Chinese folk paper-cut art and style
Chinese folk paper-cutting is the most common and active art form in my countrys folk life. In the vast land of China, from south to north and east to west, as long as people live there, it will be there. It has the social customs of a nation and a strong flavor of life, reflecting the simple and healthy thoughts, feelings and beautiful ideals of the working people. Chinese folk paper-cut art is a companion in the lives of working people and a "living fossil" for the study of national culture and folk art; it is a rich treasure of national culture and art and folk art. Folk paper-cutting not only has a large number of works, many authors, and rich subject matter, but also has colorful artistic forms and magnificent and touching expression styles.
< /p>
The form and content of art are inseparable. The content of an artwork is expressed through the form adopted by the work. Any artistic form has its own beautiful characteristics, which is the style of art. Chinese folk paper-cutting has its own unique modeling system and expression style. The authors of folk paper-cutting used the stylized and beautiful form of paper-cutting to transform some ordinary materials into excellent works of art, which left a profound impact on people and the authors distinctive personality mark.
Style is to art what cells are to biology. It not only determines the type and personality of art, but also determines the overall type of culture. Art "is not only expressed in its external form, but first of all in the nature of the material and spiritual role that art plays within culture." This theory is also meaningful for the style of Chinese folk paper-cut art. The style of Chinese folk paper-cutting is not only reflected in its composition and shape, but more importantly, in its carrying and dissemination of folk culture, the cultivation of folk aesthetic consciousness, the cohesion of the national spirit, etc. in the Chinese nation and The practical and spiritual role played in folk culture. Style is not isolated, it is the totality of various factors expressed in art forms. It exists in many factors expressed in art forms. Swiss esthetician W?lfflin used tree branches as an example to clarify the meaning of style in ((Art Stylistics)): "This is not because we can identify painters from isolated stylistic features, but becauseAll the elements of the sense of form are reflected in even the smallest section of a branch." When talking about the differences in styles of different human body paintings, he said: "We compare the whole or parts, and this difference exists everywhere. Just from the depiction of the nostrils, we have to admit that each style has its essential characteristics. "As Borev said, style is the "genome", which makes every artistic cell subject to the overall structural intention. It is ubiquitous in paintings, and it has the same meaning for the Chinese folk paper-cut art.
When Wang Chaowen reflected on his understanding of the characteristics of folk art and talked about describing the basic characteristics and styles of various types of art, he should pay attention to the fact that this kind of description can make a "not this and that" distinction between various types of art. This is a very important criterion. According to this standard, when understanding the characteristics and style of Chinese folk paper-cut art, we must first find out the individual differences in formal expression characteristics between it and other art types. At the same time, extracting common features from the formal expression tradition of Chinese folk paper-cutting can help us grasp its unique cultural mechanism and its characteristics that distinguish it from other national cultures and arts. This is an important research topic. For the development of Chinese folk paper-cut art, and “for the development of other new and beautiful arts, it is also necessary to take these folk arts seriously.”
