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The shapes and patterns of folk paper-cutting in northern Shaanxi

The shapes and patterns of folk paper-cutting in northern Shaanxi The shapes and patterns of folk paper-cutting in northern Shaanxi

According to the visual language description of northern Shaanxi paper-cutting, it can be seen that the modeling characteristics of northern Shaanxi folk paper-cutting can be mainly divided into the following categories:


1 Intuitive phenomenon modeling characteristics


Gao Jinai of Ansai County cut out a piece of "Doll and Love Tiger" and said: "Because pears have seeds, the seeds must also be depicted." This is a manifestation of the inner essence representing surface phenomena. . There are many paper-cut shapes posted on the walls in northern Shaanxi, and many of the items inside are not hollowed out, but the window grilles posted on the windows are hollowed out. These are also directly related to life. When paper-cutting artists use this modeling method to create. The original intention of creation is not only to look good, but more importantly, to give the work a wonderful meaning, and it is most appropriate to express this wonderful meaning in a symbolic way. Therefore, this intuitively expressed symbolic intention is to express the beautiful complex in the authors heart, and the image we see now exists in the paper-cut works.


The shapes and patterns of folk paper-cutting in northern Shaanxi


2 Use homophonic words to define styling elements


In northern Shaanxi paper-cutting, the homophony of "duowei" is to yearn for a better life. Ansai Hu Fenglians paper-cut chicken head and fish body "Chicken Head Fish" is also the transformation of the ancient dragon and phoenix culture into folk shapes. Later, the homophony was used to develop it into "good luck (chicken) and good luck (fish)". Cao Dianxiang cut the fish tail into a pomegranate, which means "the pomegranate gives birth to a hundred seeds", which is taken from the meaning of fish with many sons. Gao Rulan turned the golden roosters tail looking back into a big lotus. People in northern Shaanxi called it "the golden rooster exploring the lotus". Later, the homophony was used to develop it into "the icing on the brocade (golden rooster)". Similar homophonic sounds include "prosperity and wealth", "five blessings come to the door", "lotus gives birth to noble son", "lotus year brings fish", and even "lotus" in the composition makes use of the homophones of "lotus" and "lian". It indicates that the lotus has a continuous symbol; at the same time, "fish&r"dquo;, "yu" and "yu" are homophonic, indicating that fish has a symbolic expression of excess and wealth.


3 Create space in the plane


Due to the limitations of the materials and techniques of folk paper-cutting in northern Shaanxi, all works must be displayed in a flat form. Whether window flowers, wall flowers, or cover flowers are all cut from very thin paper, but in some In the work, there is a sense of space that does not conform to the principle of perspective. If you draw all the legs blocking the back, there will be a difference between the ridge of the house on the side and the front. Wang Zhanlan cut the tiger on the side into two eyes, one bigger and the other smaller.