"Maternal Feelings" in Shaanxi Traditional Folk Paper-cutting
Shaanxi traditional folk paper-cutting was born among the people, not the court, which clearly demonstrates the folk mentality and folk consciousness that influence the formation of this cultural form. Whats more important is the folk creations including paper-cutting, whose subjects are typical Chinese country women. Men account for only a very small proportion, especially in Shaanxi. Because I personally visited some villages in Yanchuan, Shaanxi, and found that more than 80% of the paper-cuttings in the villages came from the hands of women in the villages. They could cut out various graphic stories casually in groups at the entrance of the village, or alone at home. Therefore, it is not an exaggeration to call Shaanxi’s folklore works “maternal art”. Understanding the psychological background of "maternal art" will help you gain a better grasp and understanding of this art.
We understand that there are many animals in the Yangshao Cultural Site in Shaanxi in terms of shape. A large number of bird patterns, fish patterns, fish frog patterns, deer patterns, pig face patterns, human face fish patterns, etc. are displayed on the utensils, all showing soft and plump characteristics, and there are no ferocious animal images or scenes of bloody massacres. Those animals include those that fly in the sky, those that swim in the water, and those that are domesticated and docile. These are almost the most common companions of women in their daily life and work.
Based on the ancient social structure and economic basis, these creations are likely to be the work of women from the matrilineal clan. The lively animal images and human figures no longer appear on the pottery patterns unearthed in the patrilineal clan era. After the society developed again, bronzes appeared to symbolize the powerful class. The ferocious and fierce "beauty" is still seen by many people today. Appreciation, it reflects the cruel, selfish, heavy, powerful and predatory side of human beings. These qualities still exist in reality today; and the positive, optimistic, clear, simple and free realm of Yangshao culture has been nurtured in the relatively closed region of Shaanxi and accumulated in the hearts of mothers.
Judging from the form of traditional folk paper-cut patterns in northern Shaanxi, "good luck" and "vitality" are the emotions it wants to convey with the help of red paper. It seems&ldq"Uo; misery" has nothing to do with it. This phenomenon is what we are most concerned about. From the previous folklore events, we know that the art form of paper-cutting mostly appears in festivals, which is based on decoration and practicality, in order to increase blessings. Longevity and good luck. It has been the main purpose of creating plastic arts since ancient times. From this level, this is indeed a major factor affecting the expression of paper-cut art, and it is also an important factor. Therefore, it is conveyed in the joyful festival display cultural space What comes out must be a visual product that matches the atmosphere. We all know that artistic creation comes from life. Do they feel the splendor of life all the time? There is no doubt about it. From the survey, we learned that many outstanding folk paper-cut artists Throughout their lives, they experienced extreme material poverty, hunger and cold, and the death of their children and sick daughters. How could they breathe freely and happily under the fragility of life, the hardship of life, and the oppression of the Three Cardinal Principles and Five Permanents. However, they did not complain and were not transformed. On the contrary, they express their hope through scissors with their simplicity, kindness, and strength. But why don't they use Western tragic expressions to expose the paleness of life, thereby embodying their struggle against fate? The reason is that Western paintings are Visually oriented works of art have a clear target of service. That is, they serve the religious rule of the upper class. They often appear in religious places such as churches, advocating and promoting the happy ending of enjoying heaven after death through realistic atonement. They Use tragic colors to embody the powerful power of life to influence all living beings. On the surface, the traditional Chinese concept of "harmony between nature and man" gives people classical tranquility and harmony, but behind its form lies a process full of suffering, conflict, and struggle. Regardless of Is it the "humanization of nature" or the "naturalization of man"? She is not a religious solution to the pain of going to heaven, but a transformation of the hardships and pain of real life.
The content and form of Chinese folklore (including paper-cutting) is exactly the opposite of the West. Although Chinese religion also promotes the content system of promoting good deeds in life and achieving enlightenment after death, the creators and acceptors They all take ordinary people as the main body. As the subject of creation, they cannot explode their emotions to fight against the mainstream Three Guidelines and Five Permanents. This is not allowed by the social environment. In a life that has been devastated and even destroyed by life for a long time, they use huge endurance to extend their lives, not only to survive, but also to live better and better. They use auspicious formal language to liberate and transform the inner pain, support the unfailing spirit, and achieve a balance of mentality, which is also soothing to the soul. They can only use the sharp scissors in their hands to create a happy world that they long for, and forget the misery of the world with short-term fantasies. So what we see are all beautiful pictures and scenes. Sadness interprets a happy smile in this state, and it is also because the tenderness that turns grief into strength has created countless virtuous and honest Chinese women. Love supports the whole family. Shaanxi traditional paper-cutting artThe beauty has been famous all over the world. When many art masters in the world faced these strange shapes, they began to doubt the power of Picasso, Matisse and others, and thus began to admire the old ladies of Shaanxi, China.
The above are some brief background materials. Only by understanding these background materials can we have an objective analysis of the following understandings. Art is the purest and most accurate representation of life. The richness and simplicity of Shaanxi’s traditional paper-cutting art can be said to be the concrete embodiment of folk women’s collective outlook on life and values. Now let’s use some examples to analyze the subject’s creative mentality and see how they “enjoy joy in the midst of suffering”.
a. Reproduction and reproduction
The philosophical concept of the interaction of yin and yang, centered on the worship of reproduction, and the transformation of all things, always runs through the traditional paper-cut modeling in northern Shaanxi. Originating from "Yi Zhuan": "The fine structure of men and women, the transformation of all things" is the so-called "the way of establishing the sky, saying Yin and Yang&rdq
