Yimeng folk paper-cut art is influenced by Yimeng and Han portrait stones and painted pottery
The Yimeng area is a place where my countrys Han Dynasty stone sculptures are concentrated. No matter in terms of quantity, content or style, it can be called a bright pearl in the art of Chinese Han Dynasty stone sculptures. As early as Zhao Mingchengs "Inscriptions on Stones" in the Song Dynasty, there are records of Hanque in Pingyi. In the Qianjia and Jiaqing periods of the Qing Dynasty, Bi Shen and Ruan Yuans "Inscriptions on Shanzuo Jinshi", "Fei County Chronicles" in the Guangxu Period and "Fei County Chronicles" in the early years of the Republic of China. "Linyi County Chronicles" and other records have records of the Han stone portraits in Linyi. The Han portrait stone tombs excavated in Yinan Beizhai in the 1950s and the Han portrait stone tombs excavated in Baizhuang, Linyi in the 1970s have become outstanding representatives of Linyi Han portrait stone art. Yimeng and Han portrait stones are stone portraits with a high artistic level created by carefully painting on the stone surface and using a variety of different carving techniques. Some of these portraits are engraved on tombstones, some on door nets, some in ancestral halls, and many more on the stone walls of tomb chambers. It vividly depicts and records the social life at that time. Among them, the Beizhai Han tombs were built in the Eastern Han Dynasty. The portraits include battles, sacrifices, travels, banquets, music and dance, historical stories, mythological figures, exotic birds and animals, etc. The content is extensive. The picture is exquisitely carved, the lines are slender and smooth, the portrait is magnificent, the carving is delicate, and it is well preserved. It has extremely high artistic value and historical research value. It is one of the most representative works in the heyday of the development of Han Dynasty stone portraits and is known as "Qilu Little Dunhuang". There is a stone carving of music and dance in the portrait of Baizhuang in Linyi City, which is part of the life of the noble manor. The content is that in a small pavilion in the manor, the owner is watching with his hands folded and his expression is calm. There are panpipe and other bands around him, and there are drummers on both sides of the pavilion, which is lifelike. The two men performed a long-sleeved dance with vigorous and bold postures. There are no complicated crowds or gorgeous buildings in the whole picture, but scenes such as long-sleeved dancing, panpipes, holding prisoners and beating drums are shown among a few people. There are a large number of intuitive music and dance images, such as long-sleeved dance, bent-waist dance, drumming, playing the harp, blowing the pole, etc., which fully reflects the exquisite skills and rich and colorful art forms of music and dance at that time. The female dancers in the portraits all dance in the posture of Ana with long sleeves and slim waists. Together with the wonderful performing arts such as bending the waist and standing on the head, they also show a kind of majestic power. This is an independent artistic world, and its bright rhythm fully demonstrates the unique charm of Han Dynasty art. The Han Dynasty rouge in Pingyi is nearly square, with figures of people, chariots and horses, animals, and inscriptions carved on it. The three-net structure is strong and steady, with a rather peculiar shape. It is a precious work of art in ancient my country. Since Han Dynasty stone carvings are a combination of painting and sculpture, they have characteristics of both. Because it is not easy to polish the stone, it also results in the fullness of the picture of the stone portrait. Scattered perspective, fullness is the beauty, the main and secondary parts match, and there are unexpected things.Effect. In addition, the original stone of Han portraiture has the beauty of carving art and is unique in ancient art. Folk paper-cutting artists in the Yimeng area inherited the style of Han portrait stone from a structural perspective and developed it. The paper-cutting in Yimeng area has the characteristics of richness and simplicity of northern paper-cutting art. There is no need to copy, most of them are cut out freely based on life feelings, and the works are smooth and lifelike. The hollowing out technique is used just right, and the structure of "a thousand cuts and thousands of cuts" is particularly outstanding. ① Han stone carvings pay attention to the shape of lines, and the same goes for paper-cutting, because the picture of paper-cutting is composed of lines. Similarly, the paper-cutting in Yimeng area still perfectly handles the echo and contrast between points, lines and surfaces. ② In terms of composition, paper-cutting is also similar to Han stone portraits: unlike other paintings, it is difficult to express the three-dimensional space, the overlapping of scenes and images, and there are often breakthroughs in the proportions and perspective relationships between objects. Paper-cutting in the Yimeng area is mainly based on the connection between images and content. It often uses combination techniques, exaggerates and deforms shapes, and uses the laws and regulations of the beauty of patterns to achieve symmetry, uniformity, balance, combination, continuity, etc. It can arrange the sun, moon, stars, birds, clouds, buildings, people, and animals on the ground on the same screen at the same time. Common forms include "building layers high" or using "partitions to change scenery". ③Han portrait stones are mainly stone carvings. Folk artists in the Yimeng area applied engraving techniques to paper, creating "paper engraving". Mainly refers to door-passing notes, which generally do not need to be cut with a knife. They are mostly colored, and wax paper is often used to match colors. When making, one must first draw and then engrave with a knife instead of pen. The lines are rough and concise, the image and form are lifelike, and the details are not adhered to. The artist is good at artistic generalization and exaggerated depiction, and boldly pursues spiritual resemblance without losing its authenticity. It is a color-engraved paper artwork that people stick on doors on New Years Eve, commonly known as "door-passing notes."
Yimeng black pottery art belongs to the "Longshan Culture", and its representative masterpiece is the high-angle cup. Black pottery has been lost for more than 3,000 years due to its complicated production process and difficulty in controlling the sintering temperature. It is as black as lacquer, as bright as a mirror, as hard as porcelain, and as sweet as the sound. Its exquisite production and graceful shape have attracted the attention of the world, and it is called a "treasure of primitive culture." Black makes people feel stable, mysterious, noble, generous, elegant and profound. The magnificence and sublimity of black pottery make people feel spiritually shocked, tranquil and far-reaching. The geometric patterns of black pottery art date back to YangThe painted pottery art of the Shao Banpo period gradually shifted from the realistic representation of animal images to abstract symbols. The original geometric patterns, such as snakes transformed into dragons, birds transformed into phoenixes and snakes transformed into fish, express the primitive ancestors. The totem worship of the people gradually transformed into rhythmic lines. The black pottery with single-line flat painted geometric patterns is even more attractive than painted pottery. These rhythmic lines have been influencing the paper-cutting art of Yimeng area for thousands of years.
The art of Yimeng paper-cut patterns also has a close relationship and influence with other sister arts in the Yimeng area. Shadow puppet play is one of my countrys ancient operas, which is said to have begun in the Han Dynasty. During the Song Dynasty, shadow puppetry gradually flourished. By the end of the Qing Dynasty, shadow puppetry could be found in almost half of China. Yimengs shadow puppetry has a history of more than 300 years. Yimeng shadow puppets are relatively simple and rough, with ancient colors and strong carvings. They have strong folk characteristics and are close to the paper-cut flavor, with some shapes
