The same elements of Xinjiang ethnic minority paper-cuts
The main styling elements of Xinjiang ethnic minority folk paper-cuts are similar. The main modeling elements of folk paper-cutting are the basic visual elements in paper-cut graphics—points, lines, and surfaces. Their characteristics and their mutual relationships are based on the creative rules that are organized according to the aesthetic characteristics of creators of different nationalities. , so different artistic effects may be achieved.
The paper-cut patterns of various ethnic groups in Xinjiang are mostly in the form of lines, especially thick line shapes, which show a powerful, substantial and thick effect. Line modeling is a basic feature of decorative art. In paper-cut works, lines have rich expressive power. When modeling, they break the limitations of natural shapes, or use linear patterns to decorate, or use parallel arrangements of lines to decorate according to the movements of characters. Due to the prosperity of Islam in Xinjiang, decorative arts have developed unprecedentedly, extensively absorbing the characteristics of Tang grass, Persian curly grass and Arabic artistic styles, forming its own beautiful curves.
The shape formed by combining the straight lines in traditional paper-cut window grilles with the curves favored in Xinjiang is more decorative. Especially in the paper-cut shapes of various ethnic groups in the grassland and desert, cow, sheep, and antlers are used either explicitly or implicitly. As a symbol of beauty, these curves turn into more complex lines of beauty with their various contrasting relationships, forming curly and continuous waves. The expression of "line" in paper-cutting draws on the traditional expression technique of "connecting lines and breaking lines" of Central Plains paper-cutting.
