil painting pursuing the beauty of strokes. Paying attention to the beauty of line cutting is an effort to avoid and overcome the painterly nature of paper-cut art. To inherit the excellent tradition of folk paper-cutting, pay attention to the inheritance of pattern patterns, and do not ignore the essential characteristics of folk paper-cutting and the inheritance of related techniques. The use of brushes in Chinese painting makes the lines of Chinese paintings different from the lines of Western paintings. If Chinese paintings lose their own characteristics of the use of brushes, they will be the same as the lines of Western paintings. Maintaining the tradition of Chinese paintings will become an empty talk. There should be no doubt whether cord cutting has the same effect. The "shape-breaking method" in paper-cutting is the individual characteristic of Chinese folk paper-cutting art formed by cutting lines that is independent of the image.
When the line is positive, it becomes a paper line shape, and the lines are connected; when the line is negative, it becomes a hollow shape between the paper lines, and the lines are not connected to each other. Another type of thread is the invisible thread, that is, the trimming thread. In addition to the functions mentioned above, in ethnic minority embroidery patterns, it is often used to indicate the embroidery line and form a unique style. The various changes of these three types of lines and the different applications of mutual integration make the materialized forms of paper-cut art rich and colorful, and the linear artistic form shines brightly.
