The art form of Fuyang paper-cutting
1. Hard and soft, harmonious and vivid form
Fuyang paper-cutting is influenced by the Taoist concept of "yin and yang" and pursues the combination of yin and yang, a combination of hardness and softness. The juxtaposition of hardness and softness is the perfect harmony in Fuyang paper-cutting. It mainly includes shape contrast, size contrast, thickness contrast, fine and thick contrast, position contrast, etc. Reflected in the modeling method of paper-cutting, it is good at using the alternating technique of yin and yang scissors to process and grasp the relationship between black and white, which makes paper-cutting more clear-cut and the effect richer and more harmonious. Like the relationship between unity and change in constituted form.
For example, the paper-cut work "Nezha Naohai" is the effect of the interplay of virtuality and reality in Fuyang paper-cutting. The knife technique uses a combination of yin scissors and yang scissors. For characters, Yin scissors are used to cut off a small amount of lines, leaving a large area of ??surface; for dragons, Yang scissors are used to remove the dragon scales and retain the image of lines. The contrast between blocks and lines, virtuality and reality formed in the picture makes the images of man and dragon rely on each other. In the shaping of objects in Fuyang paper-cutting, some places are bold and some are delicate and graceful, forming a contrast between fineness and roughness, hardness and softness, and the entire paper-cutting is harmonious and vivid.
Nezha Naohai Cheng Jianli
2. Extensive material collection and rich content
The themes of Fuyang paper-cutting are divided into four categories: auspiciousness and celebration, flowers, birds, fish and insects, folk operas, and real life themes. The content involves various fields such as literature, history, life, production, etc. It is good at expressing labor scenes and rural life and is good at depicting characters. shape. Many of these themes are based on nature and are reproductions of natural things, which have their simple and beautiful side. For example, real life themes, flowers, birds, fish and insects are based on animals and plants in nature.
The paper-cut work "Portrait of Paper-cut Artist Wang Jiahe" is a paper-cut by paper-cut artist Wang Bingzhang based on the scene of another paper-cut artist Wang Jiahe carving paper. This shows the wide range of materials used in Fuyang paper-cutting.
Paper-cutting artist Wang Jiahes portrait Wang Bingzhang
3. Entrusting things to express feelings means good luck and happiness
Fuyang paper-cutting is good at expressing the beauty of people through natural objects. For example, "lotus", "lotus", "pomegranate", "mandarin duck", etc. imply the reproduction of human beings, and express peoples concern for life with simple and ordinary artistic language. Mr. Zhang Daoyi, a theorist of arts and crafts, once summarized the auspicious meanings in folk art with ten words: "Fu, Lu, Longevity, Happiness, Wealth, Good Luck, Harmony, Security, Support, and Wholeness". Commonly used techniques in Fuyang paper-cutting include homophony, homophony, and symbolism. For example, peonies mean wealth, pomegranates mean many children and good fortune, magpies mean happy events, bats mean happiness, vases mean peace, etc. It reflects peoples expectation and love for a happy life in Fuyang area. The paper-cut work "Peace in the Four Seasons" uses four kinds of flowers in a vase to symbolize peace in the four seasons.
Four Seasons of Peace Wang Jiahe
4. Subjective intention, free and exaggerated modeling
The collection of folk paper-cut patterns is not bound by any real relationship. Regardless of the perspective relationship, boldly use subjective imagery to express everything the creator wants to express. In Fuyang paper-cutting, as long as the author can imagine and realize it, no matter what object it is, it can be free from the constraints of perspective, anatomy, and proportional relationships. It can use exaggeration, deformation, contrast, selection, and methods to idealize the object image. Shaping, pursuing decorative beauty that transcends reality. The paper-cut work "Cuddling Tiger" flattens and spreads out the three-dimensional image so that we can see the whole thing at the same time. This technique is very similar to the modeling technique of the dragon and tiger statue unearthed in Funan County, Fuyang area in the late Shang Dynasty. (Dragon and Tiger Zun)
Fuhu Cheng Jianli
Dragon and Tiger Zun, unearthed in Funan, late Shang Dynasty
“Fuyang paper-cutting is full of dynamic, elegant and pleasing shapes. It boldly grafts and integrates the freedom of folk, painting and design languages. It demonstrates the interest of ideal beauty and the artistic feelings of literati, and is in the same vein as Laozhuang aesthetics.” Influenced by Taoist culture, local folk paper-cutting has a strong artistic color and romantic temperament, emphasizing human freedom and spiritual freedom. In order to express the ideal state, we pursue bold treatments that go against common sense. The work "Wang Xiang Lying on the Ice" uses an exaggerated technique to cut the carp that Wang Xiang, a filial son in ancient times, used to warm the thick ice with his body to make it larger than a human being. Wang Xiang also became famous because he caught a big fish to treat his mothers illness and satisfy her hunger. surprise. This exaggerated technique makes Fuyang paper-cut works more subjective, romantic and full of magical charm.
Wang Xiangwo Bing used an exaggerated technique to cut the carp into something larger than a human.
5. Simple and mellow, simple and beautiful style
The beauty of Fuyang paper-cutting lies in its strong "local flavor" and the images created are popular among the people. They are drawn from life, close to nature, and have vivid images. The creators are farmers in the Fuyang area. Their emotions, character, and aesthetics are directly affected by local natural conditions and history and culture. They are simple in speech, hospitable, and sincere in personality. They use their profound life foundation, hard-working hands and simple emotions to create simple and mellow paper-cut images.
Cheng Jianlis work "Wang Po Carrying Water" is based on rural life. Wang Po carries two full buckets of water, unable to stand steadily. The picture is simple, vivid and exaggerated. Fuyang paper-cutting is an art form rooted in the soil of local peoples lives, and its existence depends on the cultural heritage of the creator. unique art form for todayDesign art provides valuable and exploitable folk art resources.
Wang Po carries water Cheng Jianli
Fuyang paper-cutting absorbs the innocence, simplicity, simplicity and simplicity of northern paper-cutting, and the exquisite, translucent, soft and beautiful style characteristics of southern paper-cutting. At the same time, it is also affected by the local natural environment and cultural ecological environment, forming a harmonious and vivid form, rich and colorful content, and meaningful meanings. It is a local characteristic of auspiciousness and happiness, free and exaggerated shape, simple and beautiful style. With the changes of the times, the traditional artistic style of Fuyang paper-cutting has also begun to change. Today, many paper-cuttings tend to be more painterly. Perhaps it is because the creators themselves are art workers and have incorporated some modern art techniques into paper-cutting. in the reason. At the same time, the functions of Fuyang paper-cutting have also begun to change, and their traditional functions are disappearing. Fuyang Paper-cut Contemporary
